God Machine with Danyl Jesu - An Interview

Doses cavalares de art noise industrial, barulho gratuito, vocais viscerais, relembrando a grandeza de gente como Terminal Cheesecake, Rapeman, God Machine, Silverfish e similares, o duo australiano Danyl Jesu em seu ep de estreia, o devastador Celebration, lançado no final do ano passado, impressiona pela agressividade e principalmente pela brutalidade das canções.

Uma daquelas bandas para manter a distância de indie kids.

***** Interview with Danyl Jesu *****

Q. When did Danyl Jesu started, tell us about the history...
We started about a year and a half ago - we wanted to create a project based off the “ghost tapes” used in the psychological warfare operations in Vietnam. The US made a bunch of recordings that played into the Vietnamese spiritual beliefs of burial and the afterlife, and they’d play them to the Vietcong via loudspeakers in the jungle at night to frighten the shit out of them. Basically it was the voice of a tormented, wandering ghost of a vietcong soldier that had been killed in battle and was now condemned to wander in agony, warning the other soldiers to consider returning to their families. Eerie as fuck - have a listen https://www.youtube.com/watch?v=4d9H_1ygEv8. We slammed out an ep based off this, called “Disembody”. After that we started writing music with more of a framework, but that starting point is still evident, I think.

Q: Who are your influences?
We listen to loads of stuff, but we try to not wear any influences too strongly. My goal is to create something that feels huge, jarring, abrasive and otherworldly, whilst not limiting our appeal to the noise & avant crowd. Bands like Suicide would have had this quality back in the 70’s, but if we were to borrow too heavily from their musical style it’s the wrong way to pay homage to them, I feel. I don’t think we’ve hit our mark quite yet, but I essentially want people to think “Fuck, I’ve never heard anything that sounds remotely like this before, ever”, without going down the overtly arbitrary/freeform/atonal route. We’re influenced by stuff like Wolf Eyes, Pan Sonic, Sunn O))), Portal, HTRK, MBV, Scott Walker, Dirty Beaches etc.

Q. Make a list of 5 albums of all time…
I think this question is way too difficult, so I’m just gonna list five albums that I’m listening to at the moment-

Grouper - Ruins
Earl Sweatshirt - I Hate Shit, I Don’t Go Outside
Ben Frost - A U R O R A
Andy Stott - Luxury Problems
Grief No Absolution - Eurostopodus Argus//Crypsis

Q. How do you feel playing live?
Really anxious. Locky is amazing live - he has infinite confidence and can generally commandeer all the attention, which I’m completely happy with! I’m much more into the experimenting/writing/recording process. I love nailing a set, and feel quite euphoric after the fact, but I never really enjoy it in the moment…I just stress about all the things that could go wrong, and how all my peers are going to despise me and think I’m worthless if I miss a snare hit. Ha.

Q. How do you describe Danyl Jesu sounds?
In a constant state of change. We’re drawn to the realm of synthesizers/sampling/effects processing, as the possibilities are much less limited than traditional instruments. There’s so much that is left to explore, and conquer as your own, which isn't so with ye olde Rock configurations. The percussive element is also a huge part of our sound too. I still like incorporating organic, real percussion, as well as a human (non-quantized) feel, which is a really vital part of our sound. Also, I guess I’m the one who approaches things from a “musical” perspective, whereas Locky isn’t a musician, and approaches stuff from a more conceptual point of view. He is a great sounding board, mainly because he is impartial towards music processes and gear and all that, where those things can really influence how I feel about music. Plus he can bullshit his way into securing grants for us as well…very handy. Combine all of the above with a hatred of basically everything.

Q: Tell us about the process of recording the songs?
With the “Celebration” EP, and the first album we just finished recording (with Phil Elverum of all people), I used an acoustic drum kit, and configured the kick drum to trigger samples (mostly bass) in Ableton, and a foot controller that I used in lieu of a hi hat pedal to change the sample that was being triggered. Locky used a cassette 4-track as a poor man’s mellotron to play various drones and pad sounds, and pitch them up & down. At the moment I’m not using a full drum kit - just a bunch of synths and some scrap metal percussion, and Locky is doing some weird-ass Alan Vega style improvised vocals.

Q. Which new bands do you recommended
I really dig FOREVR (who you’ve already interviewed). Narrow Lands from Sydney are great, and they seem to have a similar ideology to us, even though they sound completely different. Barge With An Antennae On it, who we just released a split 12” inch with today. Pleasure Symbols would be my favourite Brisbane band right now.

Q: Which bands would you love to make a cover version of?
I don’t know. I’m not against covers, but I’ feel like I’d need a good reason to do one, personally. I’d only want to create a new interpretation of an existing song, but then I just sort of think "If I’m gonna go to all this effort, why not just write an original?”.

Q: What´s the plan for the future....
To do what we feel like doing. I get restless quickly, so I love being able to just reconfigure everything on a whim and try something completely different. I want to throw myself into writing & recording this year. We will probably tour here and there also.

Q: Any parting words?
Thanks a bunch for getting in touch with us. If anyone’s keen, you can purchase Celebration at sonicmasalarecords.bandcamp.com.
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Thanks

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

Dream Baby Dream with Ultra Material - An Interview

Uma das grandes referências e influências para o TBTCI existir sempre foi a saudosa seção Zona Franca da Bizz, principalmente as valiosas e preciosas dicas do mestre Fernando Naporano, e é exatamente aí que o TBTCI busca sua existência.

Não é de hoje que estas páginas vem indicando a efervescente cena atual australiana, e é exatamente de lá, mais precisamente de Brisbane que vem o novíssimo Ultra Material. Logicamente que sua sonoridade vem infestada de referências ao MBV e as bandas originais da Scene, todavia existe uma aura que permeia o K7 de estreia dos caras com nítidas alusões a Bailter Space, Chills e outros ícones de uma certa cena oceânica.

O Ultra Material é daquelas bandas para se prestar atenção já desde os primeiros registros. Altamente recomendado.

***** Interview with Ultra Material *****

Q. When did Ultra Material started, tell us about the history...
A. Nick and Zuzana were in a great Brisbane band called Sunshine State from 09-2011. I joined on bass for a little while, then other members left and we decided to continue playing together but in a new band, so I swapped to drums and Sarah came in on bass and vox.

Q: Who are your influences?
A. Bailter Space, Flying Saucer Attack, Yo la Tengo, Sonic Youth, MBV

Q. Make a list of 5 albuns of all time…
A. The Sugarcubes / Lifes too good,
Sonic Youth / Daydream Nation,
HTRK / Marry Me tonight
MBV / Isn't anything,
Grouper / Dragging a dead deer up a hill

Q. How do you feel playing live?
A. Really good some of the time

Q. How do you describe Ultra Material sounds?
A. whipping egg whites whilst taking a scenic train ride thr

Q: Tell us about the process of recording the songs ?
A. We built them layer by layer for the latest recording, drums first, vocals last. We recorded at Nowhere Audio with Donnie Miller. He's got a great ear.

Q. Which new bands do you recommended?
A. Lots of cool stuff happening in Brisbane, Workshop, Pleasure Symbols, Cedie Janson, Forevr, Nitefields.

Q: Which band would you love to made a cover version of?
A. Iv'e always wanted to see what it would be like to cover Gino Vanelli's Wild Horses at half speed..maybe one day.

Q: What´s the plans for future....
A. Working on having a tape out in the next month, then our record!

Q: Any parting words?
A. Ultra Material 2015
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Thanks

https://ultramaterial.bandcamp.com/
https://www.facebook.com/Ultramaterials

The Art of Noise with Band of Susans - An Interview with Robert Poss

New York, 1986, Robert Poss e Susan Stenger formaram um dos patrimônios da era art noise chamado Band of Susans, inspirados na orquestra dissonante de Glenn Branca, no conceitual John Cage, no art punk de Wire e Gang of Four e ao lado de gente como Sonic Youth, Big Black, Swans, o Band of Susans ousou eu texturas não usuais e sempre contendo 3 guitarras em sua composição como banda, formando um wall of sound pesado, metalizado, gélido e denso;

Desde o primeiro álbum Hope Against Hope até o derradeiro Here Comes Sucess a banda passou por inémeras troca de guitarristas, tendo inclusive na formação do seminal Love Agenda nada mais nada menos do que Page Hamilton mentor do Helmet, mas sempre a base criativa da banda centrava-se nas figuras de Poss e Stenger que determinaram o rumo inicialmente mais corrosivo do primeiro álbum, seguido pelos geniais clássicos da avant guarde noise Love Agenda e The World and the Flesh, dando sequencia na virtuose caótica do droneado Veil e fechando a saga com o completo e forte Here Comes the Sucess. É complicadíssimo definir o ponto alto ou o fraco da discografia então para não ficar na indecisão decidi escolher a sequência Love Agenda e The World and the Flesh que compõem exatamente a fase avart guard noise da banda mais focados para as dissonâncias e carregados e wall of noise, não que os demais não tenham estas características, mas aqui elas jorram por todos os poros, as canções são sequenciais e tribalmente entrelaçadas pelas guitarras que são os termômetros nestas obras primas do noise.

Não há hits por aqui, talvez algumas músicas candidatas a mais acessíveis somente, é o caso da abertura de Love Agenda com a muralha de guitarras chamada The Pursuit of Happiness, It´s Locket Away é épica e o álbum vai nessa linha caoticamente guitarreira outro ponto mais pop se isso pode ser colocado é Hard Light situando na linha do tempo uma sonoridade altamente 90´s da America, um deleite para os amantes de bandas como Loop, Spacemen 3, MBV e shoegazers mais noise, mas o presente final do Love Agenda é a cover version de Child of the Moon, classicão dos Stones em roupagem art noise drone, uma finesse literalmente, só relembrando em umas 3 guitarras da banca, uma delas é a de Page Hamilton.

Já no segundo e aclamado The World and The Flesh o clima fica mais sombrio e até certo ponto mais acessível, dois destaques instantâneos Now is Now e Ice Age, a primeira é talvez a mais emblemática das canções do Band of Susans, toda concepção e temática dos caras esta brevemente condensada aqui, todos os conceitos de Glenn Branca, John Cage, SY, Art Punk noise, Now is Now é o resumo do que esta clássica e tipicamente underground banda representa, mas the World and The Flesh tem mais muito mais, Pilow Twist com as guitarras em velocidades beirando um cataclisma, Estranged Labor sombriamente com um noise gelidamente metalizado aniquila qualquer possibilidade de popsongs, Guitar Trio é a apoteose em guitarras, mais de 13 minutos instrumentais onde o instrumento, guitarra, que é o porque da banda ter sido formada e é o fio condutor de toda a obra dos caras fazer sentido, tem seu momento elevado a potencia maxima neste esporro sonoro do instrumento em forma de musica pop.


Conhecer a obra do Band of Susans é um exercício crucial para entender o porque o som deles é atual e moderno, uma banda absurdamente fascinante e a frente de seu tempo.

E o TBTCI em um momento maior em sua saga teve a honra de poder conversar com o mestre Robert Poss.

Respeito máximo.

***** Interview with Robert Poss (Band of Susans) ******

Q.Band Of Susans is considered by many a classic art noise band of the 80/90s. How do you deal with the new generation of bands influenced by the Band Of Susans´ music?
We sometimes run into musicians who tell us that seeing Band Of Susans – in Nebraska or Minnesota or Atlanta – made them want to form bands. That is possibly the highest praise coming from other musicians. It is interesting to see how decades later many bands and musicians have come to embrace the sort of ecstatic minimalism that was our creed, and come to respect the composers and musicians who inspired and/or influenced us – Phill Niblock, Rhys Chatham, etc. Even Sonic Youth, who originally thought (for some unknown reason) that we were too “uptown” (not downtown punk rock enough?) eventually came to embrace some of Susan’s long time mentors like Christian Wolff, John Cage, David Tudor…. We were certainly ahead of our time in that respect. It was great playing shows with Dinosaur Jr., The Mekons, Throwing Muses, Wire, Rapeman, Eleventh Dream Day, Butthole Surfers, etc. We were part of the blossoming of new noisy guitar bands in the late 80’s and early ‘90s. We were all part of a scene that influenced many future bands.

Q. What´s your favourite Band Of Susans album? Why?
This is one of those “Which child do you like the most?” questions: always difficult to answer. I think my two favorite BOS records are LOVE AGENDA – for the pure heavy, massive guitar power assault and the growing collaboration between me and Susan Stenger and VEIL, which has some of the best songwriting and production.

Q: Who are your main influences?
I grew up with The Rolling Stones, The New York Dolls, and before that, many blues artists like Albert King, Mike Bloomfield, Paul Butterfield, Muddy Waters; and then The Clash, the earliest U2 record, Public Image, the Sex Pistols, X-Ray Spex, Television, Gang Of Four. There was also a thread of “serious” music running through my history – Phill Niblock, Alvin Lucier…. But ultimately there came a point when I threw most of the influences away and decided to make exactly the sort of music that I wanted to hear.

Q. Make a list of 5 albums of all time…
Five? That’s quite difficult. Today it would be, in no particular order:

Rolling Stones: Beggars Banquet
Tom Verlaine: Dreamtime
The Clash: The Clash
The New York Dolls: The New York Dolls
The Kinks: Kinks Kronikles

These records (ancient history, it seems) have all stayed with me, and I still enjoy them after decades.

Q. How do you feel playing live?
When things are going well, and the amps and monitors are working and there is a good crowd – like at The Roskilde Festival in Denmark we played in 1989, right after My Bloody Valentine – there are few things more exciting, inspiring, energizing and exciting than playing live. I love high volume guitar feedback work. I miss it….

Q: Tell us about the process of recording the songs?
Band Of Susans had an unusual process. The songs were much more “composed” than most rock bands. I often wrote all the instrumental parts – drums, bass, three guitar parts - and Susan and I would work on the lyrics and vocal melodies together. In this way we were much more similar to the way Rhys Chatham or Glenn Branca ran their bands: the players realized a singular artistic vision. The arrangements were orchestral in the way the guitar parts were written and performed. So, we were not as collaborative as many bands, and we did not develop songs through group jamming or improvisation. We recorded our records in recording studios, on 24-track tape machines in the pre-digital era. This meant that there have to be a certain economy – one could not endlessly add tracks or edit things the way people now do in Pro Tools or Logic. We generally would record basic bass, drums and guitar tracks together, and then overdub the ostensibly simple but extremely specific guitar parts over those, and then add the vocals and fairy dust.

Q. Which new bands do you recommended?
I’m terrible at keeping up with new bands. It is embarrassing. I tend to endorse bands and projects that my friends are doing. The post Pansonic projects of Ilpo Väisänen and Mika Vainio are always interesting. Shilpa Ray is doing some cool stuff. Susan Stenger is doing some remarkable installation and soundtrack work in the U.K. But my mind is blank at the moment about cool new guitar bands that must be out there. Apologies. (Like I said, truly embarrassing….). I’m starting to listen to more classical music and music from Asia these days. I’m sure that after I send this off, I’ll think of half a dozen bands that I should have mentioned.

Q: What´s the plan for the future....
I am continuing to do short term collaborations with other musicians. I play (off and on) in a band called Slack Bow, that has ex-members of the Rhys Chatham and Glenn Branca groups like Evans Wohlforth and Bill Brovold – people I’ve known since the 1980s - and two painter-musicians Jennifer Coates and Steve Dibenedetto. It’s the first and only band I’ve ever played in that had ukulele on some songs. I sometimes do live sound for my friends Alan Vega and Marty Rev in the band Suicide. That’s great fun and a challenge. I’m continuing my long collaboration with the superb choreographer Alexandra Beller. I do the music for her dance company. We have a great series of performances of her piece milkdreams coming up this month at La Mama here in New York. I will be joined by Kato Hideki on this project. Both of us are playing electric bass, often bowed. I still work with Susan Stenger whenever I can. I was recently part of a two day multimedia performance event in Paris with Susan, Einstürzende Neubauten’s F.M. Einheit and the great Irish/Breton actress/performer Olwen Fouéré. I’ve written a few articles about electric guitar for the Leonardo Music Journal over the years. I am hoping this year to record a follow up to my various solo CDs – Distortion Is Truth, Cross Casco Bay and Settings. And I make my living doing location sound for television, since my music has never been commercial enough to support me.

Q: Any parting words?
I’m a bit out of practice doing interviews. There was a time when Susan and I were regularly talking to Melody Maker, NME, and a zillion fanzines. But that was a long, long time ago. These days I rely on internet links like everyone else.

Some Links, many of which are guitar-centric in nature:
http://lamama.org/milkdreams-world-premiere-alexandra-bellerdances/
http://preparedguitar.blogspot.com/2015/01/robert-poss-13-questions.html
http://en.wikipedia.org/wiki/Band_of_Susans
http://www.guitarnerd.com.au/2009/12/robert-poss-the-gl-sc-1/
http://glguitars.com/instruments/USA/guitars/fallout/index.asp
http://www.fraciledefrance.com/point-of-no-point-2/?lang=en http://www.huffingtonpost.com/johnny-nevin/alexandra-beller-robert-poss_b_1401375.html http://www.nytimes.com/1993/12/23/arts/review-music-dissonance-sounds-like-new-york.html
https://vimeo.com/30379807 (Alexandra Beller Dances at the ICA, Boston)

Liquid Paper with Deafcult - An Interview

O frescor de uma nova banda ainda em criação, não é todo dia que encontramos por ai, certo?

Mas aqui no TBTCI sim, e o Deafcult de Brisbane, Austrália é exatamente o caso de uma novíssima banda que acabou de soltar seu ep homônimo fazendo conexões com MBV e Airiel, ou seja, pegando o shoegazer clássico e atualizando-o com extrema sutileza e elegância.

Simplesmente um dos melhores discos que vieram ao mundo até este momento neste maravilhoso 2015, e vejam, a banda tem apenas quatro meses, que futuro hein!!!

***** Interview with Deafcult *****

Q. When did Deafcult started, tell us about the history...
Deafcult around 4 months ago. All of us are in other bands but we decided we wanted to be in a band with four guitar players.

Q: Who are your influences?
I'd say bands like the Jesus and Mary chain, ringo deathstarr, mogwai, vaselines, pinkshinyultrablast and mbv (of course)

Q. Make a list of 5 albuns of all time…
1.loveless- mbv
2.psychocandy- Jesus and Mary chain
3.come on die young- mogwai
4.lift your skinny fists- Godspeedyoublackemperor
5.parklife- blur

Q. How do you feel playing live?
Anxious! Because there's so many people in the band it feels like it could fall apart at any moment hahahaha

Q. How do you describe Deafcult sounds?
I think it's noisy pop music. It's sort of punk sounding but droney and melodic at the same time.

Q: Tell us about the process of recording the songs ?
We recorded with this great guy called Cameron smith at his studio incremental records. We recorded a lot of vocals all very late at night and then recorded the music it was weird doing it backwards but I quite like the effect.

Q. Which new bands do you recommended?
Cameron smith who recorded us plays in a band called Spirit Bunny which is phenomenal. I think someone plays a Commodore 64 and someone else plays a circuit bent Casio then cam plays these cool beats under it all! Amazing! Then another band from brisbane called Low Season who sound kinda remind me of Lungfish are awesome they have new record coming out so everyone should check that out.

Q: Which band would you love to made a cover version of?
 I'd love to cover a song by The Knife I reckon they have a great sense of melody but still manage to make it sound dark.

Q: What´s the plans for future....
We are going to start writing a full length record. The deafcult ep was kinda just a demo that has all the first songs we wrote on it.

Q: Any parting words?
Thanks to everyone who has checked out the new ep. We sort of only thought a few mates would listen to it so the support from all over the world has been amazing!
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Thanks

https://deafcultbrisbane.bandcamp.com/releases
https://www.facebook.com/DFCVLT

In The Presence of Nothing with California Death - An Interview

Surfgaze psych é a pegada dos caras do California Death.

Estreia matadora agora em março desse ano com seu disco homônimo os caras jogam na mesma receita Link Wray, MBV e Nuggets, dai não tem como errar, é pra ouvir alto, em qualquer situação e lugar.

Puta disco legal pra cacete.

***** Interview with California Death *****

Q. When did California Death started, tell us about the history...
A. We formed through meeting each other at college and having a similar taste in music. All of our members had played in a previous band who had moderate success in the Richmond, Virginia area. That group disbanded and we wanted to form a band that reflected a sound that we more enjoyed playing.

Q: Who are your influences? A.
Our influences lie mainly in My Bloody Valentine, Slowdive, Joy Division, The Cure, Japanese artists such as Pastel Blue and Oeil, the artists from NME's C86 compilation album, Lilys and Galaxie 500. The list goes on

Q. Make a list of 5 albuns of all time…
A. In no particular order:
Loveless by My Bloody Valentine,
Pornography by the Cure,
Souvlaki by Slowdive,
Closer by Joy Division
and Lonerism by Tame Impala.

Q. How do you feel playing live?
A. We love playing live shows and we try and bring an energy to each show. We have played anywhere from small garages to large venues and we have enjoyed playing each and every show so far.

Q. How do you describe California Death sounds?
A. We describe it as "Surf rock with a darker edge, a heft dose of psychedelia and a butt ton of reverb."

Q: Tell us about the process of recording the songs ?
A. Our singer and guitarist Mike records all of our tracks in his bedroom on his computer using drum loops. He then deletes the loops and our drummer Chad records the drum parts for each song. We record everything at home and heavily advocate the DIY method.

Q. Which new bands do you recommended?
A. We listen to a lot of Captured Tracks artists, mainly Mac DeMarco and DIIV. We also are big fans of Deafheaven and the Allah Las

Q: Which band would you love to made a cover version of?
A. The Black Eyed Peas, specifically "Let's Get Retarded". This is a song that really speaks to us on all levels.

Q: What´s the plans for future....
A. We're going to continue searching for that ever elusive record deal. In the meantime, though, we are going to continue playing shows in the Richmond, Virginia area.

Q: Any parting words?
A. Thank you for the interview and if you are ever in the Richmond area come hang out with us!
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Thanks

https://californiadeath.bandcamp.com/releases
https://www.facebook.com/californiadeath

Love is Noise with The Loving Memory - An Interview

O novíssimo trio londrinho The Loving Memory segue os ensinamentos do Verve em sua melhor fase, ou seja, psicodelia shoegazer a serviço dos bons sons.

Um single a caminho intitulado Honey é o que os caras nos preparam em breve, por hora algumas belas músicas disponíveis em sua página no soundcloud são o cartão de visita dos caras.

Para ficar atento e de ouvidos ligados.

***** Interview with The Loving Memory *****

Q. When did The Loving Memory started, tell us about the history...
We started the band around August last year. We had all played in bands around our hometown of Cleethorpes before starting The Loving Memory. We decided to get together just to have a jam and see what happened. We managed to walk away from our first practise with a bunch of song ideas and our own sound and all agreed it was something we had to continue doing.

Q: Who are your influences?
We are influenced by alot of 80's and 90's shoegaze bands such as Cocteau Twins, RIDE, Chapterhouse, Flying Saucer Attack, My Bloody Valentine etc.. But as well as this we have an eclectic range of influences including Placebo, Radiohead, The Cooper Temple Clause, Mogwai, The Stone Roses, Nick Drake, Kyuss to name a few.

Q. Make a list of 5 albums of all time…
1. The Verve - A Storm In Heaven
2. Nirvana - In Utero
3. Smashing Pumpkins - Siamese Dream
4. Interpol - Turn On The Bright Lights
5. RIDE - Nowhere

Q. How do you feel playing live?
Performing live is our favourite aspect of what we do and we always have a great time. We like our stage foldback to be very loud to help us get lost in the music. Its important for us to create an atmosphere on stage in order to try and create the same atmosphere for the audience. We also like to use visuals and a lot of lighting effects to compliment the sound.

Q. How do you describe The Loving Memory sounds?
Melodic, ethereal, loud. We think we have something that, while combining a range of influences, is unique to us.

Q: Tell us about the process of recording the songs ?
The demos we have recorded up to this point have all been multitracked whereas with the first single we want to try tracking all the instruments live. We just feel that theres something we have when we play live that we struggle to capture with multitrack recording but we hope we can recreate this way.

Q. Which new bands do you recommended?
We are fans of Hookworms, Best Coast, Eagulls, Lower Dens, Exit Calm and Pusher to name a few.

Q: Which band would you love to make a cover version of?
We do a cover of Icon by Souxsie and the Banshees. Its just a song we really love and when we first gave it a try it just suited our sound so well. Our version loses the intro and is heavier but we love to play it, its such a classic track.

Q: What´s the plans for future....
Were about to head into the studio to start work on our first single. We want to take our time and make sure we really capture the essence of the track and our sound. When the single is finished were going to make a music video to help promote it and then keep playing shows, writing, recording as well as developing, growing and just enjoying ourselves along the way.

Q: Any parting words?
We'd love it if people could give our facebook page a like and our Twitter page a follow. There you can get updates on our shows and releases. You can also listen to and download our music for free on our Soundcloud page. People should also look out for our single "Honey" which will be out later this year on iTunes.
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Thanks

https://soundcloud.com/thelovingmemory
https://www.facebook.com/thelovingmemory

Fade Into You with Casting Circles - An Interview

Muitas bandas levam toda sua existência em busca da canção perfeita e muitas vezes não conseguem atingir seu objetivo.

Em alguns raros casos e momentos acontecem os milagres sonoros, aquela magia, aquela candura que em pouco menos de quatro minutos consegue-se atingir o sublime de criar enfim a tão sonhada canção perfeita, e os estadunidenses do Casting Circles logo no início de sua curta carreira atingiram o resultado na belíssima Like a Paper Crane, um verdadeiro primor de canção, algo como o elo perdido entre Mazzy Star e o Best Coast.

Uma verdadeira sublimação da perfeitação, ouça e comprove, ouça e se apaixone.

***** Interview with Casting Circles *****

Q. When did Casting Circles get started, tell us about the history...
Jerry: Drea, Gloria and I started playing together in march of 2014. We played with a few other people as well but this is the group that stuck. We're always on the look out for someone to do keys/synths as well but for now all of our electronic sounds are triggered from a sampler. That little Akai is like another band member Emoticon smile Gloria and I were already in a relationship for a few years prior and we thought it'd be fun to play in a band together. I had been playing in bands most of my life but this was Gloria's first time. I actually taught her how to play bass and she picked it up pretty quickly. Within a couple months she had our set down. We met Drea on the craiglist. Drea was a singer/songwriter living in the Watsonville area. She had done some open mics as a solo act but she wanted to play with a full band.

Q: Who are your influences?
Jerry: My most fondest memories as a teen (in the mid 90s) were driving around in my friends' cars listening to groups like, The Cranes, The Pixies, Siouxsie, The Raincoats, Mazzy Star, Helium, Pulp, Violet Indiana, PJ Harvey amongst many others so this group is just an extension of my teenage dreams to do a project that was kinda dreamy and ethereal yet also at times a bit bigger sounding with just tinges of dark and creepy.

Drea: My biggest influences are Amanda Palmer from the Dresden Dolls, Elliott Smith, Kate McGill from Meadowlark, Ben Folds, The Shins, Paramore, Modest Mouse, Pink Floyd, Blink-182, and Avril Lavigne, Nirvana, Band of Horses, Neutral Milk Hotel, Kimya Dawson and Weird Al Yankovic.

Gloria: Lowrider oldies, Selena, Guns N Roses, Motley Crue, Interpol, Belanova, Rachel Yamagata, The XX, Bassnectar

Q. Make a list of 5 albums of all time…
Jerry: ha now keep in mind, these are not because I feel these are to be regarded universally as the all time best albums ever made but out of every FULL album I've ever heard these are the albums that have had the most profound effect on me...

My dad owned Depeche Mode's "Violator" RECORD (there was actually no CDs to be had just yet in our house) so that album has a special place in my heart. Whenever "Enjoy the Silence" would come on the Mtv, even as 9 year old I would STAND and STARE at the TV while it played. ha and the last 4 in no particular order are...
•Pulp - "A Different Class"
•Elysian Fields - "Queen of the Meadow"
•Blonde Redhead - "Misery is a Butterfly"and just because the band,

Helium's song "What Institution are You From" could be my favorite song ever I'm upgrading it to Album status! It came on their single, "Superball".

Drea: This is so hard! My favorite albums of all time are probably Pink Floyd's The Wall, Weird Al's Running With Scissors, The Moon & Antarctica by Modest Mouse, Billy's Not Bitter by Billy White Acre, The Used by The Used, Brand New Eyes by Paramore.

Gloria: Motley Crue "Shout at the Devil", Interpol "all of them", Soundtrack to Beyond the Black Rainbow Movie

Q. How do you feel playing live?
Jerry: I'm pretty comfortable with it. The band I was in prior to Casting Circles was actually a powerviolence/thrash band which did a fair amount of touring all over the country and as you could imagine was a much different experience. I've played some really seedy houses in some very sketchy parts of towns that most people would spend there lives trying to avoid. haha I can think of a few times I didn't think I wasn't going to make it back home. So on the whole spectrum of being a touring musician, being on stage is probably the least stressful thing about it.

Drea: To me playing live is like a form of therapy where I get to express some of my most intimate feelings with a group of strangers.

Gloria: I'm an introvert so, I imagine like I'm Playing in a walk in closet where I'm surrounded by things I like and I feel at peace.

Q. How do you describe Casting Circles sounds?
Jerry: If Amanda Palmer, Violet Indiana, Mazzy Star and Pulp all had a baby that grew up in East Side San Jose.... that kids' mix tape would sound like Casting Circles.

Q: Tell us about the process of recording the songs?
Jerry: Well, the 2 songs we have up, "Like A Paper Crane" and "Dust" were actually done along with 4 other recordings we recorded in Drea's living room. We were going to do a free digital EP BUT unfortunately I pulled a ROOKIE mistake and did NOT back up our songs onto an EXT Hard drive. That Week my desktop's hard drive decided to sh*t the bed and I lost the original song files frown emoticon. This was my first time recording a full band myself so... lesson learned :)Our next record is my second attempt at recording a full band and it's going exponentially better. Gloria and I are fortunate to live an a converted studio apartment in an old Victorian farmhouse in San Jose, CA. We have hardwood floors from the late 1800s. Needless to say, it makes for great recordings. We are really excited to put this out when it's done.

Q. Which new bands do you recommended?
Jerry: There are so many rad bands we have been recently discovering. It's a really amazing time for independent artists now. A lot of talented groups are emerging and continuing to do some great things. Off the top of my head some bands I've recently discovered and have been listening to lately; Creepoid, Li Xi, Lungs And Limbs, Appendixes, Little Sister, Rich Girls, The Light Thieves, Future Twin, Makthaverskan... I know there's a bunch I'm missing but that's all I can think of for now smile emoticon

Drea: Meadowlark, Orla Gartland, Hudson Taylor, Night School, The Casket Girls, Kina Grannis, Swordsmith

Q: Which band would you love to made a cover version of?
Jerry: hmm... Pulp - "Cocaine Socialist", The Raincoats - "don't be mean" or Q Lazzarus - "Goodbye Horses"

Drea: It would probably be the most fun to make a cover version of The Dresden Dolls because they are so theatrical and love to dress up!

Gloria: "Looks that Kill" by Montley Crue, "Anonymous" by SSQ

Q: What´s the plans for future....
Jerry: We are finishing up recording for a new (as yet to be titled) 7 inch which we plan to release this summer. We're scheduled to start shooting a video for one of the songs from the new record called, "Sixty Daddies" in late June which we are super excited about! The production team we are working with on this video, work with a program through the city of San Jose, CA that gets the communities youth involved with producing videos and other various marketing materials for local emerging musicians. We are really excited to be involved with them. We'll be doing a small tour up the US's Pacific Northwest in late August to help support the new record so if anyone out there is living in those areas, please come out and see us! We will be making an official announcement with all the details as soon as all the venues are confirmed. PLUS we also have a bunch of shows in the bay area in the coming months so please come check us out if you're near by! It's going to be a busy summer for us.

Q: Any parting words?
Jerry: I'd like to take this opportunity to suggest to everyone out there to consider a sustainable vegan lifestlye for the sake of our environment and better more efficient use of our resources (California: I'm lookin' at you). Everyone can read a good article about it here: http://www.theguardian.com/environment/2010/jun/02/un-report-meat-free-diet
Thank you so much for taking in interest in our band!
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Thanks

https://castingcircles.bandcamp.com/track/like-a-paper-crane
https://www.facebook.com/castingcircles

VA - Got That Feeling - A Tribute To Skywave (Promo)

Delta Spirit with Filius Sol - An Interview

Doug Lynn é um trovador elétrico que molda suas viagens a base de fuzz e linhas melancólicas fazendo conexões com Galaxie 500 e Neil Young sob a alcunha de Filius Sol

Filius Sol é sua guitarra e seus devaneios mezzo psicodelicos mezzo folk, para viajar sem precisar ir muito longe.

Para momentos íntimos e introspectivos.

***** Interview with Filius Sol *****

Q. When did Filius Sol start? Tell us about the history.
A. Filius Sol started at the end of this past year as a recording project. I released a demo, 'Lost' and then after that I took a brief hiatus. In April of this year, I recorded, 'Blue'. After it gained some notice locally, I turned my music into a live set and have been playing 3 to 4 shows a month. I then rereleased, 'Blue' with a local DIY label here in Wichita, Ks called This Ain't Heaven Recording Concern. Now I'm playing shows locally and across the Midwest like a mad man.

Q: Who are your influences?
A. My main influences above all are psychedelic drugs and marijuana and as I grew up I listened to American Classic Rock and 80s/90s Shoegaze bands like Jesus and the Mary Chain, Sonic Youth and Dinosaur Jr.

Q. Make a list of 5 albums of all time.
A. 1. Dark Side of the Moon - Pink Floyd
2. History From Below - Delta Spirit
3. Lonerism - Tame Impala
4. Jack Napier - Living Ghost
5. Demo - Zacstronaught

Q. How do you feel playing live?
A. Well I perform alone and use a lot of looping, running my signal to both an old bass amp and a Vox AC-15. I've created a wall of sound live that is simply exhilarating to perform.

Q. How do you describe Filius Sol sounds?
A. Dark Pop influenced by the 90s and shoegazed riffs inspired by the 70s and 80s classics. It's full, loud and pulls you along like a waking dream.

Q: Tell us about the process of recording the songs?
A. I do all my recording independently. 'Blue' was recorded in a tiny attic apartment. I used two microphones for the amps and made up the lyrics on the spot after recording the music.

Q. Which new bands do you recommended?
A. There's some fantastic bands from here in Wichita including Postboy, Living Ghost, The Travel Guide, Slime Flower, Kill Vargas and Saura Mandala.

Q: Which band would you love to make a cover version of?
A. When I first started playing in bands, I covered Delta Spirit songs and lately I've been looking to cover some early Incubus.

Q: What´s the plan for the future?
A. Continue playing shows and releasing music regularly. My next release is scheduled for this fall.

Q: Any parting words?
A. Rock out, work hard and never give up.
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Thanks

https://www.facebook.com/Filiussol
https://thisaintheavenrc.bandcamp.com/album/blue-demo-tahrc-076

Forged Prescriptions with 10000 Russos - An Interview

Andre Couto, João Pimenta e Pedro Pestana formam o trio de freaks 10000 Russos, portugueses, que soltaram a pouco seu debute pela essencial Fuzz Club Records.

Conexões com os mantras dos Dead Skeletons, com o drone noise do Spacemen 3 e o multifacetado pós punk do The Fall, soam como boas referências para situar o ouvinte mais desavisado.

Os 10000 Russos simplesmente perpetuaram um dos grandes momentos desse 2015, em um álbum hipnótico, com ruídos cíclicos e delirantemente psicodelicos, só que as cores da psicodelia dos 10000 Russos são escuras, muita mais cinzentas do que o multicolorido dos flower powers. Aqui não há salvação, os demônios e os deuses são as mesmíssimas pessoas.

Um trabalho absolutamente essencial, e definitivamente não recomendado a indie kids, ACIMA.

***** Interview with 10000 Russos *****

Q. When did 10000 Russos started, tell us about the history...
Joao Pimenta – Started by the end of 2012, released a four track tape in 2013, played all over the country and in 2014 we recorded the album which was released May 20th via Fuzz Club Records.

Pedro Pestana - João and I started the band and André joined in '14. We had been exploring chaotic and repetitive soundscapes for some time. Adding the bass to the equation took us to other territories waiting to be deconstructed.

André Couto - We are three very different fellows. We've all had our experiences before. At some point we met, and it all made sense, we were looking for the same things, so we started building this new journey together.

Q: Who are your influences?
Joao Pimenta – Bands, writers and artists who were never aligned with anything and created a world of their own. NEU!, The Fall, Toulouse-Lautrec, Kubrick or Eça de Queirós. That influenced me to create a world of our own with my bandmates.

Pedro Pestana - I'll answer this question differently everytime…

André Couto - There are two people who helped me building my path, my best friend Ruca, with whom I started making music 25 years ago (yes, 25 years ago), and forged my musical consciousness, and my dearest friend Sério Fernandes, film maker, painter, poet - a total artist, who taught me everything about merging art with life.

Q. Make a list of 5 albuns of all time…
Joao Pimenta - “Kick out the jams” - MC5, “NEU!” - NEU!, “Suicide” - Suicide, “This nations saving grace” - The Fall, “”I know you fine, but how you doin” - The Gories

Pedro Pestana - "Dead Magick" - Dead Skeletons, "Dub, Reggae and Roots From The Melodica King" - Augustus Pablo and King Tubby, "Casa Babylon" - Mano Negra, "Private Press" - DJ Shadow, "An American Prayer" - The Doors, "Rock Formations" - Yawning Man

André Couto - "Forged Prescriptions" - Spacemen 3; "Pornography" - The Cure; "Closer" - Joy Division; "Confusion is sex" - Sonic Youth; "The Velvet Underground and Nico" - Velvet Underground; "Ummagumma" - Pink Floyd.

Q. How do you feel playing live?
Joao Pimenta – i feel i can distance myself from all the crap i got to deal everyday. I feel free

Pedro Pestana - Love it!

André Couto - Alive and connected.

Q. How do you describe 10000 Russos sounds?
Joao Pimenta – Imagine a rock n roll band. Then throw all the riffs, chorus and solos into the garbage bin. Its a bit difficult to tell how we sound, though. We like to work with sound waves, the idea of repetition to click into a trance and having a sense of deconstruction.

Pedro Pestana - Sounds like three thirty-year-olds playing what they feel like. The result is open to interpretation.

André Couto - Simple and powerful. Dark, urban, yet lightfull and spacy.

Q: Tell us about the process of recording the album?
Joao Pimenta – we recorded in HertzControl Studio with our beloved friend and sound tech, Marco Lima. Then Pedro Pestana (guitarrist) with the input of the other 2 band members mixed the record in his house for some months, cause we like to pay attention to the details. The record was then mastered by Brett Orrison in Austin, Texas.

Pedro Pestana - We recorded it in two sessions. The bulk of the album was recorded in the first one, early '14. We mixed it and right on the week before we were going to send it to the vinyl factory ourselves, Fuzz Club approached us. Terrific timing, I must say. We ended up making another session for the album where Barreiro came out. Most of it was recorded live with no overdubs, like UsVsUs, Baden Baden Baden, Kalumet and a few out takes of other songs. Karl Burns was the only one to be recorded separately. In Barreiro, the drums and the bass were laid down first and then the guitar layers. Loved recording guitars without playing any string on this one. Stakhanovets was recorded live and we added a lot of feedbacks on top. As far as the mixing goes, we definitely wanted to make it sound distant from a live sound and distant from the last release. Marco's recording was flawless, there was a lot of room to manouver. There is a live feeling to the playing but the dubby approach to some tracks gives it a certain sense of displacement. Afterwards Brett's mastering "really tied the room together".

André Couto - After a couple of months playing together we decided to go to the studio. It was easy and natural, since we've recorded it as if we were playing live. Of course we did our studio magic afterwards, as Pedro said, but it is mainly a live record.

Q: Which band would you love to made a cover version of?
10000 Russos - nobody

Q: What´s the plans for future....
Joao Pimenta – during this year and the first semester of the next we are gonna to promote the record in Europe and in Portugal. Some surprises in the first semester of 2016 on the way too but still cant tell otherwise it would spoil the surprise.

Pedro Pestana - We'll play in Reverence Valada this year again. We got signed last year there so it feels great to be back!

André Couto - We have some new stuff we are working at. The plan is to keep doing it.

Q: Any parting words?
10000 Russos - Buy music from the bands you love! Support the artists so they can continue to make even better music!

Live long and prosper!Thank you!
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Thanks

https://fuzzclub.bandcamp.com/album/10000-russos

Age of Consent with Princess Dye - An Interview

Sonny Frisco é a metade do Machine Lovers e a aparece aqui nas páginas do TBTCI com seu projeto solo, Princess Dye.

Um synth pop gélido guiado por linha sintéticas dançantes feito sob encomenda para pistas escuras e esfumaçadas, sempre com loops hipnóticos e melancólicos.

O Princess Dye é perfeito para os sobreviventes dos 80´s.

***** Interview with Princess Dye *****

Q. When did Princess Dye started, tell us about the history…
A. Princess Dye started during a bout of writer’s block. A traumatic event had just occurred in my life while on vacation in Los Angeles and I was looking to vent through some music. I was having trouble coming up with any new Machine Lovers (my other project) material so I decided to try something new. I decided to make a dance record. Having grown up on a lot of 80s dance albums it was a natural approach for me to take.

Q: Who are your influences?
A. My influences are pretty vast, but the ones that have had the most impact on me are the ones that sound nothing like me. I love Broadcast. I think if I were ever in a band it would be something similar to them. A Silver Mount Zion and Radiohead are also big influences. I’m also huge on film scores. Ennio Morricone, Trent Reznor and John Carpenter are favorites.

Q. Make a list of 5 albums of all time…
A. In no particular order:
New Order - Power Corruption, & Lies
Radiohead - OK Computer
Broadcast - HaHa Sound
Medusas - Niños de la Tierra
Godspeed You! Black Emperor - F♯ A♯ ∞

Q. How do you feel playing live?
A. I enjoy it but I haven’t had much opportunity to play anywhere aside from my hometown. I’d like to travel a bit more in the future and play for strangers.

Q. How do you describe Princess Dye sounds?
A room full of old people in a retirement home having the time of their lives.

Q: Tell us about the process of recording the songs?
A. I just sit down and go for it. I'll render demos out and play them while I bike ride. I usually get good ideas listening to scraps outdoors. I use a lot of soft synths. I’m a pretty broke dude. I work a shit job and can’t afford any cool synthesizers. It’s a pipe dream right now. I have some controllers I use with Ableton and FL Studio Rewired together. I grew up using FL Studio so I use it for a lot of programming. I love the flexibility and depth of Ableton so I use that as well. It’s all bedroom stuff really.

Q. Which new bands do you recommended?
A. I recommend my best friends Tuxedo Gleam. They’re a great Darkwave duo that live about five minutes from me. I’m over there a lot toying with their synths and getting inspired. I’d also recommend Medusas, who I listed in my top 5 albums. They’re also a great local act. I’m not sure if they’re still making tunes, but what they have out is brilliant. They’re both on bandcamp.

Q: Which band would you love to made a cover version of?
A. I’ve wanted to cover Radio Dept’s It’s Personal for a really long time now. Also Piggy by Nine Inch Nails.

Q: What´s the plans for future....
A. I’m trying to focus all of my efforts on film making to be honest. My heart is in film. That does not mean I won’t continue to make music though. Music is what keeps me sane. It’s therapeutic for me. I’m working on a new Machine Lovers record with my partner Wes Cash, and I just started writing a new Princess Dye album today. I squeeze those sessions in when I’m not screenwriting or I’m stuck. They should be out sometime this year.

Q: Any parting words?
Wise men say, forgiveness is divine, but never pay full price for late pizza!
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Thanks

https://princessdye.bandcamp.com/
https://www.facebook.com/princessdyemusic

Nothing Natural with Colour of Spring - An Interview

O quarteto britânico de Leeds, Colour of Spring pega o shoegazer e a poesia e melodia dos Smiths e efetua a sinergia perfeita.

Lirismo, vocalização a´la Ride, guitarras ruidosas mas sempre melódicas, essa é a equação musical que o novíssimo single Honey & Skin exala.

Deveria estar estourado nas rádios tocando sem parar, porque o Colour of Spring tem a fórmula perfeita.

***** Interview with Colour of Spring *****

Q. When did Colour of Spring started, tell us about the history...
We started when Shane and I met up after seeing each other’s adverts looking for band members. We both had solo projects we wanted to turn into proper bands and after meeting up we realised we both had similar tastes and influences so started writing together before getting Tom and Bryce in the band.

Q: Who are your influences?
Shane and I both love 90’s and early 00’s Emo, bands like Sunny Day Real Estate and American Football, as well as 80’s Pop and both the Shoegaze and Dreampop scenes. We both really like Slowdive, MBV and The Cure too. There’s all sorts in the mix but those are just a few areas we pick up some of our sounds and ideas from.

Q. Make a list of 5 albuns of all time…
Wow! That’s a difficult question. I’ll try and pick albums to represent the entire band. In no particular order:

Beach Boys – Pet Sounds
Led Zepplin – Physical Graffiti
The Cure – Disintegration
My Bloody Valentine – Loveless
The Smashing Pumpkins – Siamese Dream

Q. How do you feel playing live?
Amazing! That’s why we do this band, we love playing these songs and making a noise together, we try and make our sets lively to watch and an experience to listen to. We quite often jam out intermissions between songs and this is an integral part of what we do. It’s something we enjoy and it always keeps the sets fresh.

Q. How do you describe Colour of Spring sounds?
It’s funny because it’s hard to describe your own band. In other articles we’ve been compared to Nirvana, Ride, Lush, The Smiths, Slowdive which are all massive compliments. If we ever sounded even half as good as any of those bands it would be a great achievement.

Q: Tell us about the process of recording the songs ?
We first recorded with Grant Henderson who had a really great studio especially for a good drum sound. We recorded our first single with Grant but for the Double A-Side we went and recorded with MJ from Hookworms as we felt he could capture what we were really going for. We experimented with our sound a little bit more and MJ helped channel what we wanted to do sonically. We owe him a lot for making the latest single sound great.

Q. Which new bands do you recommended?
Both Shane and I love the new début JAWS record at the moment plus I would personally recommend Bully as a good new band to check out. The new record from Chastity Belt (Time To Go Home) is also really endearing. All four of us went to see Viet Cong together a few months back and they’re brilliant live too.

Q: Which band would you love to made a cover version of?
We actually learnt a Smiths cover (Please, Please, Please, Let Me Get What I Want) but we never played it at any gigs. It was fun to do. We did discuss doing A Forest by The Cure, but it never happened.

Q: What´s the plans for future....
We want to play loads more and we’re looking to get back into the studio soon to record a new single.

Q: Any parting words?
Support your local music scene, buy records to support bands in doing what they do and keep it as D.I.Y as you can. That’s where all the best bands and music come from.
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Thanks

http://colourofspring.co.uk
https://colourofspring.bandcamp.com/album/honey-skin
https://www.facebook.com/colourofspring

Walking in The Sand with Sweet Valley Slumber Party - An Interview

O ensolarado e altamente californiano, Sweet Valley Slumber Party faz jus ao nome e faz conexões com a gravadora Slumberland e sua sonoridade retro 60´s, um mix de bubblegum, girl groups e class of 86.

Virgins o ep do SVSP é simplesmente pegajoso, viciante e um verdadeiro refresco para a mente.

Apaixone-se.

***** Interview with Sweet Valley Slumber Party *****

When did SVSP start, tell us about your history…
Kam and I were in a long distance relationship for several years, I’m from Sydney, Australia, and he is from California. I moved to CA in 2011 to be with him, and we thought it would be fun to write songs about our long distance struggles.

Who are your influences?
The Ramones, The Shangri-Las, The Crystals, The Ronettes, The Beatles…

5 favorite albums of all time?
The Ramones - Rocket To Russia
The Beatles - Please Please Me
The Supremes - Where Did Our Love Go
The Ronettes - Presenting The Fabulous Ronettes
The Rolling Stones - Let It Bleed

How do you feel playing live?
Like absolute chicken shit.

How do you describe your sound?
Cheesy dream pop.

Tell us about the process of recording your songs?
We record everything at home, Kam records all the instruments and I drink way too much wine and record my vocals.

Which new bands do you recommend?
Wyatt Blair is the best songwriter in Los Angeles. Everyone should listen to him. Power pop perfection.

Which bands would you like to cover?
Dolly Parton and Bette Midler. Love them forever.

Plans for the future?
Putting out a 7” this summer of 2 new songs!

Parting words?
Thank you!
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Thanks

https://sweetvalleyslumberparty.bandcamp.com/album/virgins
https://www.facebook.com/sweetvalleyslumberparty

Heart Glow with Veil - An Interview

Diretamente do Alasca vem o sonhador Veil.

Um convite para embarcar a paisagens e delírios onde somente o shoegazer e o dreampop pode te conduzir, e o Veil com eximia habilidade é o fio condutor entre o mundo real e o território dos sonhos.

Um verdadeiro convite ao paraíso aos iniciados.

***** Interview wieh Veil *****

Q. When did Veil start, tell us about the history...
I started veil around December 2014. I had been writing songs off and on as vulcanobaby for a while, mostly using my midi keyboard and samples. I felt that it was time to try to finish something I could put out as a whole, something satisfying to myself as an artist. I was drawn to learning more about guitar and incorporating that into my song writing. So a little over a year ago, I bought a guitar and I started feeling more confident about writing songs over the last summer in a short lived band I was a part of called self defense. Even though we only finished two songs, it really sparked something to where I was like, okay I want to release something that is cohesive and that I can wrap a beautiful story around. I started dreaming about the kind of imagery the sounds would invoke, what kind of world veil would be. And it is all so new still, so I am still forming what veil is about.

Q: Who are your influences?
I have so many, some that are more prevalent through veil and some not as much. Kate Bush, Broadcast, The Pixies, Molly Nilsson, Deerhunter, France Gall, The Knife, Animal Collective, My Bloody Valentine, The Pastels, Strawberry Switchblade, Radiohead, The Smiths, M.I.A., Bjork, Beach House, Siouxsie and the Banshees, The Velvet Underground, Of Montreal, Little Dragon, Nico, Daniel Johnston, The Breeders, The Vaselines, John Maus, Rene Magritte, Mark Rothko, just to name a few Emoticon wink

Q. Make a list of 5 albums of all time…
This is really hard so I’m just going to pick 5 off the top of my head in no particular order:

Animal Collective – Feels,
Solid Space – Space Museum,
Deerhunter – Microcastle,
Ariel Pink’s Haunted Graffiti – The Doldrums,
Flying Lotus – Los Angeles,
Aphex Twin – Drukqs,
Fever Ray -- Self Titled

Q. How do you feel playing live?
I have actually never played live yet. It is something that is a bit frightening for me, because I feel song writing is very personal, and to display those tender parts in front of people is very baring. I am trying to get over that however. I really believe art should be shared, it’s not only therapeutic for the self, and ultimately crucial for me to survive emotionally, but it’s also therapeutic for others. I’ve listened to so much, taken in so much art from other people that have helped me get through the worst times in my life and the best times. I am so thankful that they made the time to release their work and make it available in some way. I’ve had some of the most beautiful experiences going to live shows as well. And as someone who is very thankful but incredibly shy and introverted, it’s worth it to me to overcome those feelings to spread something that maybe someone can relate to. It’s about giving back in a way, and so I feel like once I finish a couple more songs and release a video, I am going to start playing live and I’ll take the plunge. I want to get over feeling so vulnerable.

Q. How do you describe Veil sounds?
Flowers for eyes, lacey window light – that moment you wake up in a hazy morning with a warm body next to you, a sink of white carnations, mouthfuls of honey, tears in the typing pool, unrequited love, ethereal saturation, dreamy melancholy

Q: Tell us about the process of recording the songs?
I always start out with a simple drum pattern that I put together in FL Studio. Then I’ll just play guitar and sing for a while, and if there is anything that I feel very connected to I’ll plug in to my pedal and record straight in to FL Studio through my audio interface. I’ll also record some rough vocals if I have found something that I like while I’m playing. Sometimes it comes very easily, other times it’ll strike me when I’m going on a walk or driving around in my car, and I’ll have to make a little singing memo to build off of later. That is usually how every song starts out for veil, and later I like to alter the drum pattern a bit, and add bass. I always look forward adding bass, it’s something that is so fun to me, and it’s really crucial and transformative to a song, I always like what I’m doing 10x more after I hear it with bass. After adding some other elements (depending on the song I might record some synth parts in Reason) I usually rerecord my vocals. Throughout this whole process I tweak things in FL Studio, just mixing as I go along. As far as writing lyrics, it’s something that either usually just happens as I’m singing (I’ll write them down soon after), or I’ll pull from poetry. It’s very stream of conscious. I never set out and think, “…this song is going to be about this.” It’s a very revealing process, emotions and experience just shoot out and in those moments I know what is being expelled, sometimes even more so after the fact, like when I’m going over the song later. It’s very cathartic, and I’ve found that forcing lyrics, or starting out with an idea before a song is written really messes me up and I don’t feel as close to a song. Words are very important to me, but so is the rhythm of a string of words, how the consonants and vowels flow together, and how words fill up a space. Things seem to fall into place for me in those ways more so when I am just channeling a feeling. It’s art literally blipping into existence, it’s the moment the sparks arrive in the dark, so I just go with it and try to harness those sporadic special moments.

Q. Which new bands do you recommended?:
These aren’t new bands, but they are fairly new to me in context to other music that I’ve listened to for quite some time: Lower Dens, Tamaryn, Connan Mockasin, Blood Orange

Q: Which band would you love to make a cover version of?
I’ve always wanted to cover Charlotte Sometimes by The Cure, End Of The World by Skeeter Davis, and Doll Parts by Hole

Q: What´s the plans for future...
I am making a music video right now, so that’s the immediate future. I am also going to be releasing a book of EP artwork, because I am really into photography and I love taking double exposures on film. Basically it’ll be a book with really high quality prints of the photographs, with the song titles and lyrics for each song. I would like to have my EP released on vinyl as well, and I’d like to play my first show before the end of the summer. I would also like to venture out from Alaska, and just create create create, and see where life takes me. I want to be in love, I want to start living the life I’ve always dreamed of.

Q: Any parting words?
Things can be wintry sometimes, just always love yourself. At the bottom of each pit there is always a way out, a hand above – thanks to everyone who has taken the time to listen to what I do, I am listening too.
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https://soundcloud.com/veilband
https://www.facebook.com/pages/veil

Master of The Sky with I See Angels - An Interview

De Manchester, sim a mítica cidade, vem o trio I See Angels, no currículo, álbuns e eps e prestes a soltarem mais um ep, os caras passeiam por variados estilos, fazendo conexões com Deerhunter, Radiohead, ou seja, nada é usual ou que permanece em um ambiente comum.

A desconstrução das canções é a temática do I See Angels e mesmo com essa máxima os caras criam verdadeiras pérolas dreampop com uma elegância impar.

Uma grande banda que permaneça obscura no submundo dos bons sons e que deveria atingir maiores patamares.

***** Interview with I See Angels *****

Q. When did I See Angels form, tell us about the history...
2011 - We met in a bar in Manchester's Northern Quarter. We got together for a rehearsal the following night. It was fun and we liked each other - it still is and thankfully we still do.

We were catapulted into big shows supporting well-known bands a few months after we formed. We weren't ready for it as a band or as people - you don't realise that at the time. But you're never going to turn down a chance to live out your dreams and play Manchester Apollo or shows in Europe. Nowadays we have a better sense of who we are and the kind of music we enjoy making.

Q: Who are your influences?
We're influenced by tons of stuff - not all of it musical. We enjoy the arts in general and try to draw as much from them and the world around us as we can. Personal experiences inform our sound as much as anything else. And we're besotted fans who love making new discoveries that inspire us. We have nothing but admiration and adoration for the likes of Jean-Michel Basquiat, TV on the Radio, David Lynch, Sonic Youth, Glenn Brown, Stanley Kubrick, Cocteau Twins, Raymond Carver, Death Grips, Jane's Addiction, Leonora Carrington, Deerhunter, Alfred Hitchcock, Franz Kafka, Goat, DJ Shadow, Kurt Vile, Willy Vlautin, Charles Bukowski and John Grant, etc.

Q. Make a list of your 5 favourite albums of all time…
On any given day our answers would be different, And there are three of us in the band with diverse and changeable tastes/opinions. Plus there's so much great music out there to choose from... But today it's these five albums:

Death Grips - Jenny Death
TV on the Radio - Return To Cookie Mountain
Charles Mingus - The Black Saint and the Sinner Lady
Deerhunter - Microcastle
DJ Shadow - Endtroducing

Q. How do you feel playing live?
Nervous, excited, alive, terrified, confident, exhilarated, focused, lighter, happier, looser, intoxicated, often all at once.

Q. How do you describe I See Angels sound?
Cinematic Dream-Pop - but we like to experiment and mix things up as much as possible to keep it fresh. There are hints of all our influences dotted around - from Shoegaze and Electronic to Noise-Rock and Hip-Hop.

Q: Tell us about the process of recording the songs ?
We've recorded albums in the traditional settings of a recording studio and in friends houses in the past but nowadays Paul Baird writes, records and produces our music in basements, rehearsal spaces and at home in a more DIY fashion - it's fun and we can work at our own pace.

Q: What´s the plans for future....
We're working on a new EP at the moment, with plans to release it in the summer. We've been posting new tracks on www.soundcloud.com/iseeangels and www.iseeangels.bandcamp.com for free download as and when we feel like it. We find it more interesting to continuously throw new music out there than to wait around stockpiling tracks that we've inevitably outgrown by the time we release them.

Q: Any parting words?
Not really... Thank you for reading. We hope you enjoy the music. See you soon x
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