sábado, 31 de dezembro de 2011


The TBTCI wishes all friends, and all the bands that make this place something really important for all of us music lovers.

2012 here we go

Renato Malizia


segunda-feira, 19 de dezembro de 2011

Strange Behavior by Screen Vinyl Image

É fato que o SVI é unanimidade aqui no TBTCI, desde os aureos tempos do grandioso Alcian Blue Jake e Kim Reid veem se recriando a cada single, ep, album lançado. E para alegria de todos finalmente chega o segundo album do SVI, Strange Behavior, uma pancada supersonica movida a sintetizadores doentios e darks, doses cavalares do post punk, shoegaze frio, e psicodelismo, não há limites para o SVI, Revival é um grande exemplo do que Strange Behavior ter de melhor todos os estilos condensados dentro deste brutal exemplo de como se fazer soar atual mesmo com todas as influências retro.

O TBTCI aguardou ansiosamente o lançamento de Strange Behavior antes de soltar a famosa lista dos melhores do ano, e logicamente que foi a melhor opção a ser feita porque Strange Behavior é facil um dos melhores do ano, aos que soltaram suas listas antes de escutar a perola meus pesames porque quando ouvirem certamente mudarão de ideia.

Para melhor elucidar o album, nada melhor do que o proprio SVI para um track by track especialissimo, enjoy it!!!

Track by Track by SVI

We Don't Belong
This is a song about technology taking over human interactions and two people feeling like they can no longer exist in this "real" world.

This track is based off a old blues song we saw in a movie. Instead of being a religious tune like in the film, we changed it to being about going off to watch the world end.
Stay AsleepPart science fiction and part contemplative, the first half follows a dream state and the end falls into a nightmare.

My Confession
We wrote this song around the time of Interceptors, but we never quite got the lyrics down. The song is influenced from an old noir film called Double Indemnity. When we were mixing it we had been listening to Shadow of a Doubt by Sonic Youth and tried to keep in the spirit of that.

Station 4
Another older track, it's a song about having to leave someone behind. We pushed our reverb and delays to their limits in the process of this recording.

This is a song about prescription drugs.

New Visions
We wrote this off of a loop we came up with from a sound generator we built. The lyrics are some thoughts on passing through life.

Night Trip
We lost our cat to cancer this year, she was really awesome and loved to hang out when we worked on music. We wrote this song about losing a friend. The song title is from a film our friend Matt did, it just seemed to fit the mood of the song.

quarta-feira, 14 de dezembro de 2011

Lay Back in the Sun with Music for Headphones - An Interview

Music for Headphones, sugere algo extremamente viajante para se ouvir atentamente, certo? Certissimo, lisergia psicodelica ciclica exalando kraut para todos os lados, layers e layers sobrepostos, sintetizadores comandam a festa, guitarras em loop por vezes cristalinas em outras sombrias, a temática é elevar o ouvinte a algum lugar inexplorado, o poder da elevação da mente por meio da repetição e dos loops dão a impressionante sensação de estarmos sendo sugados para dentro do album, aliás o nome da perola, Life in Mono, lançado no já distante inicio desse ano, se sua praia é kraut, shoegazer, psicodelismo e considera Flying Saucer Attack o maximo, coloque seu headphone e deixe o poder dos delays, sintetizadores e das jazzmasters do Music for Headphone de abduzirem, e melhor ainda de play no seu Life in Mono na faixa de abertura a sugestiva Open e deleite-se com a entrevista abaixo.

***** Interview with Music for Headphones *****

Q. When did Music for Headphone starts, tell us about the history...
A. I first used the name in 200 while living and recording in Athens, GA. My drummer at the time and I recorded a sprawling seventy minute space rock opus titled "Dreaming This Coma Life" and Music for Headphones seemed like the obvious choice for the name. After the record was completed we moved to Portland, OR with the intention of setting up a live band, but I lost interest in the project after a few auditions and decided to take some time off. I ended up playing with The Upsidedown for most of 2002 before shifting my focus to only music production.

Fast forward to 2005; I found myself in Philadelphia, PA ending a six year relationship. It was a dark and terrible time and I started recording my own music again. Somehow I had wandered back into a shoegazey, space rock realm and decided to revive the name.

Over the past nearly seven years many people have come and gone from the group (but the last two years have been a steady line up) and I've charted a lot of sonic territory making shoegaze, neopsych, trip hop, experimental and most recently krautrock records, but hopefully have retained my own identity through out it all.

Q: Who are your influences?
A. Sonic Boom/Spectrum/Spacemen 3/Spiritualized, Jesus and Marychain, The Ronnettes/Phil Spector, The Cure, early Mercury Rev, Galaxie 500/Luna, Brian Jonestown Massacre, Neil Young, the Warlocks, David Roback/Opal/Mazzy Star, Sonic Youth, Joy Division/New Order, SWANS, Neu!, La Dusseldorf, Faust, Massive Attack, Stereolab.... the list goes on and on...

Q. Made a list of 5 albuns of all time…
A. Introducing The Ronnettes by the Ronnettes
Perfect Prescription by Spacemen 3
Power, Corruption and Lies by New Order
Pure Phase by Spiritualized
Head on the Door by The Cure

Q. How do you fell playing alive?
A. I honestly used to hate it other than the moments of complete sonic chaos because I could get lost in the feeback and noise, but now I am really starting to enjoy it. It probably mostly has to do with growing into my voice, feeling more comfortable.

Q. How do you describe Music for Headphones sounds?
A. I don't think there is a simple way to do that. All of us come from different backgrounds and I/we are constantly trying to push sound in a new and different direction. I can tell you the record we are working on now is huge, spacey and epic. There will be elements of shoegaze, space rock, electro, and 60's psychedelia in it. And a whole lot more!

Q: Tell us about the process of recording the new album?
A. This album is being done very differently than the past records. We've been demoing out ideas live in the studio, take after take of the same idea. Then we all go home and listen, come back to the next session with refreshed ideas. The actual recording will start in the next few weeks and some of it will be done mostly live, others will start with the drums and be built upon. After all the basic tracking is done, most of it will be cut up into new arrangements then parts will either be added or replaced. We are approaching the recording process more like it is a remix, using the technology we have to do something new. Its the most ambitious record we've worked on and I honestly think it will be the best.

Q. What´s represents the shoegazer classic era to the band?
A. Well, I think the classic era has to be defined by England in the early 90's. My Bloody Valentine, Ride, Chapterhouse, Lush, Slowdive, Swearvedriver... but those bands didn't get there on their own... Spacemen 3, Jesus and Marychain, Sonic Youth... They were making similar noise ten years before.

Q. Which new bands do you recommended?
A. Bloody Knives, bliss.city.east, Morpheme, Drowner, SPC ECO, Her Vanished Grace, the December Sound, the Badhoneys, Haunted Leather, Wooden Shijps, Screen Vinyl Image, Dead Leaf Echo... There are a ton I am missing, there's just so much good stuff going on right now.

Q: Which bands you love to made a cover version?
A. Spacemen 3, Luna, Depeche Mode, The Cure

Q: What´s the plans for future....
A. Our last album, Life in Mono, is getting reissued on cassette through our new label, XD Records (www.xdrecords.net) and they'll also be putting out our new album next spring. In March we are doing a ten date tour through the southern US to South By Southwest and back. Tentitive plans to go back out to the Chicago area in May as well as a number of mini-tours in the northeastern US. Most likely we will be recording another record in the fall of 2012.

Q: Any parting words?
A. There's a revolution happening. Everybody just needs to open their ears.
Thanks Jonathan...


terça-feira, 13 de dezembro de 2011


But first, are you experienced?
Have you ever been experienced?
Well, I have........
2011´s The Last Party

segunda-feira, 12 de dezembro de 2011

Sweetness and the Light with Drowner - An Interview

Nos primeiros acordes de Point Dume, faixa de abertura do Ep homonimo dos americanos do Drowner meus sentimentos retornam a duas obras belissimas, Heaven or Las Vegas e Gala, respectivamente de dois patrimonios dos bons sons Cocteau Twins e Lush, a palavra etereo nunca esteve tao bem ilustrada atualmente como nesta maravilha de canção, Never Go Away começa e os sonhos caminham lado a lado com a realidade, ouvir isso depois de pegar um transito infernal cai como um calmante para a alma. Anna Bouchard, vocais, Darren Emanuel, guitarras, Sean Evans, guitarras e Mike Brewer, baixo, nos conduzem a um imaginario mundo de sonhos cintilantes e etereos com direito a passeios fascinantes recheados de delays espaciais, susteianers aconchegantes e pedacinhos do paraiso acabam por fazer parte de nossas vidas pelo menos durante os quase 30 minutos de sedução plena que o ep homonimo nos oferta.

Anna e Darren são leitores do TBTCI e gentilmente concederam não somente ao TBTCI mas a todos nós uma entrevista repleta de revelações e grandes novidades que estão por vir. Esqueçam dos problemas e deem espaço ao Drowner....

***** Interview with Drowner *****

Q. When did Drowner starts, tell us about the history...
Darren: After releasing Swimming In in 2008, I became more interested in guitar textures, especially a kind of distorted, reverb sound I was experimenting with, and I wanted to expand on that and write songs with it. They naturally had a sort of shoegaze/postrock sound, because of that effect, mainly, and I wrote probably ten or fifteen songs that way, just playing with it. At some point in 2009 or early 2010, I'd added drums and bass, and I started thinking about finding a singer. After some failed Craigslist sourcing, I mentioned to Anna (who was working with me on some video color correction) that I was having a lot of trouble finding the right singer for the project. I kind of threw it out there: Would she like to take a crack at it? And, she said yes. She turned around a first draft of one song, and I heard a lot of potential in it, and so asked her if she wanted to be in a band.

Anna: Yeah, everything just seemed to come together. We sent files back and forth via the internet and collaborated on a handful of songs, and finally they started to really mesh, and it looked like a release was possible. We'd progressed, at that point, to writing few new songs together. Mixing began in the spring of 2011, and by June, we had an EP ready for self-release via iTunes, etc. The response to the EP was really positive, and so we decided to keep the momentum going and track a couple of songs for another release, this time a single and B-side. In September, another longtime friend of Darren's, Sean Evans, joined the band on 2nd guitar, and not long after that, Mike Brewer stepped in on bass. Around this time, a few labels were expressing interest in signing Drowner, as we had dubbed ourselves (after the title of a song that we were working on), and SMR seemed like a great fit. We have been really, really happy with that choice.

Q: Who are your influences?
Darren: For me, I'm interested in texture and connecting that with dynamics and emotion, so I appreciate a lot of bands like Hammock, Explosions in the Sky and This Will Destroy You. There are a few bands from the late 80's and early 90's that figure in, as well, and often for the same reasons. The first Verve album, the last two Talk Talk albums and Distintegration by the Cure all share a kind of dynamism, emotion and grandeur.

Anna: “Dynamism, emotion and grandeur” is exactly what moves me, as well, and so I would add to the bands that Darren mentions Mogwai and Sigur Ros, and also the work of Siouxie Sioux, Bjork and Kate Bush. I also find I have a subtler and down-to-earth side that gravitates toward bands like R.E.M.

Q. Made a list of 5 albums of all time…
1. Spirit of Eden-Talk Talk
2. Disintegration-The Cure
3. Astral Weeks-Van Morrison
4. Ágætis byrjun-Sigur Ros
5. Velvet Underground and Nico

Q. How do you fell playing alive?
A. We both agree that we feel very alive in those moments.

Q. How do you describe Drowner sounds?
A. Almost indescribably big. Enveloping, delicate, thunderous, layered, inarticulate or ineffable, overwhelming, shimmering.

Q: Tell us about the process of recording the debut album?
Darren: Most of the songs start with a sound on guitar. I’m always listening for a new sound as I'm experimenting with different effects and signal routings. A lot of times, the guitar signal is split into two or three to run separate paths through the gear. I use a rack amp and the speaker cabinet from my Rhodes along with a Space Echo for a lot of it, and then route a mic signal from that through pedals. Another signal might pass through a computer running a series of delays, reverbs and distortions, and then another signal through a grain delay or through the V-synth and vocoder. Sometimes it all goes to tape, and sometimes it gets put back through the chain again with a different configuration. For the newest material I'm using more layered chorus pedals and tremolo, so there's a more distinct, drier channel on top, but the background wall of noise is always there. Luckily by splitting the signals we can pretty much duplicate the sound live.

Anna: Typically, Darren will send chord progressions and demo arrangements to me to listen to. I write lyrics for them and compose the initial vocal melodies. Then, Darren takes what I have written and makes adjustments to the guitar parts and the arrangement to reflect my choices. One area in which we have entered into a lot of collaboration is that of my vox harmonies. It used to be that I would send one or two harmony lines with my initial vox melodies. If we needed additional lines, they were often improvised in the final recording. That led to the two of us sorting out some really effective vox harmonies in the studio, on the dais. And so now, we like to write them more progressively from the outset and in tandem, sorting out what fits most tightly into the final arrangement, while still reflecting how I feel I should sound in the blend. A lot can be said for writing spontaneously together in the room – we do work in that way, sometimes – but we like the results we get from working dynamically in stages, too. So it seems that the one ends up feeding the other, most often.

Darren: By this time, Sean and Mike are listening to the demos and figuring out their parts, and I'll record them. Eventually, the vocals are rerecorded, and overdubs, if needed, are done, and then it's mixed. We're using a hybrid method of mixing this record, with stems being done in the PC, and then the stems are mixed down to two tracks on a Topaz desk to tape. In this way, we get a little of both worlds. I like the bigger sound of hardware, and the EQs on the Topaz are nice, and I think we're achieving a nice wide sound.

Q. What´s represents the shoegazer classic era to the band?
A. Ride-Nowhere probably best exemplifies the classic era to us.

Q. Which new bands do you recommended?
A. We're really into Exitmusic, The Fauns and SPC ECO right now.

Q: Which bands you love to made a cover version?
A. We would love to cover Straitjacket Fits, R.E.M., Talk Talk, The Cure. We hope there will be some great covers in our future.

Q: What´s the plans for future....
A. An all-new LP for Saint Marie Records in Spring 2012, the release of an expanded, deluxe version of our debut EP, more cool videos, and some surprise, secret stuff.

Q: Any parting words?
A. Look for us in 2012. It's going to be a big year for Drowner.
Thanks Anna & Darren.....


sexta-feira, 9 de dezembro de 2011

Haus der Luge with Sobre a Maquina

Não acredito em cena nacional underground, prefiro crer que existem movimentos isolados tipo no RS, temos a Transfusão, a Sinewave, e temos uma caralhada de bandas dispersas tentando criar algo relevante e inovador, e vou ser sincero, a ebulição da cena underground do underground nacional esta realmente recheada de ótimas bandas, mas infelizmente aqui no Brasil as coisas caminham de forma desconexa porque quem comanda a musica usualmente não entende absolutamente nada de musica, e o trabalho dos musicos e suas bandas são dificies, inumeros reveses e inumeras acabam sucumbindo pelo sistema hipocrita.

Agora em contrapartida me deixa extremamente orgulhoso, saber que algumas bandas fogem do amadorismo e da mesmice e criam algo absolutamente inovador, com conteudo e com conceito proprio acima de tudo, pessoas que realmente acreditam que possa existir qualidade fora o amadorismo latente que é notorio quando falamos de underground.

Uma dessas bandas atende pela alcunha de Sobre a Maquina, pequeno intervalo aqui, tomei conhecimento através do Fernando da revista online Floga-se onde ele me disse, Renatão ouça isso, é indigesto, quero ouvir tua opinião a respeito. Ok, demorei um pouco mas acabei ouvindo após um bate papo com Cadu Tenorio um dos mentores da banda, e fiquei literalmente chocado, aqueles drones, me foderam literalmente, Lingua Negra a faixa de abertura do EP Areia é algo fora do contexto atual da musica nacional seja alternativa ou não, o experimentalismo explicito é decupado pelos integrantes de forma minuciosa e perfeccionista, cada detalhe, cada nuance é sentida a cada audição. Lingua Negra é extremamente dificil de ser analisada friamente, Einstürzende Neubauten, PIL, Throbbing Gristle, Krautrock, leia-se NEU! pode ser o que vem primeiramente a cabeça ouvindo isso, acrescente os loops e drones do Loop, a perversão do Suicide, Mogwai, mas veja vem isso não é post rock, isso é post industrial, post sei lá o que é inqualificavel , se é que a palavra existe, o som do Sobre a Maquina e a obra prima Lingua Negra.

Se você conseguiu passar pelo choque de Lingua Negra, o clima torna-se mais ameno em Barca, durante minha primeira audição comentei com o Cadu, que me lembrou absurdamente o Durutti Column, e após ver o que ele proprio escreveu reafirmo, seria algo como se Vini Reilly fizesse um duo com Blixa Bargeld, um clima de desespero clamando saudade ronda a musica inteira....ainda temos Foz e Garça, que segundo Cadu é a resumo do Sobre a Maquina.

Simplesmente um dos melhores albuns nacionais que foram lançados em muito muito tempo, sem contar na parte da arte que é um conceito a parte....Ah sim vale ressaltar que teremos uma rara oportunidade no da 21/01/2012 de poder conferir o poder sonoro do Sobre a Maquina aqui em São Paulo.

E mais, convidei Cadu para realizar um track by track do Areia para que o TBTCI e todos os interessados possam adentrar mais e mais no mundo pessoal do Sobre a Maquina. Aproveitem.

Track by Track com Cadu Tenorio - Sobre a Maquina "Areia"

Bem, idéia interessante do Malizia me convidar pra escrever um faixa a faixa do Areia. Começo isso dizendo que não costumo pensar minha produção sonora a partir de outros trabalhos, não passa pela minha cabeça reproduzir, muito menos referendar explicitamente nenhum outro trabalho artistico. Tenho por mim o desejo - talvez idiota, talvez não - de fazer um som próprio. Agora é inegável que muita coisa influencia esse processo. Desde a formação músical, o que você ouve, o que te agrada até suas visões de mundo. Enfim, vamos tentar aqui, de forma breve e sem delongas.

Língua Negra
Essa música foi idealizada por ultimo no contexto do disco, mas desde o ínicio pensava que precisaria de uma faixa como ela para abrir. Queria que ela seguisse um groove hipnótico através de uma percussão tensa e pesada, porém minimal, algo que fosse uma espécie de saída do Decompor... Synths e vozes jogados de forma doentia por cima criando os ápices e climas. A batida tinha que ser especial, tive a idéia de montar um set de percussão metalizada que junto aos efeitos fizesse a base hipnótica desse som, as microfonias foram feitas a partir de manipulação do volume para com a sala. A música concreta e o early-industrial do Neubauten, SPK e Throbbing Gristle sempre fizeram minha cabeça, e não teria pensado nessa batida tocada com uma velha bomba de bicicleta, um triângulo(sim o instrumento de forró e samba) e a base de aluminio de um ventilador. Unimos isso a microfonação com reverb e delay milimétricamente dosados e conseguimos o resultado desejado. Considero o riff de baixo de fato hipnotizante, impossível negar as raízes que pelo menos ao meu ver viriam do Joy Division, apesar de tudo. Ela é o abre alas do cd porque de certa forma desemboca como uma "língua negra" no que está por vir haha. O climax ou o final, como preferir, acabou virando algo que me remete de leve à trabalhos como os do Fennesz e Tim Hecker, é o único momento onde uma guitarra tocada com o delay invertido surge pra complementar os synths. Ao meu a música não poderia terminar diferente cai como uma luva no Início de Barca. Creio que o Kraut do Faust e o Can tenham sido boas influências pra esse disco também.

Foi a primeira faixa a ficar pronta. Foi criada num momento de muita saudade. De certa forma tenho que admitir que é uma música "romântica" à seu modo caótico e inconformado haha. As percussões e sons metálizados gerados pelo desnível do ventilador com o chão de mármore - as velocidades do ventilador o faziam tremer e bater com as "pernas de base" desníveladas nesse chão criando um som motorizado bem interessante -. Esses sons foram gravados com um condenser próximo ao chão, eu e Emygdio resolvemos cobrir tudo - ventilador, barras de ferro -, inclusive nós mesmos com um edredom pra abafar a ambiência externa, enquanto rolava o feedback natural dos motores e batidas no chão tocamos as barras de aluminio e aço inspirados pela violência sonora das velhas barcas que atravessam a baía de guanabara - costumo fazer essa travessia Rio/Niterói com certa frequência e sempre fico fascinado, pra quem não conhece é algo assustador o som dessas barcas, como seria quase impossível gravar o som direto de lá com qualidade, resolvemos criar algo inspirado naquilo. A travessia em sí foi minha inspiração, a baía é um contraste de beleza e degradação intensa que é mais ou menos a balança que pende nessa música. O tema de piano bem simples e quase onipresente costura toda a loucura berrante das guitarras e dos sintetizadores. Tudo culmina num ápice que considero emocionante haha, a bateria é uma das que mais demorei a fazer na história da banda, prestando atenção ela contém muitos detalhes porque foi a junção de três baterias construidas e mixadas por lados diferentes em volumes e velocidades também diferentes. Parando pra analisar as influências que poderia tirar pra faixa, pode-se dizer que são o industrial do Throbbing Gristle e o drone de Tim Hecker, mas pensando agora também me traz de leve a lembrança alguns trabalhos como os do Richard D. James(Aphex Twin). As referencias de timbre pro riff sabbathico lentíssimo do final - gravado pelo Gameiro - foi o Sunn O))). Curioso que foi muito dificil mixar esse final da forma que eu gostaria, a guitarra com a referencia de timbre inicial engolia tudo, tivemos que nos desdobrar pra dar vazão a tudo, aos synths do ápice, as leves variações de clima nos pianos(são dois timbres fazendo uma dobra), a descontrução da bateria e a segunda guitarra que fazia o noise drone pontual, sendo que tudo acontecia ao mesmo tempo como uma mudança brusca. No fim acho que alcançamos a melhor forma possível até o momento, a música nos satisfaz muito, e é curioso como ela consegue soar agradável até mesmo a quem não tem nenhuma familiariadade com as influências da banda. Gosto muito também da linha de baixo que não muda em momento algum, pontuando as mesmas notas bem GRAVE haha.

Tinha ela toda pronta, os synths e a bateria, seria um groove intenso e tenso, pensei que ficaria lindo, um riff de baixo pontuando uma espécie de groove orquestrado pelos synths e bateria, então o Emygdio traduziu num riff que caiu como uma luva, trabalhamos bem no timbre deleo mais ENFERRUJADO possível - - no geral temos uma preocupação grandiosa com todos os timbres, sempre -, a idéia de investir na hipnose veio com as harmonias de voz improvisadas que gravamos, elas deveriam criar o clima em contraponto a guitarra que seria o fundo, guitarra essa improvisada pelo Emygdio sob condições de extrema exaustão pra ficar o mais claustrofóbica possível(as vezes achamos legais esses métodos que pra muita gente são bobos haha) com tudo isso desenvolvido uma segunda guitarra vai surgindo em loop alterada freneticamente no pedal de delay, tentamos gravar em vários takes essa guitarra, o Gameiro gravou várias vezes até acharmos que estava no ponto. Há também barulhos sutis feitos com coisas sutis como estalos de dedo e coisas do tipo espalhados que vão descontruindo a coisa toda. Na época achamos a sonoridade sensacional e esse amontoado de detalhes deixaria a música cada vez mais cheia, de uma forma não gritante, sem perder a idéia hipnótica e tornaria ainda mais impactante o encontro com o outro rio, um extremo totalmente oposto. Mudanças nas modulações dos synths e duas guitarras num dedilhado dissonante tranquilo, seguidas de perto por uma linha de baixo pulsante e um sax tenor quase smooth jazz e estranhamente tocado como se fosse uma flauta transversa pelo querido Alexandere Zhemchuznikov é a redenção completa. É uma música e tanto, foi a única disco que trabalhamos todos de fato juntos nas idéias, Emygdio e Ricardo contribuiram com ótimas melodias. E ela seria a síntese desse contraste entre o caos e calmaria. Referências de Kraut e do industrial continuam ali, mas há uma lembrança ao jazz... Pasamos muitas madrugadas gravando cada detalhe. Há quem diga que é uma música com cores. haha

O tema central dela existia antes mesmo de Barca, mas as nuances não. Nessa música o teor jazzístico é explícito. Ela funciona como o ápice do disco inteiro. O timbre do Rhodes é tenso. A batida é seca, minimal, envolvente, como tinha que ser, arrastada. Avaliando aqui agora vejo influências de drone, jazz e claro do early-Industrial. Percussão com latas e tudo em prol do clima, baixo e piano andam juntos firmemente costurados pela bateria enquanto todos os outros elementos improvisam livremente sobre o tema adotando uma postura de quase silencio, envolvendo. A primeira guitarra que entra faz um drone que remete a Morricone quase que sem querer. E daí pra frente o drone toma corpo e vai até não restar mais nada, tudo acaba, devagar, e que sobre é o caos. O cimax é a parte mais intensa do disco, não saberia traduzir ele em palavras, os riffs tanto do teclado quanto da guitarra são pesados e hostís, uma segunda guitarra chora acompanhando o sax tenor desgovernado tocado numa levada "Brotzmann". Se tivesse que achar alguma banda pra referendar diria que é uma cruza entre o Coil e o próprio Brotzmann. Um fato curioso é que o sax foi gravado acompanhando apenas os temas de piano rhodes e a bateria todo o arranjo posterior foi construído por címa.
Obrigado Cadu!!


quarta-feira, 7 de dezembro de 2011

The Best Albuns of 2011

Chegou a hora, e os melhores dos melhores de um ano que para o shoegazer e o psychedelic sounds foi acima, muito acima, grandes albuns....e sem maiores explicações tá aí a lista deste que vos escreve:



PINK PLAYGROUND – DESTINATION ECSTASY – shoegazer classico, um daqueles albuns revivalistas que faria um sucesso enorme nos inferninhos dos 90´s….indispensavel para qualquer shoegazer xiita.

CHAPEL CLUB – PALACE – o melhor album do pop britanico em muitos e muitos anos…

EAT LIGHTS BECOME LIGHTS – AUTOPIA – Krautrock atualizado da melhor qualidade

DEEP CUT - DISORIENTATION - Matt Flint é Matt Flint e ponto final.

terça-feira, 6 de dezembro de 2011

Shoegazer Archives with Grabbel and The Final Cut - An Interview

Grabbel and The Final Cut soa familiar a você? Imaginei...para mim também não, mas depois de trocar emails com Stefan, guitarras e vocais, fui apresentado a uma genuina perola esquecida e perdida no submundo dos bons sons, 20 anos passaram-se e agora graças ao espertissimo selo Captured Tracks e seu projeto de resgatar preciosidade desconhecidas do shoegazer, finamente o Grabbel and The Final Cut tera seu nome devidamente reconhecido.

Diretamente da Alemanha, o Grabbel faz um noise pop pegajoso com trejeitos de shoegazer classico, os caras nunca lançaram um album propriamente dito, a discografia contém inumeros cassetes, singles e eps, onde o escolhido para ser relançado é o Get Your Feet Back On The Ground, 3 petardos magnificos Psycho Popsong, The Finest Thing e Out of Work and on the Dole mostram o porque o Grabbel esta sendo resgatado, e mais, isso motivou Stefan e a banda a voltarem a tocar, simplesmente sensacional, logicamente que o TBTCI aproveitando a oportunidade já engatou uma entrevista para celebrar o momento e pagar tributo ao ex desconhecido Grabbel and The Final Cut e com o maior prazer do mundo, Sras e Srs, Stefan e seu maravilhoso Grabbel and The Final Cut.

***** Interview with Grabbel and The final Cut *****

Q: When did Grabbel and The Final Cut start, tell us about the history...
A. The band was formed in 1989 in our hometown Lüneburg in Germany, which is a smaller city close to Hamburg. We weren't really musicians, just friends who loved the same kind of music. We figured out how to playour instruments by trying to play cover versions of our favorite bands. But that didn't work out too well and so we started writing our own tunes.

After a few months we had our first gig in a nearby club, the Wahnhof in Bardowick. The owner of the club, Ture Carstensen, wasn't really sure if he should let us play, but somehow we managed to persuade him. And when we played our very first concert, the venue was packed! Somehow everyone brought his friends, and friends of friends. There were more than 200 people, and Ture was so happy, selling lots of drinks and stuff, so that from then on we could play there whenever we wanted (and we did a couple of times in the following years). So the Wahnhof was something like a second home for us, we used to hang out there at nights and became good friends with Ture.

The sad end of the story is that the Wahnhof building got torn down in 1992. The autobahn from Lüneburg to Hamburg took its place...

Q: Who are your influences?
A. When we started the band our biggest influence of course were the current bands we listened to at that time, at the end of the 80s, like The Smiths, The Jesus And Mary Chain, The House Of Love and My Bloody Valentine (yeah, this was before Loveless came out...), plus some older stuff like Joy Division / New Order, and maybe most important: The Velvet Underground. When I heard the first Velvets album, this was like a revelation. I suddenly realised that you don't need great musical skills, as long as you have great songs.

Q: Make a list of the 5 best albums of all time...
A. Well, I can only speak for myself, as the other guys in the band would surely name some other albums, but mine are..., hmm..., all time? Tough decision..., maybe these (in no particular order):

"The Velvet Underground & Nico" by The Velvet Underground
"Tommy" by The Who
"All Mod Cons" by The Jam
"The Queen Is Dead" by The Smiths
"Psychocandy" by The Jesus And Mary Chain

Q: How do you feel playing live?
A. Playing live was always great, we enjoyed it very much. On a good day there's some kind of really positive interaction between the band and the audience, and the music is the link between the two. On a bad day however, it can be a real disaster..., but we only had that once, when we played in some small village in Bavaria, southern Germany. The people there were expecting some different kind of music, obviously..., they started yelling at us, and we were yelling back from the stage..., in the end we had to leave the location through the bathroom window, haha!

Q: How do you describe Grabbel and The Final Cut sounds?
A. Er..., once back in the day, when we sent out some information about the band to the local daily newspaper, we wrote that we're doing "noise-guitar-psych-pop". A few days later there was indeed an article about us, but the heading read: "Psycho Pop from Lüneburg"

So I'm not going to make up some new term for you now, else who knows what you'll come up with...? ;-)

By the way, after this "Psycho Pop" article I decided to rename a song I had just written. It was originally titled "Perfect Popsong" but became the "Psycho Popsong" then.

Q: Tell us about the process of recording the Get Your Feet Back On
The Ground EP...
A. Back then we recorded everything on cassette tapes. Ture, the owner of the Wahnhof club, had a 4-track cassette recorder we could kindly borrow from time to time. I can't remember the exact model, but I think it was an early TEAC cassette system. So this was cool, a real gift actually, because we didn't have to go to an expensive studio to record some rushed demos. Instead we could take our time with Ture's cassette thing at home, and it wouldn't matter if it took a few days longer than originally planned.
Anyway, we had one ok microphone (a Sennheiser-something) and one not-so-ok-but-fine-for-us mic (some SM58 copy), which we both used for vocals when playing in our rehearsal room. And when we had the 4-track cassette in our room we realised that we didn't have enough microphones to record the drums properly. We were really keen on starting the recording session, but alas, money was short. So we went downtown to the local Woolworth store to see what they got. They had cheap microphones and they had very cheap microphones. So we took two of each home, placed them where we thought they should be and made some tests with varying mic positions. And it sounded fine!

When I prepared the tracks for the forthcoming EP release now, I actually thought "wow! this sounds really good!". And it was recorded using these crappy yellow plastic microphones... True Lo-Fi, but the weird thing is that it doesn't sound like Lo-Fi at all.

Q: What represents the classic shoegazer era to the band?
A. That was a cool period. All of a sudden there were so many great noisy guitar-pop bands around. Before that, there were maybe a handful of bands that paved the way, like The Jesus And Mary Chain (of course!), The House Of Love and the pre-Loveless My Bloody Valentine.

But in late 1989 for me the "new bands" took off with the Pale Saints "Barging Into The Presence Of God" EP. I heard the song "She Rides The Waves" late at night on the radio and was blown away. Went to my favorite record shop the next day and bought the EP. Then came bands like Ride, Slowdive, Swervedriver and The Boo Radleys, and then Revolver, Moose and Catherine Wheel, and later on Adorable, who might be the last of the better known first-wave shoegazers. Or maybe shoegaze had ended by then already...? Hard to tell, but the scene faded in 1993 and somehow transformed into... Britpop!

Q: Which new bands do you recommended?
A. Well, these aren't exactly "new" bands, but of all bands I got to know in the past few years, I guess The Electric Soft Parade and Brakes made the biggest impact on me. They're both from Brighton, UK and they're sharing some band members, which is cool.

Best bands I saw live this year were Ra Ra Riot, The Joy Formidable and We Were Promised Jetpacks.

Q: Which bands you love to made a cover version?
A. That would definitely be the song "Flying Pizza" by Swearing At Motorists!

Q: What's the plans for future....
A. With the forthcoming Captured Tracks release of our Get Your Feet Back On The Ground EP in January, we're indeed thinking about getting back on stage again! So we've started rehearsing and we're currently planning some gigs in Hamburg and Lüneburg, and then I guess we'll see what happens...

Q: Any parting words?
A. Thanks to all the bloggers and everyone out there, who said such nice things about our music in the past few weeks. That was some really amazing feedback and it means a lot to us. And special thanks to Mike Sniper at Captured Tracks who made this all possible in the first place; without him our songs would still sit there on Bandcamp and Last.fm and rarely get heard...
Thanks Stefan!!!


sexta-feira, 2 de dezembro de 2011

Xiita´s Weekend at SP

Em três diferentes versões a noite de São Paulo nesse final de semana tem ares xiitas em todos os locais...

quarta-feira, 30 de novembro de 2011

Perfect Prescription with Dead Star Sonics

Antes de mais nada dedico este post ao meu chapa Robson Gomes, guitarras e vocais do grande, digo muito grande The Concept, mas deixando o Concept para outra história (breve por sinal ok), e vou começar o post com uma frase do Robson: "A musica boa se renova a todo momento....".

Eu não só concordo como acredito piamente neste dogma, e para justificar esse sentimento, ou melhor este fato, apresento a vocês Dead Star Sonics, a banda de Nick Watts, um viciante e encharcado lo fi psychedelic sound, muito rock´n´roll classico, garageira 60´s mesclado com a familia Spacemen 3 e o Velvet Underground, impossivel não ficar pasmo com Original Sonic Blues, Spikey ou Velveteen, é grudento até dizer chega.

Ah sim, não há nada oficial do Dead Star Sonics e isso é o que instiga mais ainda, o tesão de fazer musica crua e nua, com amor e com conhecimento de causa, Nick Watts ganhou dois fãns imediatos, este que vos escreve e meu comparsa Robson, simplesmente porque Dead Star Sonics é foda!!!Ah sim, tomei conhecimento da banda através do proprio Nick via TBTCI, é um prazer sabe que o TBTCI tem leitores tão seletos.

E para deixar mais ilustrado e com maiores explicações, abaixo um track by track pelo proprio Nick Watts, enjoy it!!

Original Sonic Blues
I was going for a ‘Waiting For The Man’ vibe with this one. Trashy guitars, a pounding beat and two chords – it’s a good song to walk to. You should always judge a song by how it makes you walk along the street when you’re listening to it on headphones.

I love writing simple pop songs and then trying to mess them up and make them sound dirty. A great way of doing that is to make the guitars sound cheap and nasty. There’s a load of tremolo all over the middle section - I love tremolo. There should be more tremolo in the world.

When I was a kid, computer games came on cassettes that you had to load on to your computer. If you put the cassette in a normal tape player, it made these weird, random electronic sounds. I basically built this song around that sound.

Halfway to Nowhere
A simple, three-chord, trashy rock song. I normally use a drum machine because I record at home and real drums would scare my hamster, but this one has real drums played by a guy called Dan. All hail Dan.

I try to have as few chords as possible in a song. This is all basically an A chord. There’s a droning sitar in there too. Most of the stuff I do has some kind of drone – a guitar or a synth playing the same note or chord all the way through. Gotta love the drone.

Lord, Don’t Take Me Now
Another song built around one chord. I love Spacemen 3 and the way they use drones and tremolo stutters, and I was trying to do something similar but also make it a full, well-rounded song. This is one of my favourites.
Thanks Nick!!


sexta-feira, 18 de novembro de 2011

Dead Souds with Ars Phoenix - An Interview

Dark wave, post punk, electro noise, shoegazer esses são os territórios visitados por Jon e Page ou se preferir Ars Phoenix, combo perturbador que segue os caminhos do predileto SVI porém mais soturnos e eletronicos, o debut Hanging Fire fala por si só, desde a abertura com Hanging Fire a musica até os derradeiros momentos em Engines of Progress (Faith in Machinery Version) a dark wave comanda a grande parte das musicas e credencia o Ars Phoenix a ficar na linha de frente com bandas como Cold Cave e Soft Moon nas que remodelam os estilos escuros do 80´s e os trazem com roupagem atualizada para nossos tempos.

Tomei conhecimento do Ars Phoenix através de uma postagem no FB do SVI onde vi o video dos caras e me interessei de imediato comentando positivamente que havia gostado muito do que ouvi, de imediato recebi o contato imediato de Jon Glover responsavel por tudo na banda com exceção das guitarras e ai conversa vai conversa vem, e o TBTCI aproveitando a oportunidade descolamos mais uma entrevista para melhor apresentar a todos o poderio do Ars Phoenix.

***** Interview with Ars Phoenix *****

Q. When did Ars Phoenix, tell us about the history...
A. Ars Phoenix has a somewhat confusing history due to several relocations, recurrent lineup changes, and a series of unintentional, long-term hiatuses. The most recognizable form of Ars Phoenix, the Hanging Fire lineup of myself (vocals, synths, beats, guitar) and Paige Fowler (guitar), took shape in 2008. Paige and I had both just moved to Gainesville, Florida to begin working on PhDs in English Literature at the University of Florida. I had an album’s worth of material—2008’s Engines of Progress (FDO Recordings)—that I wanted to release and support with live shows, so I was in search of either a guitarist or a keyboardist who could help me perform the recordings live as a duo. We met when Paige overhead me chatting about music with another graduate student at an orientation meeting. Shortly thereafter, Paige and I began rehearsing and retooling the old material as well as writing, slowly but surely, what would eventually become 2011’s Hanging Fire (FDO).

Long before all that, though, I had started Ars Phoenix as a solo project in 2001/2002. At the time, I was in a very ambitious band called Kilborough, in which we attempted to blend post rock, shoegaze, ethereal, and experimental electronic music. It was a thrilling experience as well as a head ache, because the band had too many strong personalities, all competent songwriters with inventive ideas, that inevitably came into creative conflict. We peaked early with a sought after opening spot with The Faint, who were touring in support of Danse Macabre at the time, but the torturous process of completing our second album (recently released on cassette by our friend Patrick Norris) led me to quit.

I then started using Ars Phoenix as a vehicle for realizing my vision of Kilborough, although Ars Phoenix ended up only partially resembling my idealization of that band. The other members of Kilborough have since gone on to do some amazing things, including A Soft Perversion/Leo Ashline and The Nude Scene. Perhaps most notably, ex-Kilborough guitarist Todd Brooks has found substantial and well-deserved notoriety with his Pendu Recordings label and NYC dance parties, both of which became central fixtures of the Witch House genre/movement in 2010.

During the solo version of Ars Phoenix, I was living in Naples, Florida. I didn’t play out much, but when I did, I enjoyed the support of some great musicians: Sean Stevenson and Chris Farren from Fake Problems, Joe Merrill from Daleth, and Terence Hannum, now of Locrian. But Ars Phoenix kind of fell off the map shortly thereafter when I moved to Orlando to pursue a Master’s degree. I wrote and recorded a bit here and there, but Ars Phoenix was pretty much nonexistent until I moved to Gainesville and resurrected the project with Paige’s help. Just recently, the band has gone through another lineup change, the addition of my significant other, Caitlin, on synthesizer. With the new lineup and my PhD now complete, we’re more mobile than ever and hope to make 2012 a year full of live shows.

Q: Who are your influences?
A. I’m pretty obsessed with the early days of 4AD, especially vintage Clan of Xymox and, of course, the Cocteau Twins. Joy Division/New Order, The Cure, and The Smiths are also obvious influences, but I also have a deep fondness for Slowdive and My Bloody Valentine, and it would be a huge oversight for me not to recognize the role that Godspeed You! Black Emperor and Aphex Twin have played on my musical outlook, even though the pop sensibilities of Ars Phoenix might make those more soundtracky/experimental influences less recognizable to some listeners. Speaking of soundtracks, I also love horror and sci-fi film scores—John Carpenter, Goblin, Vangelis, Morricone, and Badalamenti come to mind. So I guess it is fitting that a recent review compares the atmosphere of Hanging Fire to the “psychotronic film genre.” I also love classic synthpop and the more electronics-driven side of British post-punk, including Depeche Mode, Cabaret Voltaire, and old Human League, as well as bands like Danse Society and Fad Gadget. More surprisingly perhaps, my formative years were dominated by Dischord Records, especially the almighty Fugazi, Nation of Ulysses, and Hoover, which explains the trace of post-hardcore some listeners and reviewers have perceived, particularly on Engines of Progress. Lately, though, Caitlin and I have been on a deep Dead Can Dance and Piano Magic kick, and I’m keen to see if those influences will impact the material we plan to begin writing next year.

Q. Made a list of 5 albuns of all time…
A. That is such a tough question, nearly unanswerable. I will do my best, but if you asked me again in a week, the list would most certainly shift a bit! In no particular order my top 5 are:
The Cure – Pornography,
Slowdive – Slouvaki,
Clan of Xymox – Medusa,
The Smiths – The Queen is Dead,
Joy Division – Closer,
John Foxx – Metamatic.

Q. How do you fell playing alive?
A. I’m addicted to playing live. On the drive home from a show, all I can think about is how much I wish we were on tour, because the wait between shows is going to kill me. While in the moment of the performance, I suppose I feel vital and expressive in an uninhibited way that is not quite acquirable in day to day life. During more hypnotic passages of the songs, there’s also a meditative quality to the feel of the performance. The vibrations brought on by extreme decibel levels and the wash of sound brought on by the use of delay pedals and layered guitars and synths almost has an immersive effect that, when at its best, can make you feel subsumed into the sound…like a release from the individuation of ego.

Q. How do you describe Ars Phoenix´s sounds?
A. To my mind, Ars Phoenix is an electronics-driven post punk band with shoegaze-influenced guitar tones, the moodiness of vintage darkwave, the hooks of classic synthpop, and the cinematic edge of post rock, lo-fi film scores, and experimental electronic music.

Q: Tell us about the process of recording the eps?
A. I’ve recorded every Ars Phoenix album to date on a Boss BR8 digital 8 track. After the fact, I usually have someone do some software mastering, but I’ve never used any software during the actual recording of the tracks, only hardware. The recording and songwriting also blend together, with the songs mutating as the needs of recording can lead to happy accidents regarding song composition.

Q. What´s represents the shoegazer classic era to the band?
A. I tend to construe things broadly, so some of my answers might veer a little beyond a purist’s definition of shoegaze. That being said, Slowdive, My Bloody Valentine, Ride, and Chapterhouse immediately come to mind, but so do Cocteau Twins, Catherine Wheel, Lycia, and even The Chameleons, even though some of these bands might be seen more as atmospheric/ethereal pop-rock than proper shoegaze.

Q. Which new bands do you recommended?
A. Of course, Screen Vinyl Image, whom I absolutely love and had the privilege of playing with in an Arlington, Virginia basement in the summer of 2009. I’d also like to recommend a Gainesville band called Averkiou, who are not exactly a shoegaze band, but they do apply a touch of shoegaze influence to a raw and raucous indie pop sound. My two other recommendations are more on the post-punk/darkwave tip, but you must check out Entertainment and Feeding Fingers, with whom we’ve also had the honor of sharing the stage.

Q: Which bands you love to made a cover version?
A. The only covers we’ve ever learned were for a Joy Division/New Order tribute show. We played “The Eternal,” “Dead Souls,” “Transmission,” “She’s Lost Control,” and “True Faith.” We still get requests for our versions of “Transmission” and “She’s Lost Control,” though we’ve got too many originals to choose from now, so adding a cover into the set has become kind of tedious.

We also used to play a cover of "Cold" by The Cure. I was Robert Smith one Halloween, and we played the cover all weekend at a few different Halloween shows--great fun!

Q: What´s the plans for future....
A. Writing, recording, and more shows.

Q: Any parting words?
A. I like to think that if Lynch/Frost had been able to film season 3 of Twin Peaks, Bob would have been exorcised from Coop. Coop is too gentle of spirit and pure of heart to go down in possession from a dark spirit. Usually, I prefer ominous endings, but this is a notable exception, just because I love that charact.
Thanks Jon


quarta-feira, 16 de novembro de 2011

BAD VIBRATIONS At The SWU - A Trip Inside This House

SWU, Paulinia, SP, 14.11.2011

Este foi o Festival, a cidade, o estado e a data do evento....onde o jargão era musica e sustentabilidade (sic) sustentabilidade do que?!?!? Estacionamento mediocre, organização regular, comida bem ruim, tudo caro para cacete ta a cerveja até que estava legal, sujeira para todo o lado, ok ok ok ok, não foi tão ruim assim, só um desabafo inicial para testar a paciência ...ahahahhahahhahahhahahahah....como comentou um brother meu - "tem cigarro?", resposta, "não aqui no SWU não vende tabaco.", replica - "é mesmo, mas vende cachorro quente e cerveja?" digna conversinha de pseudo riponga metido a biologo......bom deixa quieto esta parte....

Pegamos a estrada eu mais Plinio para nos encontrar-mos com os comparsas no sugestivo Blue Lake.....ou seria a Lagoa Azul?!??!Ok ok não encontramos a Brooke Shields, mas os brother Cicero, Andre passaram diretamente ao Hell Boy e no outro carro, Green, Robson, Vagner, Marcão e Eliane seguiram-nos após alguns entraves até Paulinia ROCK CITY?!?!!?hmmmm mais ou menos.....sou mais o ABC ou o ITAIM PAULISTA......ok ok ok vamos lá....

Chegando lá, o já citado pessimo estacionamento e dai em diante começou a trip dos Bad Vibrations no bom sentido é obvio....cerveja vai, blue vem, pink vai, green vem, yellow vai, blue vai, cerveja vem, não necessariamente nessa ordem mas mais ou menos por ai, seguimos no aguardo do inicio, meio sem saber onde irmos, e meio sem querer subimos para os dois palcos principais, e damos de cara com o Dinho Ouro Preto Blonde, ops quer dizer Duffy Blonde, ex Guns, que gritava mais SAOOO PAULOOOOS do que cantava ou tocava, um farsante, um fake que teve que tocar Misfits para agradar um pouquinho e se jogou na plateia, um fanfarrão....dai demorou mas acabou.

De frente a nos entram dois caras e uma garota, diga-se de passagem linda e com cara de pouquissimos amigos e começa 666, é isso ai BRMC, não tinhamos sacado ainda mas logo logo caimos na real e ai o festival começou para valer....Beat The Devils Tattoo veio e ai fodeu tudo, classicos e mais classicos, se bem que eu juro que aguardava mais do BRMC algo mais rocker, mais sujo, mais forte, que só foi concretiza na derradeira Whatever Happen to my rock´n´roll....e essa frase caiu como um manto na nossa cabeça, I GIVE MY SOUL TO A NEW RELIGION.....o ponto é que só alguns gatos pingados realmente venderam suas almas, ainda bem que eu e meus comparsas vendemos no atacado.

Pausa no festival, descemos procurando informações sobre onde seria o Black Angels, eu, Plinio e Cicero literalmente meio tensos, meio ansiosos, meio eletricos, meio cansados, mas no aguardo, dai finalmente a benção, uma alma abençoada mandou, vai ser daqui 20 minutos aqui na frente....opaaaaaaa agora sim....é só nos prepararmos, blue, green, cervejas em ação e a movimentação no palca, amplicadores valvulados, rickenbacker, fender jaguar, orgão a´la 13th Floor Elevators e o clima esquentando e ficando mais tenso....atraso para começar e dai toda a trupe aparece....e a chuva inicia lentamente no mesmo momento do primeiro acorde do Black Angels mas eu meu chapa, a trip começou, aquela musica, aqueles videos, as caras e bocas dos amigos tudo virou uma verdadeira ODE ORGIASTICA de musica, e foi uma a uma, Phosperene Dream, Sunday Afternoon, Telephone, e BAD VIBRATIONS, e ai meus caros, virei para meu brother Cicero e insanamente berrei BAAAAAAAAD VIBRATIONS e ele sorriu de forma gargalhante e dançamos até o fim dos mundos....lisergia, psicodelismo, insanidade, hipnose, tudo são meros adjetivos para descrever o tamanho do estrago que esse show fez em todos nós.

Fim de show, fim do transe, opa SY....muito trabalho para subir, barro para todo lado, e finalmente chegamos e Death Valley 69 tinha acabado de terminar....o cansaço estava nos dominando, mas ainda haviam forças, THIS SONG IS CALL SISTER, mentira era Schizophrenia....e ai a ode foi completa, ainda teve mais, Teenage Riot e o final apoteotico, levantadinha de saia da Kim, só para deixar claro que das 3 loiras das bandas é ELA QUEM MANDA!!!!!

E ai fim de historia, nos encontramos todos, nos separamos, mas todos nos jamais esqueceremos do show do Black Angels uma verdadeira obra messianica que só amigos como todos nos podemos entender....

Nunca esquecerei das palavras do meu grande, digo muito grande amigo Marcão ao me despedir, - "Mestre X, demorei anos para te conhecer mas voce é um grande grande amigo meu de todos os tempos." ....

Isso chama-se amizade ETERNA.....ou como diz a letra I GIVE MY SOUL TO A NEW RELIGION!!!!!!!!!!!

First and Last and Always with The KVB - An Interview

Klaus Von Barrel é a mente perturbada por detrás deste intenso e poderoso mix de darkwave, pos punk, electronoise, shoegazer e tudo que houver barulho e insanidade dentro da musica, o The KVB é assim, insanidade gratuita e durissima, algo desnorteando encharcado de beat tribais, vocais guturais, camadas e mais camadas de guitarras em forma de drones, ou riffs fantasmagóricos que servem perfeitamente para trilha sonora de filmes de Kenneth Anger, alias Anger é influência latente para Klaus. Com uma discografia extensa e complexa, dominada por cassetes, 7", 12" e um album extremamente perturbador intitulado The Black Sun, que para o TBTCI é um dos melhores do ano passado, o The KVB tem sua estréia aqui no TBTCI no melhor estilo, uma entrevista daquelas para não deixar duvida alguma sobre as intenções de Klaus e do que o KVB nos prepara daqui para frente além de influências e o mais importante poder mostrar o quão espetacular esta preciosidade densa e psicotica pode server de trilha sonora para o caos atual, amigos com vocês Klaus Von Barrel e seu assombroso The KVB.

***** Interview with The KVB *****

Q. When did KVB, tell us about the history...
A. I started the kvb in late 2009 by accident. I was already playing guitar in the band suicide party when i wrote and recorded a few ideas with a new synth i had just bought. I figured they didn't really fit in with what the band were doing, so i decided to start something new.
I had previously explored solo recording before then, with a project called ManOnTheMoon, which was more psychedelic & folky - so it was a kind of noisey/darker progression on from that.

Q: Who are your influences?
A. I have so many in all different forms of music, art, life etc. - but the obvious major influences on my music include the likes of; the jesus & mary chain, suicide, fad gadget, loop, bowie, joy division, scott walker, echo & the bunnymen, cabaret voltaire and Love. More recent musical influences have been bands like crystal stilts, aptbs, velvet condom.etc. Outside of music; friends, family and my girlfriend kat are big influences to me and what i do.

Q. Made a list of 5 albuns of all time…
A. Echo & the bunnymen - ocean rain, jesus & mary chain - psychocandy, Love - Forever Changes, velvet underground & nico, joy division - closer.

Q. How do you fell playing alive?
A. From most of my past experiences, Its great fun playing live (and being on tour too!). I am only just getting around to bringing the kvb to the stage as a band now, so it'll be great finally getting to play the kvb tracks to a live audience.

Q. How do you describe KVB sounds?
A. It often gets described as 'dark wave' (and 'shoegaze'), which i guess makes sense, but as its a solo project, i feel i have the freedom to explore a lot of different styles and ideas.
So some tracks may be loud and guitar based, others may be more minimal and synth based, some tracks use samples etc. It all depends on my mood, inspirations and the instruments i'm using at the time.

Q: Tell us about the process of recording the songs?
A. I record and mix everything myself at home. Its normally a pretty quick process, it has to be, otherwise i'll end up analysing a track too much and trying something new. The songs are normally built around a drum machine beat and a bass or synth line. Then the rest gets added, whatever that may be.

Q. What´s represents the shoegazer classic era to the band?
A. Of course i love lots of the bands from the original classic shoegaze era, but i think the current wave of bands in this style are very exciting too, bands like screen vinyl image, stellarium, belong, ceremony and so many more are taking the original aesthetic to new places, via electronica, surf, punk and ambient styles.

Q. Which new bands do you recommended?
A. Pink Playground, Tropic of Cancer, Dirty Beaches, Woven Bones, Ela Orleans, The Vivids are all highly recommended!

Q: Which bands you love to made a cover version?.
A. It'd be good to have a go at covering another current bands song, something a bit different to what im doing...

I have previously covered 'these boots are made for walking', so i might do something like that again too.

Q: What´s the plans for future....
A. Well, i've just released a limited tape on clan destine records called 'subjection/subordination' (http://clandestinerecords.bigcartel.com/product/the-kvb-subjection-subordination) and I have some live tour dates around europe planned for january. Then, there is a full length album called 'pray to the light machine', hopefully coming out at the end of february, which will be followed up by more live dates. Hopefully that cycle can continue, as long as people are into it.

Q: Any parting words?
A. Yeah, if you're into what im doing, please check my other projects Die Jungen (http://diejungen.bandcamp.com) and Suicide Party (www.facebook.com/suicideparty). Thanks!
Thanks Klaus!!!