sexta-feira, 13 de julho de 2018

Deaden Me with Aviaries - An Interview

O cotidiano do mundo nos dias de hoje é cruel, caótico e perturbador, completamente diferente das aparências maquiadas pelas pessoas através das redes sociais, a falsa realidade de felicidade e alegria constante esconde uma complexa e estressante realidade, onde, cada vez mais, a intolerância em todos os aspectos impera, beirando o caos completo.

É justamente com estas verdades que os poloneses do Aviaries se alimentam. Sonoramente fundem-se entre o pós punk soturno mais sombrio e, um certo doomgaze, ou algo que sintetize tudo isso. Certamente a conexão mais próxima e óbvia dos caras seja o Have A Nice Life.

O Aviaries soltou seu novo single "Deaden Me", que serve como aperitivo ao segundo álbum, 'There Is Nothing To Defend', ainda sem data de lançamento. O single segue, de certa maneira, o que os caras criaram no assustador disco homônimo, lançado há dois anos atrás.

Resumidamente, o Aviaries, ao lado de outros poucos anti heróis atuais, leia-se APTBS, o próprio Have A Nice Life, explicitam as feridas da dura realidade que é viver/sobreviver nos dias de hoje.

***** Interview with Aviaries *****

Q: When did Aviaries begin? Tell us about the history...
Mark Magick: We started playing together back in 2012. We were struggling trying not to kill ourselves playing each other solo projects. Frustration burst and we decided to take a break to catch a little fresh look on many things… In 2014, Marcin and Krzysiek came up with that flagship song titled „Cold” that turned out to be a turning point in Aviaries history. We’ve made a decision to try a band where everyone is involved at the same level and everyone can bring ideas.

Marcin Cieslak: Me, Mark and Krzysiek were living in the same flat and coherent emotional vibe between us has resulted in two or three spontaneous tracks. Few months later we've started rehearsals and met Bart - our drummer, who used to practice in the same place. We'd intended to use synthetic drums at the beginning, but we've changed our mind after first rehearsal in four.

Q: Who are your influences?
MC: The Cure, The Soft Moon, Have A Nice Life, Katatonia, A Place To Bury Strangers, Merzbow, Fennesz, Slowdive, Dinosaur Jr.

Krzysztof Mlynczak: I don't have any specific artist which I am influanced. I listen to a lot of different kinds of music and everything comes together when I play. When I am writing it's more about the mood. I usually play when I don't feel very well. Something bad must happen, then music comes.

MM: I guess everyone draws out from different source. I have indie/noise rock heart and that kind of music and emotions it carries always hit hard for me. Of course I’ve had metalcore or rock n’ roll episode – it changes all the time… Bands like O’Brother, Brand New, Nothing, Nirvana are my biggest influences. Marcin mentioned Have A Nice Life, Bart would mention Neurosis... This is that diversity that combines Aviaries sound.

Q. Make a list of 5 albums of all time…
MM: Shit, that’s a tricky question…

KM: It's hard to choose five. Maybe I will tell about the albums which I was listening a lot when I was 15, 16 years old. It probably created my music taste in some way.

Nine inch Nails - The Fragile and The Downard Spiral, Marilyn Manson - Mechanical Animals, The Cure - Pornography, Gary Numan - Pure.

I’m not listening to all of them right now, but I think they are worth to mention.

MM: For that moment:
Guns N’ Roses – „Use Your Illusion” Trilogy – that albums are like masterpiece for me. In context of production, mix, promotion, diversity of music - from acoustic to really dark and heavy tunes it beats any other album for me. I’ve been listening to „Use Your Illusion I” since I was 3 and still keep coming back to it.

John Frusciante - „Curtains” - quintessence of acoustic album. The most deppresive and saddest thing ever done?

O’Brother - „Disillusion”

Manchester Orchestra - „I’m Like A Virgin Losing A Child”

Brand New – „The Devil And God Are Raging Inside Me” - I’ve heard that album for the first time in 2006 and it chopped off my head. Really dark, hauting, noisy album. „Degausser” is the best song ever written – so simple, so heavy and strong, pumped up with emotions. That albums changes lives…

MC:  1. Fennesz - Venice / 2. Katatonia - The great Cold Distance / 3. The Soft Moon - Deeper / 4. Have A Nice Life - The Unnatural World / 5. Dinosaur Jr - You're living all over me

Q. How do you feel playing live?
MC: Focused and introvertic.

MM: I remember that before my first stage appearance with Aviaries, that was also my first ever, I thought I’ll be stressed as fuck, my fingers will freeze and I will be not able to make a single move. All those fears immediately disappeared when we hit the stage. Now it’s pleasant feeling. There is always something going on in your stomach but we call it excitement. I love playing live and sharing that time with guys.

KM: I am a little stressed and excited. I don't like the soundchecks. I am the person in the band who is always worried that something will go wrong, but when I am finally on stage I really enjoy it. I’m never looking at the crowd. It's only me and the sound and it is really magical feeling.

Q. How do you describe Aviaries´ sounds?
MM: Heavy, noisy, gloomy wall of overwhelming, hauting notes that leaves you in confused trance, sad and depressed.

MC: Our sound reminds me of being detached from the reality and being in it at the same time.

KM: Nostalgic, longing, without hope.

Q: Tell us about the process of recording the songs?
MM: We – Marcin, Krzysiek and me – were sharing the same flat through almost 5 years and almost every song had its start in those four walls. We were creating the spine of the song and then we were bringing it to the rehearsal room.

MC: We create whole songs at home, never jam. When it comes to recording and mixing, those are processes we do from various reasons - especially sound we prefer - on our own.

KM: From my side it's always starts from single riff. If the Marcin or Marek feel it and have any idea to keep it going, we sit together, work with a drums samples, vocals etc. We always have a draft before we start to play a new song together. During the rehearsals everyone can add a little something, for example Bartek makes drums a lot complicated and cool than our demo machine beats.

Q. Which new bands do you recommend?
KM: I am not really into checking new music everyday like I used to do before. However here is a few artist which I've been listening lately. Not all are really new bands: Glaare, Sally Didge, Ritual Howls, Thot, Drab Majesty, Emma Ruth Rundle.

MC: Actually I know none. I was recently introduced to Khanate - US drone doom band which is great, but that’s not a new one. Been there for about 10 years or something...

MM:  Death Bells – post-punk form Australia / Baasch – synth pop from Poland / HAELOS – trip hop from UK

Q: Which band would you love to made a cover version of?
MM: We used to make a cover of Have A Nice Life „Bloodhail”.  We are coming with crazy ideas for a cover from time to time, but it’s really not our thing I guess.

KM: There is a lot of 80s pop songs which I would like to cover. Probably „Send Me An Angel” by Real Life. Marcin even recorded a demo version of it. Maybe someday we will finish it.

MC: Katatonia and Blueneck come to my mind.

Q: What are your plans for the future?
MM: Finish the second album is the top priority. That’s the most important future point that eclipse any others.

KM: Finish the album – then we will see.

MC: New album.

Q: Any parting words?
MM: Check out our new single „Deaden Me”. You can download it for free through our bandcamp page:

MC: Thank you for the interview.

quinta-feira, 12 de julho de 2018

The Shallow Surface with Tidal Peak - An Interview

Envolto em delicadas texturas etéreas Kyle Lacko concebe suas pérolas sonoras. Passeando por entre o synth pop oitentista e o dream pop moderno, o Tidal Peak flutua.

Kyle é prolífico, desde 2015, vem aperfeiçoando seus devaneios sonhadores, onde o citado synth foi o pontapé inicial, até chegar em sua obra mais coesa, "The Shallow Surface", seu novo álbum, transborda pureza.

Dançando por entre sonhos, o disco paira por leves misturas onde sintetizadores e cândidas melodias se entrelaçam suavemente.

Se você é fã de The Go-Betweens, Blue Nile, Durutti Column, Talk Talk entre outros, faça sua lição de casa e imersa na beleza do Tidal Peak.

***** Interview with Tidal Peak *****

Q. When did Tidal Peak start? Tell us about the history...
1. Tidal Peak started in early 2015, formed in Toowoomba QLD, Australia after the breakup of an alternative rock band I was in. I had recently acquired a drum machine and gotten used to using a synthesiser, so I started to make demos which built up my experience of playing all the instruments myself. This set the standard to start a solo project where I could be the primary member to play all instruments on recordings, and assemble a live lineup of musicians to recreate the songs onstage, and so Tidal Peak was born.

Q: Who are your influences?
2. My main influences are Cocteau Twins, The Chameleons UK, Talk Talk, The Church, Lush, The Blue Nile, The Durutti Column, Rush, Peter Gabriel, Tame Impala and Scritti Politti, amongst many other artists.

Q. Make a list of 5 albuns of all time…
3. My five albums of all time are:
A) Hats by The Blue Nile.
B) Disintegration by The Cure.
C) Spirit Of Eden by Talk Talk.
D) Misplaced Childhood by Marillion.
E) Bringing Home The Ashes by The Wild Swans.

Q. How do you feel playing live?
4. Playing live has been great. It feels good to break the songs out onstage and give them a live feel. There have been various live members come and go as the sound changes but I'm hoping to take our live lineup to new places as the project builds momentum.

Q. How do you describe Tidal Peak´s sounds?
5. Sound-wise, Tidal Peak has evolved over the years. When I released the first single in 2015 the music was very much retro-synthpop, but in the time since then I've released one album, one mini-album and an EP, and the music has evolved more into a dreampop/post-punk/ethereal-wave style with the synthpop elements still in place as the drum machine and synths are integral alongside the reverbed guitars in Tidal Peak's sound. One key characteristic to finding the sound that fits Tidal Peak was playing an acoustic guitar through a reverb pedal and producing a cavernous, glistening noise which I've made sure to utilise, but the sound does change and I'm still always keen to experiment on new things. There is a neo-psychedelic sound to Tidal Peak as of recently.

Q: Tell us about the process of recording the songs ?
6. When it comes to recording the songs I either already have the full song in my head with all of the arrangements, or a basic idea of the song structure. In the studio I always begin with the drum machine to lay down the rhythm pattern and follow up with bass after. Some songs will use a bass guitar and others will use a synth bass, depending on the feel. Guitars will come next and this is probably where I spend the most time on recording to achieve certain effects or nuances in a song. I like to space and pan guitars across the channels to create an atmospheric feel to what the song is about. Majority of the time I play guitar arpeggios or light strums here or there. I used to be obsessed with the idea of being a guitar hero but now I'm only ever interested in making the song stand out rather than showing off my skills. I might play a solo here or there in a song but I won't do it for every single song if it isn't necessary.
Finally I'll add synths to add to the atmosphere. I mainly use pads for ethereal texture, but there may be a synth melody floating around at times.
After the instruments are done I start to experiment with panning and mixing, overdubbing any effect over the stop (I.e. handclaps, walls of noise, feedback, etc) and volume control. I want the instruments to sit in the right spot before I can get started on vocals.
I only write lyrics after the music is finalised. I can never do the other way around. I've found that double-tracking my vocals is a key element in recording, as well as applying some reverb to the voice to achieve that ethereal effect.

Q. Which new bands do you recommend?
7. In QLD Australia there are many fairly new bands and acts popping up. Some I definitely recommend are A.N.A, Lucy Korts, Big Whoops, Venice On Fire and Benny Nelson.
As for international bands Palm Haze is a good band, based in Vancouver, Canada, and I also enjoy Siobhan Wilson from the UK. There are a tonne of great new artists on the Z Tapes label also. There are so many good new acts popping up around the world that need to be discovered.

Q: Which band would you love to made a cover version of?
8. All of us in the live band can agree we would love to be able to do a cover of "Blue Monday" by New Order. I'd also love to do a cover of "Seven AM" by The Blue Nile and really nail that rainy, city lights and deserted streets feel with the song. Plus the song also uses a drum machine and synth bass - a big plus.

Q: What are your plans for the future?
9. Right now I'm in the process of working on another EP to release under the Innersea Records indie label, either at the end of 2018 or early next year. With each release I've seen the project gather more fans and it's wonderful to see that it's building up an audience. The last album I released ("The Shallow Surface") was pressed on cassette so this will happen again with the upcoming EP. I'd love to release on vinyl one day but goodness knows how expensive that is. In the meantime we'll keep playing live shows with the live lineup and I intend to take things in a more synthier direction onstage, sometime down the track.

Q: Any parting words?
10. Thank you so much for allowing me to share Tidal Peak with you. Hope you enjoy and you can find the project page on Facebook, as well as the music on Bandcamp at

quarta-feira, 11 de julho de 2018

Binary Code with Margaret - An Interview

O segundo EP dos franceses do Margaret, é uma pedrada bem no centro do crânio, e obviamente as sequelas são, e, serão profundas.

Matematicamente caótico, "Binary Code", o EP, é corrosivamente agressivo, sem extremismos mas com o enfoque direcionado diretamente para machucar tímpanos. Guitarra, baixo, bateria e vocal unidos para massacrar os ledos ouvintes a bigornadas sonoras.
Se você é chegado em Girls Against Boys, Steve Albini, SY, art noise, você não deve deixar o Margaret passar desapercebido nem fodendo.

Não recomendado a indie kids fofinhos.

***** Interview with Margaret *****

Q. When did Margaret start? Tell us about the history...
Well the story began in 2015 when Olivier (the bass player) and me came back in contact after few year. We played together in several bands years ago and I think we were a bit full on with our music projects at the time. He was in a kind of symphonic metal band and I was in a post-rock stuff. I'm pretty sure that I called him first. My post-rock experience was pretty intense with no results, no gigs no recordings at all. We did some and it was great but it demanded me just too much. So I wanted to make something much more simple the kind of stuff like "let's just plug and play". I thought just a three piece band could be nice and easy and I didn't want to play complicated parts on guitar. In the same mood or you know just because I didn't want to think too much about the guitar I thought maybe I can just sing words here and there. You know I'm not a singer, definitely not, but experimenting vocal sounded fun to me. So I had this idea then I called Olivier! I guess because I knew him quite well, was pretty aware about his skills on bass and mostly about his punk culture. Hopefully He said : "Fuck yeah!!!!" I'm glad he did. We needed to find a drummer to complete the band. Olivier had a good friend beginning drums. Clemence was, she still is, a nice person, kind and a hard worker! We began the project with her. We decided to records the first EP coz we had songs even if she was not ready to play them. I did the drums on the first EP "Everything Gets Closer". We recorded it in my house, in the attic precisely. I had got the gear to do it. I did the mix and we released it on 10 inches vinyl in 2016. I wanted a vinyl edition for the first one that's it! But soon after that Clemence had a great opportunity for dancing and honestly I'm happy she accepted it because she does absolutely awesome stuff now. I should say that having a she-drummer in the band was something was keen on. I didn't care that she was a proper drummer or not it was just great to have girl at the drums. Anyway she left the band and we had to find a drummer again. So, as usual, I called Baptiste. He's a top bloke, the best person ever, a man with a heart big as earth. He helped me in my post-rock band when I needed someone to hit the drums and he did it again. We were Three again so we made gigs here and there not so much but few. We continued to compose songs and we released at the end of 2017 the second EP "Binary Code". Same process, Recorded at home, the attic again, mixed by myself, no vinyl (coz we are broke!) this time it's a burned CD and a home made cover! Now coz you send us an email for an interview I'm answering to your questions! For a fucking Brazilian music blog!!!! hoohoo!!!! Man this is absolutely awesome!!!!!

Q: Who are your influences?
I can answer for me. Guess Olivier will give his own influences.
Well, it's a bit complicated to find what is the influences. It's much more like a digest of decades of sounds ( now you can guess how old I am! ;) ). I can list styles and maybe some bands can pop up in my mind while I reply. Krautrock, experimental music, classic rock, stoner rock, Swamp rock from Australia, progressive rock but not technically boring, American Folk music, Blues, proto punk, post punk, punk rock bands ( pretty fun that I can't say just punk), some psychedelic stuff, early post-rock bands, Thrash metal, power metal some death but not listening often or maybe when I'm fucked up with metal friends or if I wanted to go back to my teen, Indie bands of course. Anyway There are always some common points. A work around the texture of the sound, something a bit rough not always easy to listen to. It could be catchy but certainly "désinvolte" in French, pretty hard to translate. It could mean "doing something with the art of notdoing care about". So Guess you need bands! So with no order : Godspeed You Black Emperor!, Pantera, Tool, Sonic Youth, Faith no more and any project of Mike Patton, Radiohead, Suicide, Bauhaus, Pavement, Tortoise, King Crimsom, Steve Reich, Morphine, Microfilm, The Notwist, Calexico, Kyuss, Fugazi, Queen of The Stone Age, John Cage, Meshuggah, The Drones, Neil Young, Ligeti, Tom Waits, Mark Lanegan, The Kill Devil Hills, Portishead, Girls Vs Boys, Slint, The for Carnation. Some friends : El Madrigal, Ben Salter, Justin Cusack, The Gin Club, Paramount Styles, The Butcher Birds, The Black Diamond Heavies, Häne Brenecki, Alpha Strategy, Horst Du Noch, Ronan One man Band, We escape.... And so many more that I'm sad to forget!

Q. Make a list of 5 albuns of all time…
No Order again :
Morphine " Good"
Tool "Lateralus"
Godspeed you Black Emperor "F#A#"
Steve Reich "Music for 18 musicians"
Ravel "Le Gibet"
Nick Drake "Pink Moon"
But honestly I don't like top 5 stuff... Because tomorrow or in 5 minutes it's gonna be different!

Q. How do you feel playing live?

Q. How do you describe Margaret´s sounds?
Hard question. But I'll try to make it quick coz I was pretty long before. Textured, a bit fuzzy. We try to be rough but we are not enough yet I think.

Q: Tell us about the process of recording the songs ?
Mostly I composed but for few songs I took some riff from Olivier and make a song with it. On the first EP we did something I loved. Olivier had just a part of a song. I took the chords made something with it. He writes a bit too so I asked to him for a text. He can write long stuff. He gave me 2 or 3 pages he wrote roughly and I picked up sentences or a word here and there. We did the lyrics with that! I think it's "Everything Gets Closer" on the first EP. We should do it again!

Q. Which new bands do you recommend?
Now I listen quite often to Iddles, a band from England. I saw them in festival last year! A great show, "punkly" intense. So a really really good English punk rock band. The album is a bit too much well produced for my taste but the sounds are great! But Let's be serious! Just move your ass go to the gig, find your sound, support the local scene! This is the only thing I can recommend!

Q: Which band would you love to made a cover version of?
We did covers of The Butcher Birds and of Girls vs Boys. I thing that the next one will be Bauhaus

Q: What are your plans for the future?
Find a new drummer. Again! Yeah I know it's always a bit the same story! Baptiste left us 2 weeks ago for personal reason. No argue no trouble! It's just Life! So we've got a touch a friend I know! So we'll be ready soon

A LP that's for sure next year! On vinyl again!!!! Can't wait! Gigs! We are pretty bad to find gigs don't desperate to set up a network or find someone to help us. We all work so we don't have so much spare time to apply for a show!

Q: Any parting words?
Because we are such dickheads to book gigs maybe we can play in Brazil!!!!! But definitely thank you so much Renato to come to us for this interview. We are glad and very honoured about your attention!
Thanks! Thanks! Thanks!

Strange Transcendence with Transcendental Strangers? - An Interview

Prepare-se para levitar sem sair do chão, ou, sonhar com os olhos abertos. Sentir a mente transpirar, o coração bater tão lentamente que perigas parar. Essas sensações podem ser causadas ou por viagens alucinógenas, via o amargo sabor do ácido, ou, em alguns casos, através da música.

Neste limo pegajoso e delirante passeiam os caras do Transcendental Strangers?, sim com interrogação, a história do porque disso, você ao terminar de ler a introdução terá mais informações, por enquanto, foque leve seu dedo até o play, para iniciar a viagem que é "Strange Transcendence", debute dos caras.

Pegue Zappa, pegue o kraut mais prog e espacial, pegue a psicodelia moderna, acrescente doses poderosas de psilocibina e penetre lentamente no universo dos caras.

O ticket de ida, o TBTCI oferta a você, agora a volta, dependerá do seu envolvimento com o Transcendental Strangers?.

***** Interview with Transcendental Strangers? *****

Q. When did Transcendental Strangers? start? Tell us about the history...
Dr: This is a bit convoluted. TS? really evolved out of a different group that Mark and I had, which dissolved suddenly upon the 3rd member moving to Hawaii without notice. We happened to have just booked a last minute gig filling in for a group that cancelled. We got a last minute bass player, had a couple hour jam session where we wrote all new songs, and headed to the show. We got there, and the venue had a kitchy chalkboard marquee outside. The doorman asked what our band name was. Not entirely sure what to say, I paused then replied, "Transcendental... Stranger?"
He retorted, "With a comma and a question mark?"
So, we became Transcendental, Stranger?. However, for the next show we booked, the poster artist pluralized Stranger. We decided that had a better ring to it, so we dropped the comma and added the 's'. We kept the question mark for aesthetic value, which we won't ever get rid of. A lot of promoters hate it. They're of the opinion that people won't really know if we're playing or not, or some BS like that...

Anyway, we shifted through a couple members (added keys, lost our bassist, and then lost the keys) before adding Cody on guitar, which really solidified the group. He and I were in the process of starting a group with JP (who would become our 2nd bassist). Instead, they joined us. Technically this occurred before our keys player had an existential crisis and vanished for several months... That was almost 5 years ago? Wow, it doesn't seem like it has been that long... I know that Lou Reed had just died before the first jam session we had with Cody and JP. We wrote Tommy that day as sort of a tribute to him...

Q: Who are your influences?
Dr: Butthole Surfers, Syd Barrett, Captain Beefheart, Ween, Alejandro Jodorowsky, Stan Brakhage, Richard Brautigan, early Flaming Lips and Sonic Youth, Amon Duul II, The Paper Chase, The Cockettes...

Cody: Can, birds, electricity... Lots of dead people...

Mark: Early on, my drumming was very influenced by Danny Carey. Now, it's more influenced by my jam mate's, both in TS? and elsewhere.

Q. Make a list of 5 albums of all time…
Dr: Pink Floyd - Piper At the Gates Of Dawn, Funkadelic - Maggot Brain, Tim Buckley - Happy Sad, Harry Nilsson - Nilsson Shmilsson, Butthole Surfers - Hairway to Steven, Morphine - Cure for Pain, Flavor Crystals - Ambergris. (Sorry I can't get it down to 5...)

Cody: Tim Buckley - Goodbye Hello,
Sufjan Stevens - Come On Feel the Illinois, Nicolo Paganini - 24 Caprices,
Devendra Banhart - Cripple Crow,
Cocorosie - La Maison de Mon Reve

Mark: Radiohead - Kid A, Sufjan Stevens - Age of Adz, Cant - Dreams Come True, of Montreal - Hissing Fauna, Are You the Destroyer, Why? - Alopecia

Q. How do you feel playing live?
Cody: The void.

Dr: On a good night, there's definitely a feeling of ascention, where the music takes hold and lifts you. You sort of "enter the void..." The best live shows I have been to have had the ability to just take you somewhere; we do our best to do the same. Ultimately though, playing live is very therapeutic for me.

Mark: I feel like I'm drifting in a sea of unlimited creativity...

Q. How do you describe Transcendental Strangers?´ sounds?
Dr: We've sort of settled on "freak rock" because it's vague yet encompasses the umbrella of sounds we have. Most of our songs are pretty different from one another, which makes it difficult to pigeonhole.

Cody: I like futuristic flashback...

Dr: Yeah, that is another good one. I love the way other people describe us. I was once compared to Charles Manson after a set, which was actually quite flattering. My favorite review was, "I don't usually like electronic music, but you guys do it right.", because apparently playing electric instruments is the only qualifying factor in making "electronic music."

Q: Tell us about the process of recording the songs ?
Dr: We recorded the album at Blue Bell Knoll studio. Neil Weir is an absolute wizard of sound. He made the recording go so smoothly, and his insights were invaluable. Bringing in our friend Marie from Driftwood Pyre to add some organ and flute was great too! The whole process was very fluid and natural.

Q. Which new bands do you recommend?
Cody: Psychic Lemon, Hibushibire, Heron Oblivion, Gypsy Sun Revival

Dr: Hibushibire, Nest Egg, MIEN... I'm still endlessly obsessed with Gnod's album from last year. (Although, the brand new one's great too...) While it isn't new, I recently discovered the Flower Travelin' Band. Their album Satori has been in heavy rotation for me. Also, lots of White Zombie lately since picking up It Came From New York.

Mark: Sóley, Sylvan Esso, Dirty Projectors

Q: Which band would you love to made a cover version of?
Cody: I only have nightmares of covers...

Dr: We've had a few disasters. "Magic Carpet Ride" was a bad idea... I still really want to cover "Monster" though. It's just as relevant as when it came out, if not more...

Mark: Radiohead's "Wolf at the Door"

Dr: Also, it's not a cover, but we've been talking about staging a live score to the Invasion of Thunderbolt Pagoda... Oh, and we used to do a sprawling 20 minute cover of Beck's "Loser"; that was generally pretty fun...

Q: What are your plans for the future?
Dr: We'll be recording our 2nd album very soon, which we hope to have out by the end of the summer.

Cody: I want us to record an album on top of a mountain...

Dr: Maybe on Rheasilvia Mons? Or Amon Darthir?

Q: Any parting words?
"Parting is all we know of heaven, and all we need of hell." ~ Emily Dickinson

terça-feira, 10 de julho de 2018

Tiny Rebels with The Cairo Gang - An Interview

Emmet Kelly é o comandante da deliciosa gangue chamada, The Cairo Gang. E a gangue ou o início dela, data do distante 1996, mais segredos sobre isso, o próprio Emmet desvendará na entrevista abaixo, mas o que deve e precisa ser dito sobre a The Cairo Gang, é o sentimento sessentista enraizado desde os primórdios, quando ficaram conhecidos como a banda de suporte de Bonnie “Prince” Billy, muito por conta do álbum "The Wondershow of The World". Mas a história é bem maior, já colaboraram com Will Oldham, andam tocando junto com gente do nível dos Flamin´ Groovies, só pra dar alguns exemplos.

Mas talvez, o grande segredo da The Cairo Gang, é o mix entre Byrds e Love. Melodicamente perfeitos, com pitadas de insanidade, os caras vão destilando pérolas da música pop, disco após disco.

Experimente, "Tiny Rebels" ou "Untouchable" e tente permanecer imune a magia psicodélica da The Cairo Gang.

Os bons tempos de certo, jamais foram embora, apenas retornaram ao submundo dos bons sons, e a The Cairo Gang comprova essa tese.

***** Interview with The Cairo Gang *****

Q. When did The Cairo Gang begin? Tell us about the history... 
The Cairo Gang began in 1996 in Reseda, California. It was my first venture outside of punk rock and was initially inspired by Slowdive and My Bloody Valentine, two bands that basically no one knew about except for the few friends of mine from school. We thought we were cool. It evolved over the years as life tends to deliver you lessons on how stupid you are over time. I became the only person in the band, and went down a rabbit hole for a while as a folk solo guy traveling around and playing for small audiences. I was never very industrious. I never thought of music as an industry I wanted to be a part of, mainly because I grew up in LA where everybody is trying to be some kinda star. It wasn’t until I moved to Chicago in 2004 that I opened Pandora’s box and started working the hustle as a guitar player, still rejecting the industry in relation to The Cairo Gang. In 2010 The Gang became known as the band backing Bonnie “Prince” Billy, which is slightly erroneous. The Gang(which is me) wrote songs in collaboration with Will Oldham and so we went on tour as Bonnie “Prince” Billy & The Cairo Gang in support of our album The Wondershow of The World. Lots happened in that period. I began focusing harder on making my own records since then making The Corner Man, Tiny Rebels, The Cairo Gang Goes Missing and Untouchable. In May 2018 The Cairo Gang’s live outfit consisting of myself on guitar, Ryan Weinstein, and Marc Riordan on bass and drums respectively played our last shows in support of The Flamin’ Groovies in California.

Q: Who are your influences?
Mainly my influences are the people I have played with or play with. At the moment I am playing a lot of music with Ty Segall and everyone in that band has been massively influential on me. Otherwise my favorite bands at the moment are The Soft Machine(first three albums and everything out of that, Robert Wyatt, Kevin Ayers, Gong etc.) and Faust, as well I have been listening a lot to Steve Lacy, Derek Bailey and Cecil Taylor.

Q. Make a list of 5 albuns of all time…
1. Soft Machine Volume Two
2. Old Rottenhat - Robert Wyatt
3. Everybody Digs Bill Evans
4. With The Beatles
5. Sticky Fingers

Q. How do you feel playing live?
Viscerally? I don’t know! I feel good, but it’s complicated because I also feel sorta naked which who knows how I feel if feeling naked is the raddest thing or not.. I am use to being naked I think.

Q. How do you describe The Cairo´s sounds?
I don’t know! I pretty much can’t answer that. It sounds like things I make. It probably sounds like a combination of things that people think we sound like. I have no idea. People have said we sound like Elvis Costello but I can’t understand that and don’t like Elvis Costello very much(except Shipbuilding). So who knows. One guy said to me once at a show(a solo show) I reminded him of Incubus. People are so creative! So basically we sound like whatever you think we sound like but mostly like stuff I make.

Q: Tell us about the process of recording the songs ?
I work on recording when I have the time to. There is no order of operations most of the time. After a while an album starts to form thru connections I make between songs. Then I start to sculpt it into something cohesive. I am a fan of records so I generally think of them as singular things as opposed to collections of work.

Q. Which new bands do you recommend?
I don’t know, man. I’m not even sure what bands do really! I love The Freedom Band, but that’s because it’s me and my friends. Most of the bands I see are not really my cup of tea. Although something pops thru every now and again. Forgive me if that sounds pretentious. Maybe it is. It’s just so lackluster in the world of the internet with all these bands and music streaming and the economy of it all. I don’t tend to trust much of it.. the shows I have seen lately that I really liked were of:
The Uranium Club
Chris Cohen
Double Morris
Xylouris White
Probably more I just can’t remember

Q: Which band would you love to made a cover version of?
Old Rottenhat

Q: What are your plans for the future?
Cover Old Rottenhat.. but also I am nearly finished with a new album. It’s sorta mellower than the last one.. and starting a new project called Clinamen

Q: Any parting words?
I love Brazil and want to go back! I saw the best music I ever saw in some little dance club in a sketchy neighborhood in Salvador. I couldn’t take my eyes off of the guy with the xequerê. I think about that guy all the time when I play.

segunda-feira, 9 de julho de 2018

Undone, "Everything Is New Under The Sun" - Track by Track

Não é de hoje que o combo da Macedônia, Undone, vem perpetuando trilhas sonoras psiquicamente eloquentes entorpecendo tanto seus ouvintes mais fiéis como novatos com a banda.

A mais nova viagem do Undone, atende pelo nome de "Everything Is New Under The Sun". O disco veio ao mundo no início de Junho, e segue as diretrizes dos trabalhos anteriores, psych em sua essência, com elementos de blues, prog, gaze, psicodelismo sessentista, sob uma aura melancólica e densa.

Um pesadelo desacelerado onde no fim sempre a luz poderá estar presente, depende muito do ângulo de visão.

"Everything Is New Under The Sun", é um dos grandes representantes do psych moderno lançados no ano e a banda, revela ao TBTCI, todos os segredos e mistérios desta odisseia.

Boa viagem....

*** Undone, "Everything Is New Under The Sun" - Track by Track ***

1. Look Around You Of course none of us in the band is immune to or is above the confusion, the sadness or the weird anxiety these strange days on earth bring, so we tuned into finding ways of expressing this rainbow of feelings truthfully and at the same time no complaining or causing anymore confusion... We didn’t work on it for like 5 years but the level of concentration was high - to do just, and exactly what we want to do. When we listened to the finished songs, their order came effortlessly. 3 song groups appeared and it was natural to start with ‘the present’, open the eyes, and Look around. It’s a long song, not your typical single or a classical album opener, but this time, here, it was. ’…Sun up sun down/ Just as real as you want it to be…Go and take what’s yours/Help yourself - you will be shown…’ say - it is our Right to Look, to explore.. Are the robots really coming? Maybe they (us?) are actually going.. Look around you..See what happened to our world.. This feeling… - when you Lift your eyes from the screen, (“It’s easy if you Try”…) lift your mind from ‘the facts’ (“it isn’t hard to do”) Understand what is going on.. see where you are, where humanity is.. Lennon said it’s easy, if you Try.. it seems not enough of us tried.. This song suggests that the very action of looking around might be more helpful than we can imagine. Sometimes a song takes you where it wants to go, sometimes you got to take it. In this case, we took it to a certain point, and took us.. Showed us around itself..Generously.. Insisting.. We were laughing so much when working on it that it might want to be 20 minutes this song. The longest song we ever did, we said it’s ‘8:30min feels like 20’..

2. You And Me Both This tune was born after visiting the amazing pagan Carnival of Vevcani. The powerful marching masks and costumes parade inspired the feel and rhythm of this song. Visiting the carnival was particularly special these days, when the monsters express the reality so powerfully. The tradition of expelling the demons of the past before continuing into a new period seems truer than ever. And it makes you think, those radical bloody customs look so much like the world’s reality in a way, that it is almost like we will have to expel reality if we want change. There is something loopy about the song; walking in circles of time, never realizing it. One might be like the cow that crossed the city and when asked what she saw, all she could tell was where there was hay. ‘Waited for the answers to fall down from the tree’ is about patience, but at the same time it’s about doing what you want, not waiting for someone to do it for you. Love came also here, asking for everything which we seem to be on a diet from.. being real. In time, in space, in love… (‘don’t talk about us.. just hold me..’).. feel less..

3. The Strong Song
Ronit is in bed with a devilish virus not getting better for 10 days.. Inspiration comes out of nowhere seeing her die.. so she tells the devil - her capturer, that she needs to use the toilet, and with her remaining energy finds her way to the guitar… The strong song (and Harmony Bomb) - twins, were born. Their birth released ronit from sickness. Ronit had very high temperature but could swear she saw Syd Barrett waving from the window. The name was immediately The Strong Song..The song about not giving up.. The lyrics, which came later, are about desperately trying to wake someone up, to warn from the approaching danger, loved ones who cannot but give up.. friends in stress and despair. ‘…Open a window/Open the door/I don’t mean to find you/Dead on the floor…”

4. Oh Friend! Using the phone sound moments for the 3 ‘commercials’ came naturally, a large part of the original ideas were first captured on the voice recorder of the phone. It was an interesting experience and even led to the idea of making an album this way one day, very open improvisation with given sounds from our lives. Darko and Ronit chose about 30 sound moments Ronit recorded on her phone whenever she heard a sound she liked (not pre planned) during the months of recording the album in different situations. They decided to improvise with the given sounds, just to put the sound ingredients and prepare something as lovely as possible with them. The commercials almost ‘made themselves’.. Oh Friend which was for first commercial, following the ‘present’ and starting the ‘past’, emphasizing the significance of being here for each other in this bizarre period.. Representing the divine aspect of friendship – one of the main issues of this album, as Shams is to Rumi... Always with you… an inspiring friend, who helps you meet yourself…

5. Harmony Bomb
Harmony Bomb is the twin of The Strong Song, but it is opening the ‘past’ part of the album. It’s called Harmony Bomb because it was like dropping a harmony bomb on the virus bed. The lyrics came later… about losing touch.. about a haunting absence.. emptiness a life leaves behind.. if in the Strong Song there was a cry out for a friend, in this one, it was too late.. … “I wish I’d known to help you.. I wish I’d known what to do…”. Accepting that sometimes we can be there for someone and sometimes we cannot and vice versa the wish someone will be here for you.

6. Pardon My French
A unique 4 weeks practice provoked a strong experience of something which can be described as a total Nirvana which side by side with being exposed to a precious melodic secret were how this song and the whole album were conceived. It first had a repeating singing chorus (which we later deleted) in the second part of the song with one of the lines being the first name of the song - ‘don’t fight with words’.. it carried an idea which became a main direction in the work on the album – talk less, feel more. It is about a beautiful communication without words, communications where words are indeed not welcomed. It’s about the experience of expansion made by love. A kind of stretch only love can do to the horizon of the mind, the heart... And, that if you try to force understanding it, it will hide..The verses talk about the difficulty in letting go of the words, and the talking which follows in English and then Hebrew are a love letter in the first part about various kinds of gravitation, then finally, describing how it felt.. to let go.. it talks about things which words are too wordi to describe. It expresses the feeling that words are too much and not enough. It was a focus from the beginning of work on the album, that words are not the weapon or an enemy, and that sometimes they just get in the way... at the same time there was something French about this song.. at least from a non-French point of view, the slow sensual tune was as French as we get..

7. All alone
Like in many of the songs, a private story and a global story meet. His heart is broken because him and his girlfriend are breaking up, and at the same time humanity, is separating from earth.. lost interest.. when you see everyone with their phones, especially in different situations, even like a rock concert, where people were enjoying and sharing a special togetherness, it’s not like this anymore when everyone is in fact Alone with their phone, down-up-loading their lives to the machine.. Even if not aware of it.. You think about the billions holding their phone as a part of their body, you think humanity and earth are going through a divorce. And don’t get us wrong..We all have phones we all use them.... but still.. Everyone can feel..That it’s like everyone left.. Like it’s a processes of not being here anymore.. When Edi came up with the drums we were smiling as it spiced it with a new spice which also made it slightly less sad and melancholic. There is something in this song which is catchy, we and friends who heard it easily connected to yet from a from a production point of view it is not developed as the rest, but, each time we spoke about the possibility of upgrading, we always felt ‘no, it is exactly how it should be’. Vlatche, the keyboardist is currently working on a remix for this song which will be on a project in progress of different artists remixing Undone songs.

8. Oh Wind!
In this second commercial break, between the past and the future, a fresh start, let the wind take what you don’t need.. let the wind bring change. Let the wind forgive…While recording an idea for the line in harmony bomb, the crow was crowing next to the window.. the streets of Berlin in the last new year eve.. the robot saying ‘radio’ in different languages and so on were merged into Oh wind, asking for the heaviness of a memory to be swept by the wind.. the carpet can’t fly with a huge safe full of info on it.. let the wind move us where we need to go.

9. Future Is Good
Future is good, whether we like it or not..future is good whether we are gonna be around or not.. if this time around humanity is at ‘terrible twos’ period we have a long way to go.. What’s people’s part in it? We can make the future good, if we recognize that we can make the future good J The present has the ingredients for the future, what are we gonna do? Mentally overweight..How r we gonna make it to the future.. Do you Have to eat trump everyday? If that is the only thing there is in the supermarket, can you be creative about what you might make from it? Can you ‘shop’ somewhere else? Can you fast one day? Maybe you can eat some music, art, eat love, eat help.. It doesn’t mean you don’t care.. It is actually Doing something. you help take a step above the duality, above war.. its not all just about choosing one side or the other, this is ok for good robots.. the evil thinks it is goodness also.. But maybe there are more options.. like rising above the Good and Evil thing makes the way to Future is good…you need to know how to cook for yourself, mentally, even more important than physical food… the lyrics and basic melody Did come from another dimension, where it was clear that humanity has tremendous capacity for love and harmony. Believing in it,is like a torch.. Yoram Gur who was with Ronit in Plastic Venus added the beautiful oriental-space guitar and the electronic tanpura always finds its way to scarf one of the songs in each album.

10. Tomorrow
In the verses there is concern of the morrow. Is it coming? Is anyone gonna Know? It wasn’t planned, but it communicates with Tomorrow Never Knows and the vast openness it offered, which might not be available for us anymore, (in fact it Is.. but a huge part of the time just doesn’t feel like it anymore) nowadays there is sometimes a feeling that the future is ‘done’.. That there is no more an option to “Turn off..Relax..And float down stream..” at the same time in the choruses, a new hope rises. Knowing that there is in fact the possibility of living more fully, of Being, that we don’t Have to be manipulated, that life is still beautiful…a reminder that the world didn’t end after all…

11. Questions to Answers
Questioning and pondering deeply on the constantly increasing flood of ‘answers and facts’ falling at our being..‘Search and find/Go in deep/Inside big mind…No one knows what is going to be/We’re not blind but it’s impossible to see…’ Is it really like this? Why is it like this?? We loved how Andrey - Ronit and Darko’s son sang here - an experience which we would like to repeat in future songs.. We also Loved the first version of this song but felt it too rocky for this album, and so enjoyed remixing it... We were laughing a lot on the last part where the children’s voices and funkadelic guitars Fillip added in the last moment come in, that that whole part is like an end of a concert where many bands played at, and members from all the bands go on stage and sing and play together… Last song of the future part of the album..Kissing the present on the back of neck...

12. Oh Light!To see clearly.. we need an inner flashlight… ‘Oh light’ bears a wish to be guided, to be shown the way, to remain on the path you choose to take..focus.. Mainly home sounds, the door bells, the dog, the first recording of the monochord Darko made, echoes in an hammam in the old bazaar…and more. Light that can reveal to us what we need to see.

quinta-feira, 5 de julho de 2018

June Dreaming, "Abandon The Mothership" - Track by Track

A terceira viagem do casal Bruce e Jamie, ou para os iniciados, June Dreaming, nasceu há pouco menos de uma semana.

Como de costume, o duo, não se apega a gêneros, o segredo do June Dreaming é navegar por águas onde o prog, shoegaze e e viagens espaciais encontram-se em uma tênue linha.

Partindo do conceito do wall of sound, "Abandon The Mothership" foi concebido. Extremo destaque para a deliciosa "The Unknown Show", onde Jamie mostra toda a beleza de sua voz, e claro, para as partes I e II de Zephyr, mas o disco reserva delírios por entre suas treze odisseias sonoras.

E são exatamente esses delírios, que Bruce e Jamie revelam os segredos mais secretos de "Abandon The Mothership".

Boa viagem.

***** June Dreaming, "Abandon The Mothership" - Track by Track ***** 

Bruce: The first three tracks on this album are literally the first three songs Jamie and I ever wrote together. We knew from the start that the music we would be creating would probably not be what most people were expecting from us, and this song was sort of created to not only convey that point to listeners, but also to encourage them to 'open up' their minds, not only in regards to the music that we were creating, but also to the world around them. It is a bit of a challenge to the world to re-examine its viewpoints and try to see the world around us through a clearer set of eyes. To see the world from the angle of truth and love, rather than through the eyes of fear or indoctrination. We wanted the first song on the album to set that tone, to let the listener know that this would not be familiar territory, and I think it serves that purpose well.

Jamie: When Bruce first played this song for me, we wanted it to be the opening song for this album. Not only was it the opener for the album, it was the introduction to me joining June Dreaming.

Bruce: This was, I think, the second song written for this album, and probably the easiest. The process of creating the song structure and recording the music took me just 2 days. It started with the harmonics at the start and the rest of the parts came very organically and easily. It is one of those wonderful songs that wrote itself.

Jamie: I've Been Sleeping is a poetic, fairytale letter written to myself and others to wake up. I wanted the vocals to be soft spoken and somewhat mirror the harmonics Bruce plays on the guitar. I also wanted the desperation of feeling like I had lost things because I’ve been sleeping. This is emphasized in the latter part of the song. The realization that closing our eyes to real issues or just plain selfishness had lulled us to sleep.

Bruce: The thing that most people grab onto when they first hear this song is the double-tracked vocals. The original idea was to use a single vocal track, but Jamie had a couple different vocal interpretations she brought to the table. My job was to mix and match from them and find the best combination, which I struggled with because I liked all of it. So in the end I just mixed both parts together. The two different takes really harmonize well throughout the song.

Jamie: This was the first song Bruce sent me to work on. I was not quite myself when I was working on this song. I was in some turmoil and emotionally drained. The 1st lyrics I wrote were not interpreted correctly. They were dark and angry. I also wanted to title the song “Repunzel Is Too Classy For Tattoos”, which came from a statement I had heard between a mother and daughter. The little girl asked her mother if Repunzel had tattoos and the religious mother shared that statement with her daughter. This was a manipulative way to brainwash a child into making judgements against others. In my anger, I chose that phrase to be the title. I remember when I submitted my part to Bruce his comment was “I just feel like this is more of a happy song.” I ended up agreeing with him. I am generally very optimistic, I was just in a bad place at the time. I told Bruce, “You’re right...I hear this song telling me to come home or I’m on my way home.” He said “How about Lights On The Way Home?” This was a reference to a song idea he had in a previous band and when he told me the story behind that phrase I erased all that I had worked on and allowed the song to share my pain of struggling to be heard, yet with the hope of knowing I am heard by those who feel the same way and can connect. That is when the song became what it is now.

Bruce: From a musical standpoint, most of this song is just a very, very compressed and distorted guitar grinding out one chord and being very subtly modulated to get snippets of feedback and allow certain notes to sort of bleed through the mix at the right time. It is a very chaotic song. The verse sections were designed to instill a sense of desperation via this giant wall of guitar noise. The chorus parts kick the song into a different gear, and bring a sense of defiance into the face of the storm, so to speak. The music owes a lot to guitarists like Billy Corgan and Kevin Shields, it is almost like a tribute to the tones they became famous for. In a moment of complete guitar overindulgence, I included a riff right at the end of the chorus where the lead guitar lick was run through a comb filter device, then fed back through again over and over. In essence what you hear there is a guitar being run through four or five flange pedals at the same time, which produced a horrible sounding mess, but it is a mess that fits perfectly in this specific song.

Jamie: I absolutely love the guitar sounds to this song. I could sing this song over and over. I shout it out but the music tries to drown my words. It’s a beautiful frustration of what this album is all about to me - screaming and shouting for people to change their perspective about the world, to realize that we are called. Do something. Don’t let this world drown you out! A lot of listeners complained that the vocals were low in this song, but there is an art to that. Imagine being on a ship at sea. The waves crashing all around, the storm rising. You try to be heard yet the waves are too loud. You’re trying to listen to those around you, but the chaos drowns it out. That is Zephyr Part 1.

Bruce: The Unknown Show is definitely the most light-hearted song on the album. It was created from a very old demo of music I had recorded years ago. It is a very upbeat, dream pop song, very vibrantly colored by the guitar tones. On the surface it appears to be a somewhat one-dimensional piece of music, but as always there is a lot going on beneath the surface. It is sort of an anti-anthem, it kind of pokes fun at the band itself. While we have managed to carve a bit of a niche for ourselves in far corners of the world, we remain relatively unknown in our hometown. Its about the idea of us playing a show here where most people would never even notice, hence 'the unknown show', two artists laying out their hearts to an empty room. But it is also about facing and exploring the unknown, which is an idea that also carries over into the next song.

Jamie: This song was a fun way to introduce ourselves to the world. I wanted the vocals to have a “vintage” feel. What I like about this song is an 1980’s flare with the instruments and hook. But I wanted to also have vocal harmonies inspired by 1940’s women’s trios as well. The lyrics mention seeing our unknown show located at the corner of Sells Road and East Main. This is the birthplace of June Dreaming, an actual location right next door to where Bruce lives to this day. We are an unknown show whether by choice or ignorance celebrating good times and receiving therapy while creating our music.

Bruce: In a lot of ways Through The Black is a continuation of The Unknown Show. It is sort of a galactic road trip song, encompassing the excitement and intrigue of experiencing something you've never experienced before. It is an empowering song. It isn't easy to stare into the dark void of the unknown and find the courage to step into it. Being afraid of the unknown is easy, being afraid of change, of the mysterious. But this song is for those who have the courage to face those fears and in the end, we hope, overcome them.

Jamie: This song started as a different concept and then Bruce changed up the tempo and a few other things. So, I went back to the drawing board and decided to write about time travel, heroism, teaming up to save those in need.

Bruce: Godspeed is another song that was written and fleshed out very quickly. I remember sitting down to tune a guitar and I was messing around moving some chord shapes around the neck and combining them with open strings, something I use a lot in our music. I hit on the verse parts first and it created an emotional feedback in my mind. Within an hour I had written the remaining guitar parts and built up the structure of the song. I think it was another few months before we recorded it but the song was designed literally overnight. It is a message the light-workers of this world, those whose mission is to build up the broken things and inspire hope in the hopeless. It is our tribute to those who lead with their heart.

Jamie: Following the song Through The Black, Godspeed is about reaching our destination to bring light to those who are broken. When I heard this song I immediately heard the words “faster than the speed of light” and the guitar sounds played at that particular moment sound like lights to me. That is the best way for me to explain it. Very beautiful and eye opening.

Bruce: Probably my favorite song on the album. Where Part 1 is about the struggle and despair, Part 2 is about the overcoming.

Jamie: Zephyr (Part 1) shows the struggle of sharing inspiration and Zephyr (Part 2) shows the reward of accomplishment. Finally being heard and teaching, inspiring those around to join in a world where we are more than conquerors. Altogether rise and lift up your eyes. The fight was a struggle but even when we felt defeated, we woke up and received victory. Everyday we fight just to get out of bed. We fight negative co-workers, family members, friends that have turned against us, and even our own guilty consciences. We battle our own minds to survive each and every day. So many people put others down to cover up their own flaws yet behind those covers they are just as naked and ugly as the perople that they expose. I want us to cover each other with love, kindness, and hope. Personally, I know that I have become a monster at times in my life. When I look back at choices I’ve made that were wrong, I see that my decisions were influenced by negative things spoken over me. When I was awakened to this and saw that God loves me no matter what people say, I no longer cared what others had to say anymore. In the end people are going to conjure up whatever they want to. No joke, I have been called a witch, a blasphemer, and a whore. Many false rumors have been spread me but the truth is I’ve only kissed two men in my life! It happens when your daily life is on display to the world. Stories are conjured up out of a thought or a perception. Lies. Close minded people. I’ve been guilty myself of making a judgement, but I strive to change. I hope that we all do. I’ve witnessed idle talk and accusations so many times tear a good person apart. This song is part of a plan to create the antidote to this disease.

Bruce: I wanted this song to have a vibe of urgency and worry as it is a song about doubt, about facing off against overwhelming odds. From a musical standpoint it is a bit of a return to the electronic roots of June Dreaming. During the mixing for this song I came to a point where I saw things going two different directions and decided to pursue both. This is obviously the version that ultimately made it onto the album, but there is also another version, we call it the 'Cloudy Mix', which used all of the same recorded parts but has a completely different feel, a very soft and almost ambient atmosphere. In the end we felt that the version on the album was a better fit but the Cloudy Mix can be found floating around the internet.

Jamie: This is the thought process that follows us after we begin a mission, whether it is a new project, job, relationship...we all question if we are making the right choices. It’s the battle our minds go through. The struggles of trying to move on or if we are doing the right thing. I ask myself all the time, “am I headed in the right direction?” Confidence sets in and I start out but then one setback makes me begn to question the entire mission. Sometimes it takes months for me to get back on track. Sometimes I dismiss the questions that arise. It’s a struggle.

Bruce: Mothership is another song that came about from an old demo I had recorded years ago. In fact, for the most part what you hear at the start of the song is the actual demo. As the song progresses the original recording slowly fades out, and the newer version of the song materializes. I really liked the idea of doing that, sort of like a piece of music shedding its skin and revealing something new beneath the surface or a butterfly emerging from its chrysalis. Many of our songs function on both a direct level as well as a metaphorical level, and Mothership is probably the best example of that.

Jamie: This song inspired the title of our album. It sums up the story of Abandon The Mothership - everyone marching along, eyes closed, boarding a ship as clones. Watching so many climb aboard to reach a destination of nothingness...never creating, never bringing hope or love...just walking in a line with eyes focused only on theirselves and what they can obtain, creating debt to build a fading kingdom of suburbia, utopia, escapism, whatever the case may be. Money is spent on fast food, digital games, television and/or fashion, and Mothership is a call to abandon all of these things that enslave us. It won’t be easy but in continuing this route we will face the gallows. I hope for a world where people are content with who they are and are happy for those around them. Jealousy, competition and negativity are causing us to march along to the mothership.

Bruce: To me Glimmer is a song that embodies hope. It is the song that comes after the storm has passed and left you with nothing but fragments.

Jamie: This is my love song. Calling out from far away I try to reach him. I need his strong arms to hold me. I need encouraged that I’m doing the right thing. I stepped out and began to wonder if it was the right thing. The only one I can put my confidence in I need at my side but it feel as though he’s so far. This song is how intimate love will make you know everything’s okay. Sometimes relationships struggle to get to a point of intimacy. Circumstances and struggles make us fall away from those that we love. In this song I’m speaking about going far away and how I realize I’ve walked too far and need to draw back to my first love to feel alive again.

Bruce: This is a song about longing for the moments of your past that for whatever reason cannot be recovered or re-lived in any way other than through the always-fading light of human memory. The word 'Hiraeth' is of Welsh origin, and loosely means 'to long for a place to which you cannot return'. At face value it is a song about homesickness, but applied more to people and emotions than an actual physical location. I think everyone can relate to that feeling.

Jamie: This love song is again showing the battle in my mind. Constantly struggling with my past and future, then coming to the realization that I should live in the moment. Take one day at a time and live unafraid. Don’t focus on past mistakes and don’t focus on the past being the best we ever had which in a way would make our future a failure. Instead, live today. I mention the names of songs in the lyrics as well – they were inspirations to focus on the 'now'. The constant harmonies in the vocals layered in different directions and sounds are also focus words. If I remind myself over and over of who I am and whom my soul loves then all those past hurts can be washed away.

Bruce: This song was originally created to be on the first June Dreaming album “The Dark Symphony”, which was a collection of instrumental music that I made before Jamie and I had ever met. The song didn't make it onto the album, but after Jamie joined the team she discovered it while going through some of my unused music. She added some vocals to it and here it is. It is a companion song in many ways to the first song on the album, “Open Up”. Where Open Up serves the function of setting the table for the rest of the album, Open Spaces closes out the album and sets the stage for whatever may come next for us.

Jamie: This song somewhat mirrors Hiraeth. The story is about trying to escape this world and its negativity, trying to escape my past and the thought that there is no hope for me. I begin to remind myself that I have a love searching for me as I search for him. With that knowledge I have a desire to share it with others. My humanity and my weakness at times interferes yet I do not give up.

quarta-feira, 4 de julho de 2018

WOWSERS! with CHICKN - An Interview

Vai uma garageira psicodelicamente glam aí?

Bem, o que os gregos do CHICKN te ofertam é basicamente isso, e acrescente diversão, barulho e tudo que esta envolto a tudo isso.

"WOWSERS!", novíssimo álbum dos caras é uma esbórnia, com os fantasmas de Iggy, Bowie e outros eternos, o CHICKN vai fundo na ferida, pura diversão em formas sonoras.

Agora, se os reclamações de plantão acharem que é algo datado ou coisa que o valha, o TBTCI aconselha, vai procurar um asilo, porque diversão é sempre bem vinda, e com o CHICKN tem de sobra.

Depois de ler isso, desligue seu computador, mas antes grave "WOWSERS!" e vá se divertir meu camarada.

***** Interview with CHICKN *****

Q. When did CHICKN begin? Tell us about the history...
CHICKN begun in a cold December's night. It all started as a joke, as it always starts but it instantly started to grow solid and massive. It made clear really fast that it will stay for a while.

Q: Who are your influences?
All of our influences co-exist in what we call our strange meeting-room. It's a room where our influences sit and discuss, Everything and anything can sit on a chair in this room
and please let's avoid the usual name dropping. What really matters is the conversation pieces and we never run out of this stuff.

Q. Make a list of 5 albuns of all time…
Hah, no such thing. I'll give you though the 5 last records I spinned on my turn able:

David Bowie - The man who sold the world
Tim Hardin - 4
Suzanne Ciani - Buchla Concerts
Aksak Maboul - Onze Dances pour combattre la migraine
Moondog - Moondog

Q. How do you feel playing live?
Like burning from the inside.

Q. How do you describe CHICKN´s sounds?
We have a greek idiom about the sound we have adopted that roughly translates to "shaving sound". Other descriptive words would be "shiny", "trippy", and who could forget "three-fuzzes-in-a-row".

Q: Tell us about the process of recording the songs ?
When we have a clear image about a song, it is time to bring it to life. The process is nothing more than sculpting. Performing and recording songs actually belong in the field
of sculpture. No doubt about that.

Q. Which new bands do you recommend?
Let's say "hi" to 4 bands:
Devamp Javu
To koritsi koimatai
Soft Skull
Hand and Leg

Q: Which band would you love to made a cover version of?
Oh, that has happened too much. We cover songs all the time both in rehearsals and gigs, so I do not have anything specific from the top of my head. Let's say I would love to cover Area's "Cometa Rossa". That would be nice.

Q: What are your plans for the future?
We are planning our next two releases right now and an European tour for October 2018.

Q: Any parting words?
From all us CHICKN, please keep yourselves hydrated during hot summer days.

terça-feira, 3 de julho de 2018

A Strange Day, "ASD" - Track by Track

Aterrizando nas páginas do TBTCI novamente, os australianos do A Strange Day chegam para celebrar o lançamento de seu primeiro disco, "ASD", nasceu em 25 de Maio, aperfeiçoa as obsessões dos caras, trip hop, shoegaze, psicodelismo e melancolia, tudo em doses generosas.

O A Strange Day não esconde suas referências, entenda mais sobre elas aqui, ao contrário, os caras explicitam-as mas com um olhar atual. "ASD" assim torna-se a cada audição mais e mais intenso, mas veja, o disco não é digerível logo de cara, todo esse caldeirão de referências pega os tímpanos menos iniciados de forma torta, é preciso caleja-los para que a satisfação seja plena.

E para facilitar ainda mais, o A Strange Day explica abaixo, os segredos, revelando todas as facetas de "ASD" , um trabalho grande.

Experimente experimentar.

***** A Strange Day, "ASD" - Track by Track *****

Between the Lines:
Shane: This track has always felt to me like it was a bit of a showcase track. It's got a little bit of all the styles we have experimented with and then smashed them together into an audio tie dye of sorts. I think it braces the listeners a bit into what they are to expect for the rest of the LP without giving too much away. Though there is a certain level of disjointedness within this track that I don't think is prevalent through the rest of the LP. Not just the fact it jumps from synth and beats to a colourful shoegaze chorus and then to a noisy arrangement of chaos and beating toms, but because during the writing process itself. We had come back to this one a number of times and it was very much a patience game until one day it all clicked into place and changed from chaotic to organised chaos.

Shane: Now this track is possibly my favourite, but most likely because of a much more personal attachment. This song was technically our "first" song in a manner of speaking. We have been playing and experimenting for years just for fun, but then out of nowhere we wrote this. I think we both felt like we had hit what it was we were looking for and felt a sense of direction. It was like a lot of what we were doing was leading up to this style. When we first put a demo together I couldn't help but think "I have never heard something quite like this before..." and it became a bit of a benchmark. Even now, since we have introduced Dave as our drummer it was an incredibly satisfying song to crack. I also feel it's one of those tracks that's a real journey. Especially once the 5th layer of guitar kicks in at the end to push it to a gear you assumed it was already in.

Into your arms:
Shane: Ah yeah. Simply put for a long time we just referred to this song as 80s. It has also been described to me as "kind of like tears for fears but without all that stuff". I think that has always been my favourite description of us. In timeline of writing this song came right after filters, so it was suiting to follow suit on the record. It was right after we felt we had started to adopt our new found style and naturally found ourselves writing something a but more catchy and super cheesy (but in the best way of course). We picked it out as the first single right away, even before finishing writing the album.

Dylan : This is my favourite track on the album. I feel the album takes you on a journey and this track is a real pinnacle even though there is still more to come. Most lyrics on the record portray a sense of new love and tough times. This song reflects a real personal turning point.

Come Alive:
Shane: I enjoy this one a lot as a good way to break up the album. I'm sure Dylan will be able to say a lot more about this one than myself but I really enjoyed doing a little homage to our young grunge selves. I expect we’ll be playing around with this style a lot more.

Dylan : This track came out of nowhere. We recorded it the same day it was written and it was exactly what the record needed.. a break haha. All the tracks so far were sounding huge and epic and we needed something to break it up. Initially the idea was to keep it super chill and minimal with just one guitar and vocals. But as we recorded it we wrote a few extra elements and lead guitar lines that we loved which helped it evolve into the song it is on the record. It still gives a nice relaxed vibe straight after “into your arms” which fits perfectly.

Shane: The oldest of the lot. We have been playing this one for quite awhile and out of all the old tracks and demo albums we only kept this one. It's a pretty straight out slow, shoegaze track. Back in our soundcloud days it was always the most popular demo and people had frequently asked when it would be released properly. In our true style it took years, but I'm really glad it's out now.

Shane: This was our weird phantom song. Similar to Between the Lines it started as an old piece we wrote that we kept trying to come back too time and time again until the song took a mind of its own, with influence of ourselves and computer malfunctions. We legitimately also heard the structure for the first time ourselves after a computer crash, and when we reopened it it was all messed up and how it is now. I don't think we thought we were allowed to change it more after that and said to each other “well that's got to be the end of the album” and of course now it is.

Dylan : As Shane mentioned this song was a bit of a phantom song. We first wrote all the parts one night and it was certainly darker and more experimental than our other songs. We knew it had to be the ending song on the album but weren’t sure how we were going to bring it all together. This song builds from start to finish both musically and lyrically. I always like records to have a big ending. I feel it ties up the album as a whole and leaves you waiting for what’s to come..

segunda-feira, 2 de julho de 2018

Sombre Printemps - The Rennes Tapes with Pause Longue - An Interview

Experimentalismos art noise, escola SY, Pixies, intrínsecas combinações instrumentais, discípulos da escola Mogwai de barulho, assim foi moldado o debute dos franceses, Pause Longue.

"Sombre Primtemps - The Rennes Tapes", o disco, é altamente recomendado a adoradores de dissonantes canções, onde nada é o que aparente ser. O disco é quebradiço, seu ritmo inconstante, e aquela conhecida angústia sonora vai sendo desamarrada conforme os oitos exercícios em forma de canções vão se perfilando.

Desnecessário dizer, que o Pause Longue é melhor assimilado em volumes altos, certo?

***** Interview with Pause Longue *****

Q. When did Pause Longue begin? Tell us about the history...
Pause Longue was born in Spring 2015. At THAT time, i NEEDED to develope my own project, alone without ANY other musicians. I began to work alone and organiseD a setlist with 9 songs. I rehearsED every day, and began to record the tracks you can now listenon the album.

Q: Who are your influences?
I listen to a lot of music : noise, jazz, free jazz, Rock n' roll, post rock bands, some experimental music, it's difficult for me to give you a name in particular.

Q. Make a list of 5 albuns of all time…
Mogwai "Happy songs for happy people,
Women " Public Strain" Belong 'Comon Era"
Pixies "Surfer Rosa"
Sonic youth " Experimental jet set trash and no star"
... and many more if i had the choice !!

Q. How do you feel playing live?
I like it really ... it makes me feel centered and happy. I never feel pressure or stress before gigs or when i'm playing, it's just like breathing to me

Q. How would you describe Pause Longue sounds?
It's impossible for me to discribe my songs ... hum ... THOSE songs are LIKE colors of myself, at the moment i wrote them.

Q: Tell us about the process of recording the songs ?
When i composed and wrote THOSE songs, i was CROSSED by a feeling of emergency, emotioNALLY.

So, i was standing in my recording room, LETTING the drum machine PLAY and recordING guitar lines and voices at the same time. After, i recorded bass lines and synthesizers.

When I GOT THIS FIRST MATERIAL, also called "demo", i recorded properly some parts and let some otherS like UNTOUCHED.

Q. Which new bands do you recommend?
Pfff ... i don't know, i'm absolutely following new bands, i let my instinct GUIDE myself. For exemple, TODAY i woke up and listened to Cure album , "three imaginary boys", and Queens of the stone age first record, and after Erik Truffaz "the down", and after Siouxie and the banshhees, and now that i'm answering you, i'm listenning to the last Yo la tengo's album.

Q: Which band would you love to made a cover version of?
Whith my other band i covered Autolux's song " plantlife", Breeders or Pixies, Joy division ... but with Pause Longue there's no cover.

Q: What are your plans for the future?
I'm always recording and composING songs. NoW, i need to finalISE them properly. It would be great to have a label outside France and a booking agency TO MAKE Pause Longue TOUR across the WORLD.

Q: Any parting words?
ThAnk you Renato, EXCUSE MY FRENCH and hope to play in Brazil one day !! ;)