Pense em Stereolab, Pram ou American Analog Set, claro, retorne um pouco no tempo e junte o quebra cabeças com doses de kraut obviamente, tudo organicamente simétrico, repetitivo.
Acrescente nesse tempero o selo de qualidade Slumberland Records, e você agora sim, pode ser apresentado ao Peel Dream Magazine, que tem seu debute com data marcada para lançamento, mais precisamente dia quatro de outubro.
O TBTCI vem saboreado a pepita já há algum tempo, quase que periodicamente, como a sonoridade sugere. O clima retro é inegável, muito por conta das teclas do responsável por basicamente tudo, Mr Joseph Stevens.
Hipnótico, envolvente e viciante, o Peel Dream Magazine, uma clara homenagem ao mestre John Peel, é um verdadeiro refresco para os ouvidos.
***** Interview with Peel Dream Magazine *****
Q. When did Peel Dream Magazine begin? Tell us about the history...
A: Peel Dream Magazine started as a moniker I wanted to go by about a year and half ago. I had a dream pop project called Cherry Coals that was sort of falling apart, and I wanted to end the project . . . start from scratch. When you want to write music, or make art more generally, there is this overarching question of "what's new", "what isn't being done right now". I was really wrestling with myself over what I wanted to do musically, and one day I had this epiphany one day that I was tired of making Cocteau-esque dream pop. Everyone was trying to do this same thing as I was. It was out of that that I started getting into the more 90s stuff, cleaner and more squarely located on planet earth. I think dream pop focuses a lot on surrealism, hugeness, and concise, pretty melodies. "Let's build a fucked up beautiful world from scratch" With the flip of a switch, it was like I was into the exact opposite things. I started getting really into krautrock stuff, the Velvet Underground, Spacemen 3, Galaxie 500, Stereolab. There was no road map for it, I wanted to go off on my own thing and trust my instincts. What I liked about these bands is that they reflected a different value system, one that does not pull all of the levers of traditional rock music. They all used emotion in a different way, they presented a kind of Brechtian, "meta" version of rock and roll. I like it when people are onto some new shit. Song structure is an example, I love when bands break rules and stop trying to create a cathartic emotional response from listeners. Its a form of tyranny when a song forces listeners to prepare for an epic sing-along chorus, or to "relate" to the singer, or to expect the "perfect guitar solo at the end", etc. I wanted to make some songs with weird vibes, hushed singing, repetitive, uneventful song structures. Its almost designed to make people hate it in certain ways, and that's what I absolutely love about it. Like, use your brain, decide for yourself if it's important. Peel Dream Magazine is pretty much an instant repellant for anyone looking for a traditional, emotional rock band. The specifics of how the band start are probably quite boring to most. A friend, Shaun Durkan, passed my record along to Mike Schulman at Slumberland Records, and by a chance encounter we got to meet for lunch in Oakland during January 2018. That's when we shook on everything. It was before I even had players to play live with, and way before I had booked a show. I guess you could say I lucked out.
Q: Who are your influences?
Neu!
Galaxie 500
Spacemen 3
Serge Gainsbourg
Stereolab
Unrest
Velvet Underground
Kraftwerk
My Bloody Valentine
Nick Drake
Jesus and Mary Chain
Belle and Sebastian
Broadcast
Beach Boys
The Sundays
Felt
Lo Borges
The Go Betweens
Francois Hardy
Q. Make a list of 5 albums of all time…
oo this is hard, here it goes.
1 Beach Boys: Friends
2 Stereolab: Peng!
3 Belle and Sebastian: 3.. 6.. 9 Seconds of Light
4 Cocteau Twins: Love's Easy Tears
5 The Cure: Seventeen Seconds
Q. How do you feel playing live?
A: I have mixed feelings. I really hate anything vaudevillian--so that element of performing makes me feel a bit like an alien. Just like my music isn't meant to strum the emotional heartstrings in a typical way, our live shows are not fist-pumping events. I don't like talking to audiences or even looking at them much. That being said, there is something instinctual about playing music live for other people. Its a beautiful thing when we get it right. I do love to connect with people, I can be a very social animal.
Q. How do you describe Peel Dream Magazine´s sounds?
I would call it post rock, heavily informed by British indie pop from the 80s and 90s. We use tons of organs . . . a real Farfisa, DX7, a Hammond B3 emulator, a bit of analog monosynth (Arturia Microbrute). We don't really use effects on anything, except for fuzz on guitar. Shoegaze, twee, 60s pop -- these are all elements that are floating around.
Q: Tell us about the process of recording the songs ?
Well, Peel Dream Magazine started as my home studio middle finger to the entire music recording universe. Everything I'd done up until this point had been a stress-filled, expensive failure. Now, I record as I write . . . demos ambiguously turn into actual recording sessions if I like them enough. My studio is part of my girlfriend and I's bedroom. I use fake drums (Kontakt samples) and fidget with them until they sound realistic. I overdub lots of drones, and I do all my guitars through my sm58 microphone.
Q. Which new bands do you recommend?
Hm. Do you mean current bands, or literally new? Sometimes I'm a bit too closed off from new music, which is really sad. It's easier for me to learn about bands live, which I don't do as much as I used to. I'm a huge fan of Baltimore/LA's Wildhoney and Oakland/Brooklyn's Weekend. We played with an indie pop band called Strange Passage that is very much down the same pike of like "old school indie pop". I work with Alexis Georgopolous of Arp and I'm a huge fan of his. I also work with Adam Markiewicz of Dreebs / PC Worship / Lea. His stuff is really cool. Been listening to Hatchie. Tony Molina, Smokescreens. Big Bliss are NY homies, as are Pale Joyride.
Q: Which band would you love to made a cover version of?
Probably no one? I've never really been interested in playing any music other than what I write. I read a funny interview with Robin Guthrie where he talked about how outside of his own songwriting, he completely hates playing music. I guess if I had to pick, it could be fun to do Beatles songs on the piano. Something light, simple, and gorgeous like that.
Q: What are your plans for the future?
Make at least a few more records! Do a bunch of touring. There's still a bunch that I have to get off my chest. We'll see.
Q: Any parting words?
Nope!
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Thanks
http://peeldreammagazine.bandcamp.com/
https://www.facebook.com/peeldreamzine/
