terça-feira, 16 de outubro de 2018

Stranger Today with Our Girl - An Interview

Ouvir "Stranger Today", debute dos ingleses do Our Girl é imergir para dentro do universo das saudosas guitar bands noventistas.

O poder do álbum é claramente as guitarras poderosamente melódicas, e claro, os vocais pegajosos e viciantes. 

Ecos de Velocity Girl, Madder Rose, Pixies, vão se sucedendo no desfile das onze preciosidades do álbum, desde a deliciosa "Our Girl" até a epopeia final com "Boring".

"Stranger Today" é daqueles álbuns que quando se começa a ouvir fica bem difícil parar.

Grudento e perfeito, simples assim.

***** Interview with Our Girl *****

Q. When did Our Girl begin? Tell us about the history...
S - It began in spring 2014! I wanted the band to exist for a long time before that though really. I ended up writing a lot of songs in one go around that time, and Josh and I were friends already so started playing them together. Then we tracked Loz down in the summer and Our Girl properly formed!

Q: Who are your influences?
L- personally I really love Stella mozgawa from Warpaint, all just all of Warpaint really! I also love dave grohl, Stuart Copeland and ringo Starr’s drum fills

Q. Make a list of 5 albums of all time…
L- rumours - fleetwood mac,
come on feel the lemonheads- lemonheads,
funeral - arcade fire,
lullabies to paralyze- queens of the stone age
and grace - Jeff Buckley

Q. How do you feel playing live?
L- It’s great. I used to get really nervous before playing, but over the last year that’s really improved and I’m enjoying to play live more and more. It’s a very freeing experience! It looks chaotic, but I’m actually pretty calm on the inside.

S - Yeah Lauren’s got a good headbanging thing going on. I used to get really nervous too, I’d get such a bad stomach ache and couldn’t eat before going on. It’s completely changed though, I mainly feel excited before a show now! I find it very freeing too, it’s a kind of physical and emotional release that I don’t really get in any other area of my life.

Q. How do you describe Our Girl´s sounds?
L- it’s always tricky! I like people to make up their own minds. There’s loud bits and quiet bits, sad bits and happy bits.

S - Agreed. Some of it’s really heavy, some of it’s super quiet. I guess dynamic is a good way to describe it!

Q: Tell us about the process of recording the songs ?
L- we like to record live, so we were all in one room together and then vocals and extra guitars and percussion were added on after.

S - Yeah I think that suits us best. So we can get the essence and feel of the song live first, the three of us just playing it in a room. Once we have that it’s a really exciting process to take time to experiment and layer sounds on top of that.

Q. Which new bands do you recommend?
L- I really love boy azooga, we toured with them earlier this year. They’re really great live and very sweet guys.

S: Yeah we love them! They’re friends with a band called Buzzard Buzzard Buzzard who we’re lucky to have coming on tour with us soon too.

Q: Which band would you love to made a cover version of?
L- I love great covers! Maybe a pixies song?

S - Me too! We did a cover of sad fuzz by ty segall that was really fun to do. Maybe Talking Heads?

Q: What are your plans for the future?
L- we’re going on tour in October around the uk, that’ll be our first headline so that’s really exciting!

S - Yeah I can’t wait to visit and play in lots of different cities, we’ve never played in a couple of them so that’s exciting!

Q: Any parting words
L- I hope we can visit you in Brazil one day!

S- Me too!!


quinta-feira, 11 de outubro de 2018

Theories with Still Dreams - An Interview

O duo japonês, Still Dreams, é um caso meio a parte do universo sonoro daquelas terras, Ryuta e Maaya, não são gazers, também não fazem dreampop, tampouco se aventuram em terrenos experimentais, o negócio deles é um pop oitentista basicamente datado, mas que tem um frescor que acerta o alvo bem no centro.

Desde os primeiros momentos de "Try!" faixa que abre o debute deles, "Theories", já é notado qual a deles, synth pop new wave dançante, que pega New Order, Scritti Polliti, Madonna, até chegar no A-ha, pode acreditar.

Inofensivo, dançante e pegajoso, pra se divertir sem contra indicação.

***** Interview with Still Dreams *****

Q. When did Still Dreams begin? Tell us about the history...
Still Dreams is a duo band and I (Ryuta) make songs and Maaya is in charge of vocals.

In July 2016, I and Maaya married and started to live together.

At that time we started this band because it is a waste for us not to do anything while staying together.

The name "Still Dreams" is quoted from Paul Auster's novel "In the country of last things".

Besides, both of us like to talk about dreams.

We made the music at slow pace and finally released the first album "Theories" in August 2018.

You can listen to it via Spotify and Apple Music and other major streaming services or Bandcamp.

Q: Who are your influences?
Our songs on this album are mainly affected by 80s pops, shoegaze and indie pop.

Our favorite artists are New Order, Scritti Politti and A-HA, with recent bands, Ice Choir, Strange Names and The Perfect Kiss and etc.

However, it is rare to directly refer to specific songs or phrases.

If the reference sound source is too distinct, it may cause confusion for myself, and there is also a possibility that I will be disappointed in the gap between a reference song and my song.

When it comes to stories other than sounds, the view of the world of our lyrics is influenced by Tezuka Osamu's "Hinotori" and Stanislaw Lem's "Solaris".

I like science fiction themes over the passage of a long time.

Q. Make a list of 5 albuns of all time…
That's too difficult question!

Gangway "Happy Ever After"
New Order "Brotherhood"
Scritti Polliti "Cupid & Psyche 85"
Sophie and Peter Johnston "s/t"(2007)
XTC "Mummer"

All albums have highlights in these while other songs are refined, and the song order is also the best.

Q. How do you feel playing live?
Actually we have never played a live.

When making an album, I was not thinking about doing live, so I have not decided which instrument I will play.

But we are preparing for the live show little by little, I am looking for support members and Maaya is practicing dance.

Q. How do you describe Still Dreams´ sounds?
I think our songs sound cheap and old-fashioned.

However, maybe this music is comfortable for some kind of people.

I hope our songs recall the retro-future we imagined optimally from a certain era (like videogames "Fallout" and "Bioshock").

Q: Tell us about the process of recording the songs ?
I am using Ableton Live for making songs.

First I create the main melody with guitar or piano and then wrap it with rhythm and chords.

Where the song is almost finished, I always have a talk with Maaya about the image of the song and add the lyrics.

Then I send a demo to Maaya and she practices the vocal of the song based on it.

When Mayaa is ready, it is time to record vocals at home.

Because we live in the countryside, we do not go to the studio so much and we make all in our house.

Q. Which new bands do you recommend?
We recommend a band called youthcomics!

He is our friend who lives nearby and he makes lots of wonderful songs.

Q: Which band would you love to made a cover version of?
We would like to create the cover version of "Leave Me Alone" by New Order.

The lyrics of the song seems to be a viewpoint of God who felt frightened by observing humanity for a long time.

Q: What are your plans for the future?
At this moment our album "Theories" is only digital distributed, but we have a plan for physicalizing it including an unreleased song.

Also, since I am making songs for the next album, I think that we can announce new ones next spring.

Q: Any parting words?
Thank you very much for those who read it.

May all of us have good dreams.


Adult Weakness with Maripool - An Interview

Doces canções despretensiosas se perfilam naquela já conhecida atmosfera lo fi, servindo como um convite a um belo passeio a beira mar naquele entardecer mezzo romântico mezzo melancólico.

Assim flui, "Adult Weakness" primeiro EP do projeto inglês, Maripool, encabeçado por sua mentora, Natasha Simões.

Ecos de Best Coast, é claro, com direito a releitura de "The Sun Was High (And So Was I),  entre outros tesouros do indie rock de baixa fidelidade alimentam a mente da garota.

Boa brisa.

***** Interview with Maripool ******

Q. When did Maripool begin? Tell us about the history...
Maripool started about two years ago after my band broke up. I was really upset so I decided that I was going to learn drums and just start doing and recording everything myself without depending on anyone.

Q: Who are your influences?
This is a really hard one because I’m constantly listening to different bands and music genres. Whenever I listen to a song and there's something I like in it I will just try to do something similar in one of my songs. I’m really into jazz and 90’s emo but I don't think any of those sounds actually transcribe into my music.

Q. Make a list of 5 albums of all time…
Songs of Leonard Cohen by Leonard Cohen
American Football by American Football
You’re Living All Over Me by Dinosaur Jr
Evol by Sonic Youth
Roman Candle by Elliott Smith

Q. How do you feel playing live?
I really enjoy playing live. When I was younger all I used to care about was seeing bands live so now it feels amazing to be able to be on the other side. It’s also very rewarding when people come to you after and say they really enjoyed it.

Q. How do you describe Maripool´s sounds?
Everyone asks me this and I still haven't come up with a good enough answer. I always just ask my friends what do they think I sound like and they just say its lo-fi so that’s probably what I’m gonna go with.

Q: Tell us about the process of recording the songs ?
I record everything in my bedroom and into a cassette deck. I always do the drums first and everything else comes after. Doing the drums for me is always the hardest part and can take up to days.

Q. Which new bands do you recommend?
I’m really bad at keeping up with new bands, I only find out about bands after they’ve been around for ages. Two bands I found out about recently was Wych Elm and Porridge Radio, they are pretty cool.

Q: Which band would you love to made a cover version of?
Probably just some band you could do a mosh pit to. I always wish I could write more upbeat songs you could mosh and crowd surf to but my songs just never turn out that way.

Q: What are your plans for the future?
Just gonna carry on writing songs, playing shows and see what happens.

Q: Any parting words?
I’m recording a second EP now which will hopefully be out next year so keep an eye for that one!

I will also start playing with a full band and doing more shows in the next year which is quite exciting.

Thank you so much for having me!


quarta-feira, 10 de outubro de 2018

Foxxxy Mulder, "Heretic" - Track by Track

A constância em que David e Kori, ou Foxxxy Mulder para os íntimos, tem aparecido nas páginas do TBTCI vem crescendo, e não é para menos, depois do brilhante debute, "Premarital Hex", do ano passado, passando pelos singles/aperitivos do seu aguardando segundo trabalho, eis que "Heretic" conheceu o mundo no último 21 de Setembro.

Como era de se esperar, a obra é densa, soturna, envolta a sombras, e claro, melancólico até a medula.

Já havíamos realizado a premiere de "Everything in Bloom" semanas atrás e agora, David e Kori a convite do TBTCI, e principalmente pela curiosidade de poder entender e compreender os segredos e mistérios de um dos grandes álbuns de pós punk do ano, o duo dissecou a obra em detalhes quase sórdidos.

Se por ventura você ainda não apreciou o poder de "Heretic", eis aqui uma oportunidade única.

***** Foxxxy Mulder, "Heretic" - Track by Track *****

1. Everything in Bloom
David: This was actually the first song written for the record. I wrote it, I think, while Premarital Hex was being mastered. I remember it was day after I passed my PhD exams—which was one of the most challenging things I’ve ever done—so I was kind of riding this weird post-exams euphoria, and I went for a walk through the graveyard near my apartment, and then this song kind of happened.

Kori: When David sent over the earliest version of this one, I immediately understood that we were shifting gears. Premarital Hex was a bit less delicate, and this one I knew was going to require a bit more softness. I think opening the album with this one sets our audience up for something a bit more exploratory. I always really enjoy providing back-up vocals for songs like this, getting to show a softness that sets the stage for something really explosive later on.

2. Broken Glass
Kori: I gotta tell ya, performing this one was SO much fun. I absolutely channeled Siouxsie Sioux when I belted it out in the bridge at the end. Every iteration of this song, every revision, is utterly different than the one before it. We struggled to decide which was the right tone to set with this one, but I think the final form it took is the most authentic, really taking a direct, almost stern approach to the bull shit this record interrogates.

David: Yeah, this song went through more revisions than anything else on the record. When I originally wrote it, it was very shoegazey. I was trying really hard to emulate Rex Shelverton’s guitar work on the first two Tamaryn records (The Waves is one of my all-time favorite records). We actually released a rough mix with those guitar parts on Heretic Demos and B-Sides.

3. Apostate
David: This song also evolved a lot. The demo is on Heretic Demos and B-Sides, if you’re interested in checking out the early version. The sound was initially inspired very much by Exploded View’s first record. Later on, we ended up trying to incorporate some elements drawn from Zola Jesus, particularly the vocal sampling. Lyrically I was inspired pretty heavily by Sylvia Federici’s book Caliban and the Witch, specifically her discussions of the Medieval heretic movements in Europe. One thing she points out is that these heretic movements were often less concerned with challenging orthodox religious doctrine, as the word “heretic” tends to suggest, than they were with democratizing social life. So, these movements would get demonized and labeled as heretical and whatnot, but at the core their aim was revolutionary social change. Anyway, this song brings that rhetoric of heresy—in all its forms—to bear on our contemporary moment. It imagines a revolutionary moment when the heretics, the witches, the criminals, the apostates, and, you know, all of us, gather and dance on the graves of billionaires. It’s not exactly pretty—I mean, everybody’s bloody and we’ve got broken bones—but, I don’t know, it’s something. Of course, we’re not saying go out and kill rich people. It’s more like the entire conceptual category of the “billionaire” should be eliminated from the realm of possibility. It’s just a testament to how much of a fucking disaster our global economic system is that anyone can accumulate that much wealth.

Kori: In this one, I just wanted to sound evil, or maybe really vengeful. I wanted my voice to sound like thick blood, and when composing the horns for this track, I wanted them to really bounce around in the headphones. To be dizzying and confounding, but still with a recognizable pattern. I think about patterns a lot when writing instrumentation, and the repetition in this track lent itself so well to the dizzying, spiraling horns that pop off in the back end of this track. I’m really proud of this one, and helping David revise the lyrics and the structure of the track revealed how absolutely eclectic this LP is.

4. Drought
Kori: This track is the banger, in my opinion. It’s the one I really turn up loud when driving around because David’s deep, gloomy bass voice only compounds the melancholy of this track. This one feels best in headphones, because LOUD. I like that this one sort of hurts my ears, the same sort of affliction clearly affecting our speaker. And that final image, “Quake and the ground goes up / swallows you away,” ending it that desperate way is such a seamless, ironic transition into the next track, which is just hellfire and damnation.

David: In terms of lyrics, this is maybe my favorite song on the record. I think at the core it’s about the feeling of being crushed by the experience of modern life paired with the knowledge that you’re an integral part of the exact system that crushes you. You can barely pay your rent because your wages are shit, so you buy cheap things that are made in sweatshops, and as a result the rich get richer and the poor get poorer. So you feel guilty and trapped at the same time. Marx says capital is a vampire—you know, because it’s ultimately a dead thing that leeches value from the living—but soon you start to realize that you’re drinking other people’s blood, too, because you’re buying two-dollar H&M t-shirts that were made in a Cambodian sweatshop, because the apples you bought at the grocery store were picked by migrant workers who straight up didn’t get paid because the boss didn’t feel like it. You just want to get by in the world but, I mean, how are you supposed to do that? And so you go to therapy once a week in order to treat your stress, and your anxiety, and your depression, or whatever. And as a result, all these huge, world problems that are crushing you get individualized and medicalized, and maybe you take some drugs to make them go away, and you go back to work, because what else are you supposed to do? And if you can do that, you’re one of the lucky ones. It’s just fucked, you know?

5. Ghost
David: Witches are a big theme on this record, and this song’s pretty directly about that. Basically, the song tells the story of a woman who was executed as a witch—probably because she did something weird or said something mean to a man—and now she’s come back to haunt the community. It’s a story that’s been told again and again—just look at films like Black Sunday and The City of the Dead—except almost always, in these stories, the witch returns in all her evil monstrosity and the villagers are proven justified in executing her: She was in league with the devil all along and the only error on the side of the villagers was not killing her sooner. But the thing is, when I watch these movies, I always want to side with the witch because, in my assumption, she probably wasn’t executed because she was evil and hexing everybody and what have you. She was executed because the community didn’t like her—she talked out of turn too much or refused to play “good housewife” or rejected their religion or used natural remedies to heal people—so they labeled her a witch, said she was in league with the devil, and killed her for it. And when that’s the story, she fucking should come back and haunt her murderers. And we should be cheering for her, not them.

Kori: When David and I were in the studio recording vocals for this one, I felt myself almost trancing out. Keeping Zola Jesus’s deep, operatic, syrupy voice in mind, I really wanted to perform this one with its meaning at the forefront. I wanted to be intentional with performance, because performativity is so central to the ideas behind this record, and “Ghost” demonstrates those ideas best, I think. To think about the balance between female performativity and actual artistic performance, and how to act with intention and freedom, to ask the song what it needed and how I could be a maker in its conception, that’s fucking power. It was me in the dark digging deep into my gut to really get at the soul of this track, the ghost of it. I couldn’t help but cry a little while singing it, because god damn, y’all: this shit is real and yeah, I’m gonna haunt the fuck out of an oppressor and this song is almost a call to arms.

6. Easy
David: This song is maybe the odd one on the record. Both musically and lyrically it’s a bit different than the rest. But we liked it, so we kept it. I think there’s some vague Twin Peaks inspiration on this one, especially the character Candie from the new season. She’s such an enigmatic character, but there’s something compelling about her. I was also listening to J.Faraday on repeat when I wrote this song—he has a really great record called Beat Tape #1—and I think that comes out in the drum loops.

Kori: Okay, so I learned how to play a theremin for this song and I’m just really proud of myself for that. Then David made it sound fucking rad, so I’m proud of him for that. And the entire thing is just very sugary sweet, you will get a sad cavity, so please call us David Lynch. I hope someone makes out to this song. That would make me very happy and only vaguely grossed out. Get dreamy, kids.

7. No Angels Block Your Way
Kori: Of all the tracks on the LP, this one gets the highest score from me for the WL (Weed Listen). You know what I’m talking about, you burnouts. But seriously, I almost want to do a super slowed down cover (like we do) of this one. Is it even a cover if it’s your own track? Drone remix. That’s it.

David: This might be my favorite song on the record, even though I don’t expect it to be many people’s favorite. To be honest, I think we just straight-up ripped off Tropic of Cancer on this song. They have a record called The End of All Things that I was listening to obsessively when we were writing Heretic. And if I’m totally honest with myself, this song is just me trying to write a Tropic of Cancer song. They’re just so good that I couldn’t help it! I hope it ultimately turned out to be something of its own, but I don’t have the critical distance to judge that myself. The lyrics are an homage to this scene from Fire Walk With Me: https://www.youtube.com/watch?v=nXfS_pkMk-0 But even there, we’re not the first, because Sky Ferreira already wrote a (really great) song about that scene: https://www.youtube.com/watch?v=TnD8rzQ5_Sc

8. The Witch
David: This is kind of a sister song to “Ghost.” I wrote it a few days after seeing Blanck Mass live. The ending of it is very much inspired by his record World Eater, although I wouldn’t pretend that it comes anywhere near the raw brutality of that record. World Eater is simply unreal. I actually assigned that record to my undergraduate students during the time we were working on Heretic. They usually returned to class utterly confounded by what they had just listened to.

Kori: We saved the most challenging track for last, because this one gets LOUD. And those vocal runs were not a piece of cake for me. I was extremely hungover when recording this one, but I think that made it better honestly. It really captured the sheer exhaustion that the record laments regarding what modern life is fucking doing to us. Jesus, I’m tired, y’all. “The Witch” tells that story, the one about the constant shakedown, then the sinking. I can’t tell you how much I dissociate these days. I lose hours sometimes. I know I’m not alone, and this is a collective dissociation in many ways. But I have a feeling that once the sleeping gives way to that icy dawn, we will terrorize. All it takes is just one push...


terça-feira, 9 de outubro de 2018

Abattoir with Aufbau Principle - An Interview

Pense em psicodelismo sem as cores do flower power, pense em pós punk com apenas nuances de melancolia, pense em art noise sem extremismos, pense em caos, angustia, raiva, sombras envoltos a doses estridentes e tensas de barulho, pense em tudo isso saindo de Glasgow. Pense ainda que tudo isso esta mais perto de você do que você mesmo imagina.

O segundo EP, "Abattoir" dos escoceses do Aufbau Principle é um convite ao fim do mundo.

A escuridão comanda o caminho, por aqui não existe a menor chance de haver qualquer indicio de luz no final do túnel, o juízo final, o apocalipse é a única salvação, apenas isso.

Se por ventura sua auto estima não estiver bem calibrada, mantenha distância do Aufbau Principle, as consequências poderão ser seríssimas, agora, se tudo estiver ok com você, pode embarcar e expurgue seus demônios.

***** Interview with Aufbau Principle *****

Q. When did Aufbau Principle begin? Tell us about the history...
I (Kieran) had been working on a solo project under the moniker “Slow Bleed” and wanted to expand the project to have a band behind it. I knew Ruth from the art scene in Glasgow and had found out she played drums and invited her to jam out some of the tracks I had been writing. I had asked a couple of people to play bass on it but they fell through due to other commitments and then I on the off-chance asked Stefano if he fancied trying out the bass. We had jammed together both on guitars and I knew he had played guitar in other bands before but he was up for trying our bass guitar and he took to it very quickly. The first practice we had together I think we wrote like three of the five songs on the GODHEAD EP, or at least started fleshing them out. It felt like a very natural process and instant synchronicity. “Better than nothing” and “tear it from bone” off our first demo and GODHEAD EP were songs we had adapted from the Slow Bleed project which was a good jumping off point but I think aesthetically and sonically we have developed a lot in less than a year of playing together. For the GODHEAD EP Stefano suggested that his friend and former bandmate Qaiyyum should record it for us. Me and Ruth instantly clicked with Q and we all sort of simultaneously suggested that he join the band as another guitarist. Since Q joined the band the sound has developed a lot from the super stark lo-fi sounds of the GODHEAD EP and is contantly evolving and remaining exciting for us all to write and play.

Q: Who are your influences?
I think our list of influences could be an article in itself but off the top of my head and from our “aufbau inspo” playlist on spotify it would be: The Cure, BJM, Test Icicles, Interpol, Joy Division, Pixies, The Distillers, The Black Angels, Wooden Shjips, Velvet Underground, Sonic Youth, Broadcast, NEU!, Yo La Tengo, The Church for Kudes and many many more!

We played a support slot for The Underground Youth and felt very inspired by the energy they brought to the stage and me and Stef have been pretty hooked on Girls Names recently, especially the Arms around a Vision album.

Q. Make a list of 5 albuns of all time…
BJM: Methodrone
The Velvet Underground: White Light/White Heat
The Cure: Seventeen Seconds
NEU!: 75
Sonic Youth: Dirty

Q. How do you feel playing live?
Locked in, like we are all contributing to creating something necessary and energetic. Every time we play it changes and we improve upon the set. I personally feel connected to the other band members through the sound and that lifts me out of some kind of existential malaise of the everyday. Its like a collaborative art practice but the connection to the audience is far more tangible and the feedback is immediate and real.

Q. How do you describe Aufbau Principle´s sounds?
Here are some answers from our group chat:
“Really good”


“A night in on Ibiza with closed curtains and the worst coke and a cafe del mar cassette playing in somebody elses room in the shitey hotel you’re staying at.”

“Like a smacky ecto crushed up and snorted through a costa loyalty card.”

“The girl from ipanema put through a cathedral reverb”

Q: Tell us about the process of recording the songs ?
Our first demo we recorded on a Coomber tape recorder I bought off a work mate and we just placed it at the back of the room and played to it. Its pretty gnarly sounding but people seemed to dig the sound. For GODHEAD Qaiyyum recorded the Bass and Drums together in the practice space and then overdubbed the vocals and guitar parts in Stefanos flat. And then for our latest release “ABATTOIR” we went up to Dundee to record with my good friend Callum Mackie who I used to play in a traditional folk band with and we recorded it live then overdubbed the vocals afterwards. I think we are pretty efficient at recording and like to try keep it fresh with as few takes as possible. I think we one-shotted 3 of the 5 tracks on that EP and I think there is an immediacy to the sound which can get sapped away a little bit with too much overdubbing and re-recording.

Q. Which new bands do you recommend?
We are playing with GHUM next week and love their sound. I am a big fan of the Glasgow music scene and I think Herbert Powell are on of the best live acts I’ve seen in that city. Charrette (new project fronted by Ewan Grant formerly of Algernon Doll), Kaputt, Im excited to see the new band Gimp World play as I havent caught them yet but it consists of most of Anxiety who were one of the best bands I had seen. I really like Warsaw Pact from California, they have a cool sound. Tights, Overwhelmed, Brain Fluid, Cartilage.

Q: Which band would you love to made a cover version of?
We are working on a cover of Earth Angel by Marvin Berry.

Q: What are your plans for the future?
We have another EP in the works but havent had a chance to properly sit down and get it written yet. Stef has a baby due in the next month so that will probably take priority! We support GHUM on their tour for their Glasgow show on Wednesday the 12th at Glasgow Autonomous Space and the next morning we fly to Portugal to have our first international show in Lisbon on the 16th of September which is very exciting. Our friend Sarah is taking over bass duties for that and then we have a Halloween show which should be very fun as well.

Q: Any parting words?


segunda-feira, 8 de outubro de 2018

Liminal Concerns with Collate - An Interview

Já nos primeiros segundos de "Who Cares About Tradition?", música de abertura do trio de Portland, Collate, já dá pra sacar qual é a deles, pós punk torto, evocando fantasmas de Wire, Gang of Four, Au Pairs entre outros, mas não é apenas isso, ou que fique apenas nestas referências, a segunda "Useless", fecha a matemática sonora dos caras, no wave clássica, tornando a audição ainda mais caótica.

Esqueça polimento, aqui todo é pra machucar os tímpanos, toda soa esquisito ao mundo musical atual, mas que tem um delicioso ar fresco para os iniciados nas maravilhas do entortamento sonoro.

Com exceção do Parlor Walls, fazia tempo que eu não ouvia uma banda nessa linha tão instigante.

A dica é, se você precisa sair do óbvio, o Collate é a sua solução.

***** Interview with Collate *****

Q. When did Collate begin? Tell us about the history...
jpn: we had a vague plan to do a “messthetics style” group, and originally i really wanted to play a cheap electric piano and we tried hard to learn a desperate bicycles track. but it didn’t quite gel right off the bat that way, so i tried playing guitar and we all agreed that was the way to go. since then everything has happened quickly and without much discussion.

Travi: Jacyn and I have been in several bands together (Mall Caste, Ex-Debs, Conditioner Disco Group, Vog) and I met Erika when we both had radio shows on Freeform Portland and she was playing in a great band called Dr Identity. Erika’s band broke up right around the time that Conditioner Disco Group had planned to take a break for several months. It seemed like perfect timing to do another project so we agreed several months in advance to have a practice on Easter Sunday of last year. It worked out!

Q: Who are your influences?
jpn: Joe Meek, Carol Kaye, Wendy Carlos, Kurt Vonnegut, Brian Eno, Don Van Vliet, Frank Tovey… all artists with consistent but diverse aesthetic.

Travi: I feel lucky to be in a band with Jacyn and Erika. They both have an encyclopedic knowledge of post punk and DIY music (check out Erika’s podcast Futures & Pasts for proof!). When it comes to the structure of the songs, the drum rhythms are kind of built-in but I fill in the spaces with inspiration from free jazz percussionists like Sunny Murray and Han Bennink. I only just learned to really play the drums when we started this band so those influences might not be completely obvious considering my skill level but they are there. It’s probably audibly clear that I’m very inspired by Palmolive’s drumming with The Slits and The Raincoats. Before Collate, I just played drums along to David Axelrod records in my basement. When we started this band, I practiced by playing along to the first Raincoats record, Scientist Wins The World Cup, ESG and Way Worse. Beyond that, I love the drums on the first Os Mutantes record and Lizzy Mercier Descloux records like Mambo Nassau and Press Color.

erika: I’m completely self-taught, but so many of the bands that I love were also coming from untrained backgrounds & playing music in unconventional ways, which I think really benefited me when I was first trying to learn how to play bass. Late ‘70s/early ‘80s post-punk is what I’m most versed in when it comes to my musical tastes & I’m particularly drawn to bands from that era who had women playing major roles - Delta 5, Pylon, Oh-OK, Kleenex, the Petticoats, etc. The Fall have been a huge influence on how I approach playing music, specifically in not being afraid to play simple parts or repeat certain things over & over. I’m also really into scrappy UK DIY Messthetics-type bands, the whole early ‘80s Flying Nun scene & art school weirdos everywhere.

Q. Make a list of 5 albums of all time…
red krayola- god bless the red krayola and all who sail with it
the homosexuals- the homosexuals record
eurythmics- in the garden
flying lizards- the fourth wall
the raincoats- the raincoats

This is basically impossible, but for today i’ll say it will be these:
1. Rammellzee + K-Rob - Beat Bop
2. Nina Simone - To Love Somebody
3. John Coltrane - A Love Supreme
4. The Stooges - Raw Power
5. Gilberto Gil - Expresso 2222

erika: At least in terms of some of the records that are important to me on any given day…
The Fall - Perverted by Language
Pylon - Gyrate
Young Marble Giants - Colossal Youth
Wire - Pink Flag
Gang of Four - Entertainment!

Q. How do you feel playing live?
Travi: Playing live is my favorite part of this band. Erika keeps the time and the beat with her blue Hagstrom electric bass, Jacyn flies around contorting with his green Kingston electric guitar and my drums are like the wires closing the circuit and lighting up the song. Being in a band for me is all about finding that ecstatic place with the music.

erika: I still get really nervous every time I play a show, so the actual experience usually ends up being a total blur for me. I try to not think too much about the fact that other people are watching what I’m doing & sort of detach myself as much as I can so that I don’t get completely freaked out... the line that’s often constructed between “performer” & “spectator” is really weird.

jpn: it’s hard- as a band that is somewhat intentionally not too tight/ embraces a shambolic approach, there’s always a chance it could all fall apart, but out of all the groups i’ve been in, i feel more ‘present’ during a collate set. it’s fun and weird to stare at an audience member right in the eyes.

Q. How do you describe Collate´s sounds?
jpn: if we were unacquainted i’d say “no wave art punk”

erika: My friend Charlie described us as “aggressively dry” & I think that’s as accurate an assessment as any.

Q: Tell us about the process of recording the songs?
jpn: it was recorded with minimal mics onto an 8 track cassette machine. we played live and overdubbed vocals and a couple tracks have subtle extra guitar. it was mixed directly from the cassette to a cd recorder in analog, with no computer programs used.

Q. Which new bands do you recommend?
Travi: Two of my favorite bands recently have been Neon and Mozart from the Bay Area. Mozart just broke up but they have a really perfect mutant punk rock single available online.
In Portland I really dig local projects like Way Worse, The Social Stomach, Amenta Abioto and Tig Bitty. I’ve been listening to recent records by artists like Exploded View, The World, UK Gold, Irreversible Entanglements, gSp, Kamasi Washington, The Space Lady, Matana Roberts, Preening, Violence Creeps, Table Sugar, the late Charlie Megira and Mdou Moctar.
I’ve also been picking up great reissues or compilations from older artists like Alice Coltrane, National Wake, Connie Converse and Dorothy Ashby.

erika: I’m really fond of a lot of newer bands coming out of Australia these days - Blank Statements, the Shifters & Primo all come to mind. Maraudeur from Switzerland & Vital Idles from Scotland. So many of our out-of-town friends who we’ve played shows with since Collate started, like Neutrals, Blues Lawyer, UK Gold, Nail Polish, Naked Lights, Marbled Eye...

jpn: Shopping, Rays, Sneaks, Terry, Tough Customer, Nots, lié, L.O.X., Baus, Soft Butch

Q: Which band would you love to made a cover version of?
Travi: We’re always kicking around ideas for cover versions….I’d really like to cover I Want Your Love by Chic and maybe Love Me For Real by Rim And Kasa. I’d love to hear a very hi-fi band like The Dap-Kings cover a Collate tune.

erika: We were trying to cover “Get Up & Use Me” by the Fire Engines for a minute & I was pretty excited about that, but it wound up being way too hard for either me or Jacyn to play it & sing it at the same time.

jpn: we talked about only covering songs we all actively dislike, so be ready for an ep of liberated fleetwood mac, eagles, and journey songs.

Q: What are your plans for the future?
jpn: i don’t like making plans for the future, it’s a scary place.

Travi: We wrote some new songs right after we recorded the LP. We’re going to make a cassette tape of them and sell it on a tour of the western half of the USA this fall. We’d like to tour more but it is not always financially possible.

Q: Any parting words?
Travi: Coffin for the head of state.


Emetophobia with Abdomen - An Interview

Seguindo a tradição estridente de prediletos como Jesus Lizard, Mudhoney e se conectando com gente mais nova do naipe de METZ, Moaning, o trio holandês, Abdomen pratica literalmente o barulho.

Noise garageiro, na melhor tradição Sub Pop velha guarda, os caras soltaram há pouco menos de um mês atrás um daqueles discos que são absolutamente necessários de ouvir e comprovam que existe esbórnia no submundo dos bons sons.

Desnecessário dizer que o Abdomen é feito para ouvir especialmente alto.

***** Interview with Abdomen *****

Q. When did Abdomen begin? Tell us about the history...
We started in 2015 and played some shows. In 2016 we released our first single called System.

That same year we released another single called Wrong. It was more the direction we wanted to go. In the beginning it was more simple garage-ish kind of music, but through time we developed as a band and started to create a style and sound of our own.

Q: Who are your influences?
It really depends, lately I’m really into bands like No Trend, Girl Band, Yak, METZ, The Jesus Lizard, Chad van Gaalen, So Pitted, Moaning and Die Nerven.

When we recorded the album I got really inspired by bands who also recorded there, bands like Eagulls and Bad Breeding. We got a weekend off in the first week of recording and we went to a small festival in Bradford in the 1 in 12 club. That’s where I saw Sievehead for the first time. They have had a big influence on my guitar sound.

Q. Make a list of 5 albums of all time…
Germs – (GI)
Bad Breeding, ST
Sonic Youth- Sister
Black Flag – First Four Years

Q. How do you feel playing live?
I don’t really know, when we play live it just feels like its over in 5 minutes.

Its fun to do but also really exhausting.

Q. How do you describe Abdomen´s sound?
It’s loud but also clear. It has something dark and noisy but also has something catchy I think.

Q: Tell us about the process of recording the songs?
It went really good. We had a month to work on it so we had time to experiment with amps and all kinds of extra stuff. The first week we played all the tracks all at once, just like in the practice room. We like to play all at once so we get the live feeling into it. The weeks after that we recorded the vocals and we did a lot of re-amping. We put the dry guitar signal trough bassamps and weird pedals, stuff like that. So it’s all our live take, but with lots of extra sounds. We also recorded a lot of guitar noise and a wheelbarrow to put under the snaredrum, it sounds like a broken snaredrum. We slept in the studio for four weeks. Because of the alarms and stuff we had a small room where we would live in. We only had a water cooker and a microwave in there so we ate microwave meals and noodles for 4 weeks. Roel, our drummer, got sick after eating microwave curry after 3 weeks.

Q. Which new bands do you recommend?
The Snivellers https://gobnation.bandcamp.com/album/the-servile-worm-demo

Shit Kid, Its not new but i love her music and i think she will release new music soon!

Yak also released a new single! https://www.youtube.com/watch?v=jffqE-6kUsg

Bad Breeding released a new EP and its great. https://badbreeding.bandcamp.com/album/abandonment

Q: Which band would you love to made a cover version of?
The Germs – We must bleed.

Q: What are your plans for the future?
Selling recordsand play shows to make enough money to record our second album

Q: Any parting words?
Listen to the music, don’t listen to the trends


quinta-feira, 4 de outubro de 2018

XTR Human, "Reflections" - Track by Track

Os alemães do XTR Human depois de hibernarem durante 3 anos, data de seu último trabalho, o EP, "In Circles", voltam a carga com um poderoso EP.

"Reflections" soa muito mais orgânico do que seu trabalho antecessor e também de "Atavism" debute dos caras. O enfoque nas guitarras é notadamente a grande mudança, não que os synths tenham simplesmente desaparecido, mas ficam aqui, em segundo plano.

Desta forma o pós punk casca grossa e sem firulas do XTR Human, vem mais encorpado, flertando por vezes, com o shoegaze, mas veja, apenas flertando, nada mais.

Johannes Stabel, mentor e dono das vozes angustiantes e brutais da banda, dissecou "Reflections" em detalhes para o TBTCI, sendo desvendado os segredos e mistérios por trás do retorno de uma das grandes bandas do pós punk da atualidade.

Escute alto e a noite, preferencialmente.

***** XTR Human, "Reflections" - Track by Track *****

Immersive Spaces: It’s a tradition to open a XTR HUMAN release with a moody intro. I wanted to stick to that.

Disturbia: Along with “Courage” this is one of the older songs of the EP. We first had a much more punk-ish version with a lot of fuzz sounds. Live we probably killed some guys’ ears during our shows. It was definitely a good idea to reduce that in order to create a more sophisticated sound experience and avoid the danger of tinnitus. Tip: listen to the chorus. It’s Lemmy of Jaguwar crooning these sexy backing vocals.

True Lies: Not only did I show my deep respect for the one and only Arnold (if you don’t know what I am talking about - use Google!) but also musically, to the incredible „A Place To Bury Strangers“(again, use Google or YouTube it if necessary). We wrote the song a while ago when we used to play live with at least five different fuzz pedals. I guess we had to compensate the simple structure of the song with the aggression of fuzz sounds. Anyway the different noise layers are building up dynamics and tension, aren’t they?

Courage: I guess this is the oldest song of the EP. I wrote it maybe one and a half years ago, so we have probably played it live many times. The structure, again, is as simple as possible, so it was necessary to work on the melodies instead. Bass and guitar fight each other and create a brisk sound on the one hand and an energetic powerful one on the other hand.

Limelight: Maybe this is the song that has the closest connection to the songs of our recent releases. After I went through the whole back catalogue of Factory and Creation Records, it finally were the mighty Lemon Drops that inspired me to this song. First I wrote the guitar lick of the verse and found the relating vocal line the next day. In the recording studio we used a Fender twin reverb amp for the rhythm guitar. I liked the sound a lot so I bought the amp for myself afterwards. In the final chorus we used a synth with some guitar effect pedals and sent its signal through my tube amp. The result is a very organic sound that almost sounds like a shoegazey guitar.

Reflections: The last song and obviously the title track of the EP. I always find it difficult to sum up the development of my music by myself, especially in terms of genres. So, I would say this song is the answer to the question of what the band musically stands for right now. One could say we opened up our sound to do pop music. But I am totally fine with that. Also I noticed a tendency of writing songs with a less complex chord structures while concentrating more on catchy melodies and hooks. But this really is something I just see in retrospective. For me this song just developed in a natural way. Maybe this is the core of the EP, that things shouldn’t be forced too much rather than letting them develop as they deserve it. Everything takes its time, and everything has its time.


Not Always But Sometimes with BÜNNI - An Interview

BÜNNI é o projeto paralelo dos dinamarqueses do Eerie Glue. Mas, esqueça a inclinação pelo shoegaze, aqui Bünyamin Eroğlu conduz seus devaneios de forma melancólica, com uma limpa melodia, talvez algo próximo de um dream folk, seja isso lá o que for.

Sai o MBV e afins, e entra, Beach Boys, Cohen e outros trovadores.

Em breve o BÛNNI soltará seu debute, já devidamente batizado, e "Permanent Vacation", o disco, já tem seus aperitivos, comprove "Cemetry Lily" por exemplo, e desacelere.

***** Interview with BÜNNI *****

Q. When did BUNNI begin? Tell us about the history...
I started writing songs and recording material about 2 years ago.

Q: Who are your influences?

Q. Make a list of 5 albums of all time…
Death of a Ladies’ Man - Leonard Cohen
All Things Must Pass - George Harrison
Blackstar - David Bowie
Teenager of the Year - Frank Black
Pet Sounds - Beach Boys

Q. How do you feel playing live?
I enjoy it and it’s nice if the vibe is good, but I prefer writing and recording.

Q. How do you describe BUNNI´s sounds?
Melancholic, dreamy and fun.

Q: Tell us about the process of recording the songs ?
I write and record all the songs by myself, usually I do each song in one go. If it doesn’t feel right I move on.

Q. Which new bands do you recommend?
The Lemon Twigs Khruangbin Courtney Barnett Boundaries (DK)

Q: Which band would you love to made a cover version of?
 Any Eurythmics song. Abba.

Q: What are your plans for the future?
Write more, record more and play more shows.

Q: Any parting words?
Be good.


quarta-feira, 3 de outubro de 2018

Go Go Pepper with The Hannah Barberas - An Interview

Quando se ouve uma banda como os ingleses do The Hannah Barberas, um verdadeiro alívio toma conta de mim, explico: o pop perfeito de outrora, praticado a exaustão por pequenos gigantes da eterna Class of 86, anos depois seguidos pelo "padrão" Sarah Records de qualidade e, depois ainda, pela Slumberland, sem contar pequenos selos independentes que continuam respirando o frescor da canção pop perfeita.

Assim caminha o The Hannah Barberas por entre seus dois EPs, "The Hannah Barberas Are Here At Last" e "Go Go Hannah Barberas", respectivamente primeiro e segundo, ambos lançados neste ano, são um sopro de melodias pegajosas e cantaroláveis, unificando tudo mencionado acima, e, claro, as eterna girl groups dos 60´s.

A receita é perfeita e o resultado idem.

Para ser saboreado a toda hora e, em qualquer lugar. Go Go The Hannah Barberas!!!!!

****** Interview with The Hannah Barberas ******

Q. When did The Hannah Barberas begin? Tell us about the history...
The band kind of started by accident! In November last year, Damien was approached to record a Christmas song for Emotional Response’s festive album. He then asked the rest of us if we wanted join in. It was a blast and we had such fun we ended up doing a whole album’s worth over five nights. The initial idea was to give it to friends and family. It was the first time we’d recorded in the basement, and we were really pleased with the sound we got, so we were like, why not carry on? It was May this year before we actually got together again and came up with a name, but by then we had a bunch of songs written.

Q: Who are your influences?
We all love post-punk and early 80s indie. Bands like Buzzcocks and labels like Postcard were putting out records that no major label ever would have. They were self-financed, self-recorded and even self-distributed - taking boxes of records around the country to deliver by hand to the record shops. 90s cassette culture too was really important to us as well. Bands that had no chance of any sort of commercial success, but were really, really loved by a handful of people.

Q. Make a list of 5 albums of all time…
This is so difficult! Ok, let’s go with…

Orange Juice - You Can’t Hide Your Love Forever
We just love Edwyn and James Kirk’s guitar playing, and they both have such great voices. You could never get tired of hearing this album.

REM - Murmur
They became such a huge band of course, but on the Chronic Town EP and the first couple of albums they just sound like four people playing in a room. But playing truly amazing songs, of course.

Sam Cooke - Live at the Harlem Square Club 1963
This album crackles with live energy - the band are so tight and Sam’s voice is incredible, but it’s the sound of the audience that makes it such a compelling listen. Such stomping crowd pleasers, it’s great record to play loud and dance to. And it makes you want to shout YEAH! Unbelievable that this recording lay unreleased for so long.

The Mamas & The Papas - 20 Greatest Hits
Ok, not a proper album, but played it to death, it has certainly been a huge influence. 10 songs on each side, all bangers. Cost 75p from Barnardos. TheLovin’ Spoonful’s Greatest Hits too. Really varied, and great song-writing.

Pixies - Surfa Rosa
Weird songs, great sound and the best backing vocals in the business.

Erm, I think we sneaked in six albums there!

Q. How do you feel playing live?
We have yet to play live as The Hannah Barberas, not in front of other people at least. We have done in previous bands which was great fun, but we’re not bothered about doing it again just yet. We’re like The Beatles after 1966. Just focusing on recording new songs. Yes, we did just compare ourselves to the Beatles!

Q. How do you describe The Hannah Barberas´ sounds?
We like to think we sound like you’d expect a band called The Hannah Barberasto sound. Varied, but always catchy, fun and fast. Not just the playing, but the recordings too. We try and record mostly live with as few takes as possible. That way, when we’ve finished we are still excited to hear the songs again. It means they’re not perfect, but they have an energy. At least, we think they do. We love the sound of the old Peel Sessions, where there was often a more stripped-back sound. The bands would do fours songs in an afternoon, so had less time to seek perfection or record a thousand overdubs. Adrenaline becomes part of the mix. The live sessions on KEXP capture a similar sort of energy.

Q: Tell us about the process of recording the songs ?
We record everything at home on an 8-track, usually late at night. Although at the moment two of the tracks don’t work, so it’s more like a 6 track. We need to save up for a new one really. What’s great is recording a song, mixing it in a week or so, and then putting it out there. Sites like Bandcamp and Soundcloudmake it so easy to share your music. There’s no waiting like there is with physical releases. The immediacy of it is really appealing. We’re recording our third EP tonight, and it’ll be on Bandcamp in a few weeks. That’s cool isn’t it?

Q. Which new bands do you recommend?
Not a new band, as such but the new Sauna Youth album is brilliant. They are completely ace live too, such an energy. Also Hairband. They're a sort-of Glasgow super-group. Their first EP is out soon on Stephen Pastel's Monorail label, and it's just ace.

Q: Which band would you love to made a cover version of?
We’ve done a few covers already. We pick songs that a fun to play and haven’t been done to death. We did Go Go Pepper by Tip Top Planets. It’s over twenty years old, but we don’t think anyone else apart from them had ever played it. But it’s an insanely good song. The band were really supportive of us, which was dead nice. Because of Naomi's beautifully strong Japanese accent, the words were quite tricky to make out in places, but her and Koji were really helpful and sent us the lyrics. When we read them there were lines like “my heart feels like sneezing with joy”, which we just thought were wonderful and made us love the song even more. So, let’s say we’d love a Japanese band to cover one of our songs in twenty years’ time. That would be ace! Or Taylor Swift. Then we could buy a new 8-track with the royalties!

Q: What are your plans for the future?
As we said, the next EP is going to be out in November, a few weeks earlier on Bandcamp. We want to do another Christmas song. Maybe with Taylor Swift?!

We do want to put out a full Hannah Barberas album next year, but we’d like to release it on vinyl. Another thing to save up for. Or to take out of the Swiftie Christmas royalties!

Q: Any parting words?
Thanks for listening!

terça-feira, 2 de outubro de 2018

II with Spectrums - An Interview

As novas aventuras do trio de Washington DC, David Barker (guitarras, e synths), Simon Ley (bateria) e David Nicholas (guitarras), ou, Spectrums, atende pelo lógico nome de "II".

Como uma banda estritamente instrumental, os caras destilam em doses equalizadas,  cascatas sonoras por vezes adentrando ao universo pós punk e, em outras, flertando com o ambiente krautiano.

Um sútil mix de Interpol com NEU!, sem excessos, ou devaneios experimentais, ou ainda, sem doses carregadas de melancolia e angustia, a síntese é combinar os synths com o elaborado andamento entre guitarras, deixando a bateria conduzir ambos elementos.

O Spectrums é uma experiência altamente benéfica, que destoa do universo das bandas instrumentais.

***** Interview with Spectrums *****

Q. Hello David, first congratulations on the new EP, it's really brilliant, what is your analysis after conclusion of record? Are you happy with the result?
Thanks. Yes, hopefully it captures a step forward in our writing. Some of the early reviews have picked up on the songs being more tuneful and getting right to the hooks. Writing more economically was important to us, so it's nice to hear that is coming through. A good example of that is "Catching Dart" which we are releasing as a flexi-single in mid September for the vinyl listeners.

Q. How was the process of creating "II"?
We recorded at Inner Ear Studios, which has a long history in the hardcore and punk scenes of DC. For us, it meant we had access to lots of good drum sounds and a really comfortable room. It was still very much a live recording, but this time we were able to add a few extra guitar layers and try different drum treatments. Almost all of the songs had been performed live prior to recording so that helped make the session go quickly.

Q. What are the main differences between "Thanks For Your Kind Words" and "II"?
This time we took a whole day and a half for all the tracking, compared to "Thanks For Your Kind Words" which was tracked and rough mixed in one evening. Being an instrumental band, we try to use dynamics to build and release tension; these songs seemed to push us in that direction and also hit a little harder than before.

Q. What were the influences for creating the new record?
We tried to build something that has enough diversity that you can keep finding new things in each time, like designing the layout for your ideal house, or a film that stays with you, or place in nature that keeps changing no matter how many times you visit. Those are some of our interests individually, so they probably showed up in the sound of "II", especially as we edited ideas.

Q. What are your plans for 2018?
Playing more shows and we'll see what new sounds we can develop. We're introducing keyboards more into the new writing so that could push us into another new direction. Obrigado!


segunda-feira, 1 de outubro de 2018

Modern Meta Physic with Peel Dream Magazine - An Interview

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?
Galaxie 500
Spacemen 3
Serge Gainsbourg
Velvet Underground
My Bloody Valentine
Nick Drake
Jesus and Mary Chain
Belle and Sebastian
Beach Boys
The Sundays
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?


quinta-feira, 27 de setembro de 2018

Harps, "ORDERINCHAOS" - Track by Track

Os parisienses do Harps retornam as páginas do TBTCI depois de um grande hiato, na realidade, desde 2014 os caras não soltavam suas pedradas, mas a demora foi enfim suprida e estridentemente suprida.

No início do mês, mas precisamente em 7 de Setembro, o primeiro álbum dos caras conheceu o mundo. "ORDERINCHAOS" é o nome da criança, que já nasce esperneando por entre toneladas de barulho.

Junte o padrão de qualidade, de selos como Touch and Go, SST e Blast First e você tera a dimensão das bigornadas que o Harps criou.

Como tem sido praxe por aqui, para discos como "ORDERINCHAOS", se faz necessário desvendar os segredos e mistérios, e os caras a convite do TBTCI foram a fundo na tarefa.

É post hardcore, é post metal, é post rock, é post grunge, é post tudo, mas que uma coisa fique clara, o barulho agressivo e angustiante permanece sendo a temática do caos do Harps.

***** Harps, "ORDERINCHAOS" - Track by Track *****

Murmurs of Earth
Where it all begins, where the album, the concept behind it takes birth.
The first atom containing everything that is to come.
We wanted this tune to be heavy and thick, after an intro referencing some of our inspiration and layering various elements of composition, we try to paint this sort of cosmic landscape or at least our perception of it.

Who better than Sagan to greet you into that journey?

Murmurs of Earth is directly referencing the Voyager program and the famous Golden record that compiled an excerpt of some of mankind’s finest creations carried out in space, but what it really is is inviting us to an inward exploration and to question our place in this vast universe.

Spitting Acid
It’s a caustic piece with a punky tempo and aggressive playing
With this one we wanted to give the loud and slow pace of Murmurs a sort of exact opposite that would play in contrast and make the audience return to a cold, grounded reality.
It’s vaguely about a story on how the mafia treat people of their own family after they have break the omerta and at the same time it serves as a parallel with the environmental issues we are currently facing on Earth and the hypocrisy surrounding the expected solutions, hence the last chorus repeating : corrosive seas will submerge the last parcel of truth in this world, eventually.

End Feelings
Contrasts and various shades are a main focus in our writing, so again with this one we were looking for this effect, but this time within the same track length.

A two section track, and the most shoegazy we can get within the first part, with the use of clean vocals and reverb overall.

It’s kind an introspective song, about what is driving us as human beings, throughout the course of history; what really builds us as a society and what will ultimately lead us to meet our fate, both as individuals and as a species.

Hubris, jealousy, and rage, as screamed at the transition with the second instrumental part, are among our main traits, luring us into trying to achieve « great » things and therefore, should we not learn how to deal with those inclinations, we’ll be held responsible for ending all future and all hopes. And when there’s no hope left, false prophets will guide you towards a path of death, manipulating you with lies and deceptive promises. (The excerpt you hear at the end is from Heaven's Gate guru Marshall Applewhite)

We felt the album needed a break with convoluted tracks here, we wanted something more straightforward and also kind of elevated in its content, far from all form of self awareness or psyche exploration: so this track is just an hommage to a space entity that scientists have determined to be amongst the most massive and powerful in the whole universe, but with no explanation on what is fueling it.

We just hope this track reflects such an amazing power.

I suppose we must associate punk and noise genre with society subjects and political standpoints because this one is only doing that: observing that on this earth and in that day and age, some people and their governments are choosing to let other people die rather than offer them shelter and assistance.

As often we are more inclined to raise walls and barriers than to learn and share from other’s differences. Ther’s no judgement here, merely a sad observation.

Gaza Gazers
This one has been around for a long time.
Just like the conflict that inspired its writing has. That’s my personal favorite: it’s mean, it’s groovy and it’s loud, and all that in its own chaotic terms and structure.

This is war and it perfectly follows up the end of People and unfortunately still echoes the current status on site.

Infinity Must Have Started Somewhere
We felt the need for something epic and went for it!

We could play that one an infinite number of times and still not really grasp all its subtleties or master the various shifts it’s embedding. Just like the visible sky and what we perceives of it, this studio version is only a snap of what this piece was at the precise moment of the recording.

We can’t play it twice the same, it’s ever evolving just as our universe does.We wanted it as an ending because it comes last in the track listing but mostly as an opening to many things: the cosmos, of our inner and outter spaces, an invitation to wander in thoughts and dreams, and also an invitation to another listening of ORDERINCHAOS. An exploration of our deeper soul.


quarta-feira, 26 de setembro de 2018

Melancholy Daze with Sunbather - An Interview

A história de um projeto focado em um certo dreampop psicodélico, nascida da cabeça de um baterista de bandas de metal e hardcore que resolveu explorar novos sons, novas batidas e novas pulsações.

E a partir daí surgiu o projeto de Joseph Picataggio, o Sunbather.

O novo trabalho do cara, "Melancholy Daze" se sintoniza com propostas sonoras mais modernas, algo como um híbrido de Tame Impala e DIIV.

Experimentações a serviço de sonhos levemente borrados, sem necessidade de extremismos, o que o Sunbather propõe que a viagem seja leve mais espacialmente sedutora.

Aperte o play e boa trip.

***** Interview with Sunbather *****

Q. When did Sunbather begin? Tell us about the history...
Well before Sunbather started, I'd been playing drums in local metal and hardcore bands for the last 10 years, and drums in general for the last 15 or so. Being a drummer first and foremost, I started Sunbather as a way to teach myself how to play other instruments, as an outlet to explore other genres I love, and to express and push myself in more ways than just smacking the drums around to power chords in my basement. And aside from one or two classes, I'd also slowly been teaching myself to produce, so I use Sunbather as an outlet to experiment and grow in recording as well. I started writing Intrapersonal in 2015, but I officially started Sunbather in November 2017 in Kingston, Pennsylvania, USA, and then relocated to Durham, North Carolina only a few months later. I spent the latter half of 2017 and the first half of 2018 working on new material for a full length, and in August released Melancholy Daze. Now I'm just pushing it and getting it to as many ears as I can.

Q: Who are your influences?
I'm obsessed with Tycho. I'd say he's a big influence in more ways than just music. His attention to his visuals, details in his jams, and apparent DIY ethic attract me and act as a guide for the independence and work ethic I'd like to strive for. He's the king right now. Dive is a perfect record. Additionally, I have a lot of influences in varying genres, but the ones who influence the Sunbather sound the most are bands like The Smiths, Blur, and newer bands like Tame Impala, Washed Out, Diiv, The Contortionist, etc.

Q. Make a list of 5 albums of all time…
In no particular order...
1) blink-182 - Take Off Your Pants and Jacket
2) Beastie Boys - Licensed to Ill
3) Slayer - Reign in Blood
4) Fair to Midland - Fables from a Mayfly
5) Turnover - Peripheral Vision

Q. How do you feel playing live?
I love it. I've been playing shows in terrible bands with my best friends since I was 17 years old. My bands never gained a following, but just loading up and traveling around with my friends, playing to like 20 people in the back of book shops, basements, churches, clubs, backyards, art spaces, etc., then hanging out and eating pizza and drinking beer after were the best. We unfortunately haven't done that in awhile, but maybe this could get us back together someday.

Q. How do you describe Sunbather´s sounds?
Dreamy Whatever overall genre that word takes shape in, whether it be pop to shoegaze to hardcore, as long as I can make it fit that aesthetic, I'm open to write in virtually any style for Sunbather. For instance on Intrapersonal, I wrote it at a time when I was inspired by progressive metal and post-rock bands like The Contortionist and Karnivool. So some of those sounds are on the heavier, more aggressive side, but blend with a very relaxed and spacey atmosphere. The new record, Melancholy Daze, is a more straightforward shoegaze/pop-rock sound, which is different enough from Intrapersonal, but has that overall dreamy vibe so I think it still makes sense sitting next to it.

Q: Tell us about the process of recording the songs ?
Since I'm just one guy, Sunbather is a studio based band. I'll grab my guitar, plug it into my interface, load up an amp-sim, and just noodle away until something sounds even remotely cool. I'll record that little noodle quick, then start building things on top of it step-by-step; drums, second guitar, synths, keys, bass, more guitar, more guitar, more guitar... Then I'll sit down, write lyrics, and (try to) sing on it. Then after all that, if it doesn't' work or I'm not 100% down with it, I'll scrap it all and try again. After I get a collection of demos I'm happy with, I'll go in and re-record them at a higher rates then add some polish and spice to make them sound nice, listen to them to what feels like 1000 different times, then mix, then master.

Q. Which new bands do you recommend?
Go check out Saint Slumber (I think they're from New Jersey?) My old bands' played a couple of shows with those kids back when they were called The Soviet. Really talented indie rock/pop stuff. Their new record comes out in a few weeks. I'm really hype on them right now. And I wouldn't call these other bands new, but I've been spinning them a lot right now... * Wild Nothing * Title Fight * Beach Vacation * Shallou * FM-84

Q: Which band would you love to make a cover version of?
I'm actually in the middle of doing a cover of a Tycho song, but I've also been thinking about doing covers of a Beastie Boys or a Smiths song. For me, covers are cool to experiment with sounds and learn, but I don't think I'll do anything official with them. We'll see.

Q: What are your plans for the future?
Keep writing music. Keep pushing forward. Maybe shows as a full band, or maybe I’ll find a way to just jam by myself at some point, but who knows.

Q: Any parting words?
Thanks again to TBTCI for asking me to do this. Please listen to 'Melancholy Daze' on Bandcamp, Spotify, Google Play, etc and follow me everywhere and tell all of your friends. Let's grow this thing together


Trip To Saturn with Keep Care - An Interview

Doces cintilantes suspiros sonoros aterrizam diretamente de Montreal, Canadá nas páginas do TBTCI.

O duo, Keep Care e seu EP homônimo de estreia servem como sedativo para os percalços caóticos do cotidiano. Por entre paisagens tranquilas e serenas, as melodias sempre introspectivas deles acalentam e acalmam a mente.

Perfeito para um anoitecer em boa companhia.

***** Interview with Keep Care *****

Q. When did Keep Care begin? Tell us about the history
The two of us met years ago through the internet, and we became such good friends that we ended up moving to Montreal together. We decided to start Keep Care in September of 2017, and have been slowly making songs together ever since.

Q. Who are your influences
Our biggest influence would definitely be Beach House, we’re really inspired by the way they have made such grand sounds with just two people. With us just being a duo as well, this is something we aspire to do as we continue to make music. Other big influencers for us are Feist, Cat Power and Sufjan Stevens

Q. Make a list of 5 albums of all time...
1.Beach House – Teen Dream
2.Bon Iver – For Emma, Forever Ago
3. Judee Sill- Heartfood
4. Feist – The Reminder
5. Cocteau Twins – Treasure

Q. How do you feel about playing live.
We haven’t actually played in front of an audience yet but we are eager to! The butterflies are flappin!

Q. How do you describe Keep Care’s sound?
I think we would describe our sound as lo-fi, since we have limited equipment (guitar, piano, microphone) and drawing inspiration from artists like Beach House and Feist, we’re going for a dreamy/folksy sound. But in the end, we just sit down together and play things that we like the sound of.

Q. Tell us about the recording process.
Everything is recorded in our apartment. We usually record the guitar and piano first and then add vocals at the end.

Q. Which new bands do you recommend
Devon Welsh (from Majical Cloudz) recently released a solo album which we have been listening to religiously. Also Haley Heynderickx and Suno Deko.

Q. Which band would you love to made a cover of?
We’ve talked about covering either a Cranberries or Judee Sill song!

Q. What are your plans for the future?
Currently we’re just preparing for playing live, and working on new songs for our next album!

Q.Any parting words?
Don’t take any wooden nickels!