Ghost Riders with The Vacant Lots

Jared Artaud e Brian McFayden compõem o delirante The Vacant Lots que já concederam uma entrevista daquelas para o TBTCI, os caras tem no curriculo 3 albuns fincados em blues garageiro, Spacemen 3, VU, Television, Suicide, J&MC e afins. Agora para delirio dos fans lançam um 7´´ com Confusion e Cadillac ambas presentes em seu ultimo album Hypnotised que confesso a todos, se voces nao tem tentem descolar direto com a banda, vale cada centavo, e se depois você não conseguir se livrar peguei os dois anteriores também porque são do mesmo nivel. Confusion e Cadillac são o mais puro dark, rock, blues, lo fi, psych, punk que há atualmente. Sinceramentesou suspeitissimo para tever maiores comentarios, pq Jared e Brian ou se preferirem Vacant Lots são absolutamente fodidos com a benção de todos os deuses, que os caras destruam esse ano.

The Vacant Lors - Confusion & Cadillac

Never Say Goodbye with Vehicle Blues

Changer musica de abertura do EP debut do Vehicle Blues evoca literalmente MBV por todos os poros, tive o mesmo tesão quando ouvi o primeiro EP do Ringo Deathstarr, simplesmente destruidor, fenomenal e viciante. O Vehicle Blues é de Chigado e capitaneado por Galbe Holcombe simplesmente fez do ep Changer algo grandioso e superior além de Changer tem Winter Lamborghini, Real Loner Shit e Worn Out, que apos inumeras audições chega-se a conclusão que alem de MBV o que vem na cabeça é Jason Pierce, Irmaos Reid, Sonic Boom, Astrobrite e basicamente tudo que é de mais perfeito no quesito shoegaer, space, dream, lo-fi e seja lá qual for o termo/conceito que você achar melhor, o fato é que Changer EP faz do Vehicle Blues a BANDA a ser observada com extrema mas extrema atenção, que venham mais eps, albuns e o que for possivel. Resumindo o TBTCI esta in love com esta preciosidade.

Vehicle Blues - Changer EP

Sleeping Gas with Lower Heaven

Este aqui já entra direto nos prediletos de 2011, o novissimo do Lower Heaven, Today is All We Have dá sequencia ao grandioso debut que o TBTCI assim comentou, mantendo o mesmo altissimo padrão de qualidade calcado no neo psicodelismo de baluartes como os Bunnymen, Teardrop Explodes e Wah! porém distanciando-se um pouco das dissonancias shoegazers e aproximando-se cada vez mais a nova psicodelia de bandas como Black Angels, Darker My Love dentre outros e aguçando em seu caleidocospio um pouco mais de acidez e tons cinzentos eminentementes de VU e as grandes garage psych bands dos 60´s a trinca de abertura é de aterrorizar Today is All We Have, Before You Turn To Dust e Firearms sintetizam esta obra prima da neo psicodelia recente, alatamente recomendado e indispensavel.

Lower Heaven - Today is All We Have

Summer Hit with The Edsel Auctioneer

Leeds lar de inumeras bandaças que surgiram no reuno unido que para ficar em uma especifica o TBTCI cita o prediletissimo Pale Saints que é conexão direta com esta obscura banda que infelizmente não atingiu o publico indie da epoca trata-se de Edsel Auctioneer, que tinham com o Ian Maters e os Pale Saints seus melhores camaradas na epoca, cresceram na mesma rua basicamente e trilharam caminhos diferentes, enquanto o Pale Saints enveredou para o shoegazer etereo e caiu nas graças da 4AD, o Edsel Auctioneer bebia na fonte de Dinosaur Jr., Husker Du e MBV dividindo as guitarras com a sensibilidade pop dos Go-Betweens, guitarras melodicas e lotadas de peso, oras rapidas e dissonantes, dentre a formação da banda Chris Cooper ficou de 1988 a 1992 quando caiu fora pra assumir a bateria do Pale Saints.

O Edsel Auctioneer tem uma discografia com uma infinidade de 7´´ e Ep´s todos extremamente bacana (se alguém se interessar me avisa que dou um jeito de colocar por aqui) ou procure por ai Slouch, Starfish, Stickleback, Undertown dentre outros, porque o TBTCI escolheu o debut Simmer para fazer valer a força do Edsel Auctioneer e prestar homenagem a esta bandaça, aqui você encontra Undertown logo de cara estilhançando as influencias e acrescendo um Q de Catherine Wheel que permanece durante todo o album, ainda rolam neste espetacular album, Slouch, Starfish, Dragging my Hide, Pop Song #2 e é exatamente o que podemos chamar de um puta disco de guitar sound, ingleses com sotaque americano as vezes e altamente recomendavel, se você não conhece, aproveite.

The Edsel Auctioneer - Simmer

The Grand Staircase by Her Vanished Grace - An Interview

New York City again, pois é, a cidade meca dos bons sons aparece aqui no TBTCI novamente, desta vez sendo representado pelo queridissimo Her Vanished Grace, desde 1991 nos presentando com belissimos albuns, para ser mais preciso nada mais nada menos do que 11 discaços no curriculo isso contando com o novissimo See the Moon, sempre mantendo a tendencia de mesclar, post punk, shoegazer e guitar pop sonhador, o casal Charlie e Nance comandam a festa e apresentam em primeira mão aqui no TBTCI como é o 11 album, See the Moon, sonoramente mais dream pop e menos noisy, traz perolas como Make it Lighter, Passenger, I Know What Time is it, Desire e Dissolve que te envolvem por completo, um verdadeiro primor.

E para deixar mais interessante ainda, contatos imediatos foram realizados e Charlie concedeu ao TBTCI a oportunidade de saber basicamente tudo sobre o HVG, e como este que vos escreve é fã de longa data dos caras vamos unir o util ao agradavel e se voce quiser conhecer o HVG, pegue no blog comparsa Amor Louco o o album Blue e boa diversão.

***** Interview with Her Vanished Grace *****

Q. When did Her Vanished Grace form, tell us about the beginning…
A. Nance and I met working at the Metropolitan Museum of Art in New York City in the late 80s. We simultaneously fell in love and formed HVG. We got married and played our first show in the same month. Our music has always been an expression of the mystery that brought us together.

Q. What are the band’s influences?
A. We live for the beauty of the woods in Pelham Bay Park, the sands of Orchard Beach, where we live, and the velvet lawns and lush vegetation of Brooklyn Botanic Gardens, where Nance is a gardener.

Music: Siouxsie, Blur, PJ Harvey, New Order, Eno, Cocteau Twins, Chavez, The Cure, Flaming Lips, Love and Rockets, Arcade Fire, My Bloody Valentine, PiL, The Slits, Medicine, Lush, Shudder to Think, Jawbox, Girls Against Boys, Helium, Yo La Tengo, Echo & the Bunnymen, Ride, Psychedelic Furs, Kate Bush, Curve, Slowdive, Kitchens of Distinction, The Chameleons, The House of Love, The Smiths, Laika, Pale Saints, Slowdive, Blonde Redhead, The Raveonettes, Interpol, Glasvegas, Stars, Santogold, Animal Collective, School of Seven Bells, Beach House.

Q. Tell us about the recording process for the debut album?
A. Our debut album State of Grace was a culmination of a 3 year period of writing. We were inspired by each other's stories, musical and literary obsessions and a moment in time when alternative music was full of open ended possibilities. We sequenced keys and drums and recorded them, along with our voices and guitars on 1/2 inch 8 track and mixed to DAT. I was learning a lot about using EQ, compression and mic placement to get a more intimate vocal sound. We crossfaded many of the songs into medleys and the album included and ambitious 13 minute suite called "Cheri".

Q. About the new record See the Moon, what´s the difference from the 1st?
A. See The Moon is our 11th album (13th if you include remix collections). So quite a bit has changed but much remains the same. Our music still comes from our life together, but now we have our bassist Maria and our drummer Billy to help out. Maria has been with us for 14 years and Billy for 8. They are our family.

Nance and I felt that this album should be shimmering yet visceral. We reached a peak of sorts with the romantic melancholy of our last CD, Blue, and we wanted something with a little more edge but very atmospheric. We were exploring rich chord voicings along with the harsh sheen of early 80s production. And most of all trying to meet the hollow aggression and hopelessness of the world we currently inhabit with something life affirming. The lunar imagery stands as a way of interpreting the dissolute yet creative forces that flow around and through all of us.

We recorded using Logic 9 and tracked much of the music playing together.

Q, Tell us about playing live? How did last years gigs go?
A. Our favorite Her Vanished Grace show last year was headlining at The Bell House in Brooklyn. The stage is beautiful with rich dark wood underfoot and gorgeous warm sound above. I played an opening set of improvised guitar synth vs. transistor radio as Galvanometer. It was warm inside and cold and wet outside and we had a great time playing for all our friends and fans.

Q. What do you think about the classic shoegaze era?
A. It was very inspiring hearing it unfold. From the washier sides of Joy Division and Siouxsie to the lush experiments of Echo and the Bunnymen and Love and Rockets you could hear it coming. And, of course, Cocteau Twins. Nance and I discovered them separately, long before we met. Their music became the soundtrack of our wedding, countless car trips, beach days and moonlit nights. When the era was ushered in with Jesus and Mary Chain, My Bloody Valentine and then Curve, Slowdive, Lush, Chapterhouse, etc; it was really gratifying to see a new way of listening to music take hold.

Q. Tell us about bands in the current shoegaze scene…which new bands you recommended?
A. The new shoegaze resurgence has been great, though it's not so much of a scene in the strict sense. Bands like Ariel, A Sunny Day In Glasgow, Dead Leaf Echo, Soundpool, The Depreciation Guild and many others are playing with gazey sonic palettes but bring something new to combine with the familiar. I'd like to think Her Vanished Grace has always been doing that too.

Q. Which songs by other bands would you like to do cover versions of?
A. I have this idea of doing a washed out version of The Beatles song, Across The Universe. Watch out for it, maybe in 2011…

Q. What are the plans for the future?
A. We will continue to make the music that we love and find a way to get it out there. I predict we will be making videos again for the first time in a while.

Q. Any important news to tell us…
A. We also love our kitties...

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Thanks Charlie.....best to you and HVG.....Renato

http://www.hvgrace.com/
www.myspace.com/hvgrace

Alone in a Darkened Room with Soft Moon

Estou há tempos para postar esse album aqui no TBTCI, mas ainda não tinha conseguido organizar as ideias, porque o debut homonimo do Soft Moon é complexo do inicio ao fim, a aura aqui é negra, não existem luzes, não há felicidade por aqui, tudo é morbido mesmo, estilhaços de Joy Division, New Order fase Movement, Bauhaus, The Cure, The Sound, Sisters of Mercy, Siouxsie Sioux, ou seja, já deu para situar qual é a do Soft Moon, darkwave e pos punk escancarado e cuspido de forma violenta e especificamente densa, desde os primeiros acordes de Breathe the Fire o sentimento é que nos jogam a um universo soturno e com uma velocidade absurda, o responsavel por isto chama Luiz Velasquez que concebeu um dos melhores albuns de pos punk da nova geração. Basicamente não recomendado de indie kids de plantão.

Soft Moon - ST

Transmission from the Satellite Heart with Mequetrefe

Dando sequencia nos contatos imediatos, agora diretamente da Espanha, um album completamente encharcado de feedback e distorção por outro lado um apelo pop com melodias assoviaveis sensacional, estou falando do Mequetrefe e seu debut Play Off, concebido por influencias diretas de Flaming Lips, Mercury Rev, MBV, Medicine e outros mestres das camadas sobrespostas de guitarras, e loops interminaveis direcionam este debut grandioso a sequencia I Just Want to be a Flaming Lip, Croissant #3 e People Don´t Smile é absolutamente sensacional mas não para por ai, Bomba Navarro com seus 12 minutos envolve por completo mentes e corpos, MoncoFa Beach por sua vez beira a insanidade. Facilmente este Play Off torna-se obrigatorio e coloca o Mequetrefe em um nivel acima, quer um conselho? Não deixe passar batido de forma alguma.

Mequetrefe - Play Off

Bad Seed with Rachel

Contatos imediatos através da rede acontecem basicamente diariamente, essa é a grande vantagem da internet, a comunicação torna-se imediata e rapida, e através do TBTCI chegou o ep dos poloneses do Rachel atraves de Michal Kropinski intitulado Add a Little Bit of Tobacco, alias titulo apropriadissimo para a sonoridade dos caras, ambiente psicodelico e garageiro com pitadas de shoegazer mais pesado vide Swervedriver mais precisamente o Mezcal Head, essa é a tematica que encontra-se nas quatro pancadas contidas nesse ep que evoca Chocolate Watchband até dizer chega. Recomendadissimo.

Rachel - Add a Little Bit of Tobacco

She´s a Vision with Rachel Goldstar - An Inteview

The Static Silence, Eau Claire, The Tunnels, Experimental Aircraft, Monster Movie, All in The Golden Afternoon são alguns dos projetos dos quais a incansavel Rachel Staggs ou se preferirem Rachel Goldstar participa, todos com total e plena adoração do TBTCI que eleva Miss Goldstar ao patamar de musa para este que vos escreve. Dentre alguns emails, compras, etc, marcamos de conceber uma entrevista que tornara-se historica aqui no TBTCI, visto as historias, os segredos, enfim, Rachel nasceu para musica e se alguem tem alguma duvida disto que leia, mas leia com extrema atenção as respostas dessa personalidade de Austin, Texas, Srªs e Srs, com vocês Rachel Goldstar.

***** Interview with Rachel Goldstar *****

Q. When did you start to make music...
A. I first picked up an instrument at the age of 10, and started playing on a daily basis at age 11. After a few years of studying the clarinet, I could read music pretty well and began to teach myself piano by reading whatever sheet music was around. I wish I had thought to ask my parents for a guitar around that age, but I didn't. I played the clarinet for nine years, every day for seven years; sometimes multiple times a day (up to three hours some days). At age 20, I placed the clarinet under my bed and bought an acoustic guitar. I think the first song I learned was "Jane Says" by Jane's Addiction. Then I learned some basic chords and read the sheet music for "House of the Rising Sun" by The Animals. I was in college at the time, so I just tinkered around and thought I was pretty awful. After graduating and moving back to Austin, I started teaching myself songs off The Bends by Radiohead. I taught myself by ear, so I played these songs over and over. (Possibly driving my brother crazy.) I had searched far and wide for a job, Lubbock to Seattle, and couldn't find anything. Of course that was before the internet, so trying to get a job in Seattle was very difficult, although it was my dream, at the time, to live there. So, I moved back home to Austin, got a job waiting tables, and lived with my parents again. That only lasted about seven months and then they helped me rent a flat closer to downtown. Not too long after my move, I got a better job, working at The Texas State School for the Blind & Visually Impaired. With my first paycheck, I bought an electric guitar. My world changed.

Q. What are your influences?
A. I'm influenced by many things…grief, love, travelling, sounds in nature, the sea, wide open skies with starry nights, where the mountains and desert meet, lighthouses, fog horns, the mighty redwoods, hearing people's stories, abstract expressionism, distorted melodic guitars that turn into an orchestra, tambourines…

Q. About All in the Golden Afternoon debut album, tell us about the recording process?
A. It was unlike any other album I've ever been involved with creating. It only comes close to the process Eau Claire used. Carlos and I started with a couple of jams, where he'd be on guitar and I'd be on drums; then we'd switch, myself on guitar and Carlos on drums. We started two songs that way and on the rest, we would put down an individual track, separate of each other, then trade off, making it not only a true collaboration, but also somewhat improvised. Everything was recorded to an old 8-track reel-to-reel machine, with track 8 being rather tricky, as it only plays back, but does not record. Some tape flipping was involved.

Q. Do you have a lot of project, Eau Claire, Static Silence, The Tunnels, Experimental Aircraft, and to be honest, i don´t know which one is my favourite...explain your love to play some different music in a lot of projects?
A. Music is my life. It is something I have been involved with since I was very young; I don't know what life is like without making music. Also, I collaborated in quartets and played symphonies with 100+ people before I ever picked up a guitar and started a band, so it is something that comes very natural to me, working with many people. I feel like I get to explore different parts of myself as a musician while playing music on different instruments in various projects. Also, I'm not a very social person. I'm shy, so being in multiple bands (at one point I was performing live in 3 of them) is my social outlet and way to connect with people. Some of these projects came out of pure friendship though, for example, Eau Claire with Jessica Bailiff. She is one of my very few best friends. It's rare I get the opportunity to collaborate with a female musician, and our friendship made it even more special. I wish we lived closer to each other so we could create more together. We have started a follow up to our debut EP, but there is no rush. We are friends first and support each others' creative endeavors always. The Static Silence is also a collaboration born of friendship. Matt Bartram (Air Formation) and I decided to start an overseas tape collaboration (this was going on around the same time as The Postal Service was creating their collaboration, although I like to think the ocean between Matt & I made it that much more challenging). Matt was great because he truly trusted me with his songs. He wrote the skeletons of the songs, sent them to me on a 4-track tape with the lyrics, notes, and ideas, I would then transfer the tracks to my 8-track reel-to-reel, add my bits, then mix them down. He really had no control over the mixing, that was all me, but there was no way for us to be in the same room to work on it together. I love Matt's songs and hope we will do this again someday. I cherish my collection of tapes, notes, and lyrics sent by Matt that started this project.


Q, Tell us about playing live.
A. I've been performing since the age of 11, but I still get nervous before a show. I have a difficult time holding a conversation before a gig because I am thinking about all of the details of the set. Afterward, I'm much easier to approach, but if you meet me before my set, I probably seem like a jerk because I'm nervous and scattered. Somehow it all comes together as soon as the first note is hit. My level of nerves also depends on which band I'm performing in. With Experimental Aircraft and All in the Golden Afternoon, I tend to be more nervous, since I switch instruments a lot and sing more than in The Tunnels. Eau Claire & The Static Silence have never played live. Well, Eau Claire played an improvisational, experimental set in Duluth, MN in August of 2002. We did get invited to perform during SXSW several years ago, but weren't able to make it. I love performing live. Even though it can be exhausting (moving all of the gear, parking, barely getting paid), there is something magical about a live performance. That exact performance will never happen again and it will never sound exactly the same way. I still remember playing "Toccata and Fugue in D Minor" by Bach; it was one of the last classical performances I was involved in. Hearing all of the instruments come together, bringing this beautiful masterpiece to life, I got tears in my eyes. There was a tingle in my bones. Even with teenage angst, I felt the magic.

Q. What do you think about the classic shoegaze era?
A. I think it's great. I missed it when it was actually going on because I was in Lubbock, Texas going to college. Luckily, my Junior year, I got a regular DJ spot on our college radio station. That is where I discovered so many women were making independent music and got into PJ Harvey and Cocteau Twins. The Jesus and Mary Chain are about the only band of that era I actually heard during the era. I had a giant wall-sized poster of Honey's Dead in my room. I didn't hear My Bloody Valentine or Slowdive until they were over, but when I did hear them, the sounds they created reminded me of being part of an orchestra.

Q. Which new bands you recommended?
I'm really loving Moon Duo and Wooden Shjips, out of San Francisco. Moon Duo is fairly new, but Wooden Shjips is not. Maribel out of Norway. Moloko Velocet out of Lille, France. I can't really think of many new bands that have woken me up. I know they are not new, but The Kills have grabbed my attention and I'm looking forward to the release of their new album.

Q. Which songs by other bands would you like to do cover versions of?
"Seconds" by Human League, "Set Free" by Velvet Underground, "Deed I Do" by Elyse (which All in the Golden Afternoon covered live), "Gold Dust Woman" by Fleetwood Mac (sans cowbell).

Q. What are the plans for the future with all those activities projects?
A. All in the Golden Afternoon is going on a short tour in March 2011 in the Czech Republic, Slovakia, Croatia, and Austria. We have just released our first full-length, Magic Lighthouse on the Infinite Sea. It is currently available in high quality digital download, or by placing a pre-order for the vinyl, which will feature beautiful gatefold artwork, hand engraved by Iker Spozio. We will be headed to London after the Central European tour to complete our next album with Ulrich Schnauss. We started in June of 2010 with a short 4-day session that resulted in the completion of three tracks. "The Long Goodbye" is featured on 3…2…1…A Rocket Girl Compilation (UK) (Track 1, Disc 2) released 24 Januray 2011.

Experimental Aircraft has been working on a follow up to Third Transmission: Meet Me on Echo Echo Terrace since the summer of 2008. After more than 13 years as a band, we have all been involved with other musical projects, started families, changed jobs, and more. For me, it's been nice to take a break from playing live shows, but I'm looking forward to completing the album.

The Tunnels are on hiatus at the moment; I'm not sure what, if any, future plans there are for the band. We do still have some unreleased recordings that Carlos and I engineered/mixed. Hope to see them released someday.

I have a solo album planned under the moniker, Rachel Goldstar. It's called Wounded Birds and Lost Souls. It should be out by the end of 2011. A 7" of my song "Distant Seas" backed with "Amsterdam" will be out by the end of March this year.

Also, I've been a guest vocalist on the last three Monster Movie (UK) albums and plan to record vocals for another whilst in England this March.
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Thanks Rachel.....i love it!!

links:
http://magiclighthouse.com
http://allinthegoldenafternoon.tumblr.com/
http://allinthegoldenafternoon.bandcamp.com/

Drunken Fireflight by Music for Headphones

Music for Headphones, já pelo se constata que o que vem por ai é algo viajante certo?!? Certissimo, lisergia psicodelica climatica, ciclica ao melhor estilo kraut, layer e layer de sintetizadores camuflando as guitarras na maioria das vezes cristalinas e viajantes, a tematica é elevar o ouvinte a algum lugar inexplorado, o poder da elevação da mente por meio da repetição e dos loops dão uma sensação impressionante de que aos poucos estamos literalmente dentro do album, alias não mencionei o nome ainda, chama-se Life in Mono é o segundo dos caras, datado deste ano de 2011, uma das primeiras obras grandiosas deste ano que promete e muito por sinal. Se você gosta de shoegazer, pos punk, kraut, psicodelismo, mantras, Flying Saucer Attack e afins, caia literalmente de mente e alma neste Life in Mono e prepara-se para a abudção completa.


Music for Headphones - Life in Mono

Ravedown with Tennis System

Diretamente de Wahsing DC para as entranhas dos bons sons The Future of Our History debut do Tennis System impressiona, mas impressiona absurdamente, a abertura instrumental com Amalgamation já deixa claro o que vira pela frente, um grandioso album de shoegazer/noise rock daqueles de destroçar, e a sequencia com Beautiful Mistake confirma a previsão uma pancada barulhenta em altos decibeis para qualquer conhecedor da area saber que os caras não vieram para brincar, Silver é algo como se o Led Zeppelin fizesse um jam com o Adam Franklyn ou algo similar, Esoteric evoca Ride, Pale Saints mesclados com Dinosaur Jr e Drop Nineteens. E o restante deste espetacular The Future of Our History é como o nome sugere, o futuro abraçado ao passado nos diz que estamos mais do que no caminho certo, palmas para o Tennis System.

Tennis System - The Future of Our History

When You Sleep with The Sunshine Factory

Alabama, USA nos brindou com uma banda uma banda que deixa clarissimo que o impacto que Kevin Shields e o MBV causou na musica ainda gera estilhaços de criatividade e certamente gerara durante gerações e gerações, a bola da vez aqui no TBTCI é o album Sugar do The Sunshine Factory, recebi a preciosidade no final do ano e virou hit total por aqui, a abertura com Down é estonteantemente mybloodyvalentiniana, simplesmente fantastica a releitura de da canção uma devota do Loveless dos primeiros acordes até o final inesperado, a sequencia com Smile seque a linhagem, sem exageros o Sunshine Factory nos brinda com a um album que pode fazer Kevin Shields repensar mais uns meses se realmente o MBV tem condições de lançar algo sobrenatural em relação as guitarras, loops, reverbs, distortions e demais efeitos, porque ouvir Sugar é ficar extasiadamente estatico na mesma intensidade em que ouvir os classicos da Scene, simplesmente indispensavel em sua coleção.

Post em homenagem ao grande mais muito grande blog dos meus amigos Amber e Danny, duvidas consulte: http://whenthesunhitsblog.blogspot.com/

The Sunshine Factory - Sugar

Lord, Can You Hear Me....with Cheval Sombre - An Interview

Confesso que aguardei anciosamente o retorno de Chris ou se preferirem Cheval Sombre quanto a entrevista que combinamos de ser realizada, isto desde de meados de novembro do ano passado, alguns motivos como viagens, turne, gravação do novo album acabaram por prolongar um pouco o retorno, também não é para menos, Cheval esta em processo de gravação de seu segundo album que sucedera o magistral debut homonimo .

Cheval é um trovador moderno, um discipulo de Sonic Boom e Dean Wareham, logicamente um discipulo grandioso porque vamos chegar a um concenso que não é qualquer artista que consegue reunir ambos mestre em seu debut, merito para Cheval Sombre e certamente o que vier pela frente sera certamente atemporal.

Sem mais, segue a tão desejada entrevista com Chris Porpora ou Cheval Sombre, ah sim é a primeira entrevista de 2011 aqui no TBTCI.

***** Interview with Cheval Sombre *****

Q. When you started to make music? Tell us Christopher´s history...
A. I began when I was fairly young, drawn to this classical guitar of my father’s. I felt like it was calling out to me, lonesome as it was, unplayed and locked away in its case. The sound just astonished me. This was well before I knew any chords or notes. I felt as though I was stepping into another realm entirely, making sound, sitting on the edge of my bed, leaving a less-engaging world behind me, sailing into the strange charms of the unknown. It became then, playing, something which guaranteed a certain lush oblivion. While I was in school, I was fortunate enough to somehow make the acquaintances of a pair of local musicians – namely Darshan Jesrani and Matt Wells. Dar and I discovered the joys of playing records back and forth for one another, while Matt and I brought out the guitars. Always such a privilege to encounter kindred souls, isn’t it? Then came bands, recordings, pitfalls, adventures – all kinds of things.

Q. After all your a poet, what´s the difference for you to write a song to write a poem?
A. Poetry has always been for me a very deliberate act, full of conjuring and orchestration. Music makes its appearance to me in a primarily whole, realized fashion, even when it arrives for the very first time.

Q. What´s your influences?
A. Really I just play what comes out of me, without any nod in any particular musical direction. I suppose my experience of life is the very greatest influence on my songs.


Q. Tell us the process to record the debut Cheval Sombre album?
A. Well it began when I sent my fully recorded stuff to Pete, after realizing that he was the only missing (sonic) element then. Remarkably, he got in touch and we planned a first session with engineer extraordinaire, Nick Kramer. We did a few days in a row at the studio, just the three of us. We got down most of the album. Excellent pace, lovely atmosphere. A few months later we did one more day of recording, and later we all gathered at Dean and Britta’s old place in the Lower East Side to do the mixing, Sonic Boom at the helm. Dean, Britta and Pete had all put down some miraculous stuff, and it was sounding a dream. Andreas Meyer mastered it beautifully out in Weehawken at Tangerine Studios, and that’s that.

Q. What´s the feeling to play with Sonic Boom and Dean & Britta?
A. That of playing with a long-lost family. Like returning home after being out at a rough sea for ages. Warm, comforting, no need to say much— understood.

Q. Which new bands do you recommended?
A. New bands? I don’t listen to too much new stuff really these days. Maybe you can send a mix I can take for a walk? My brother keeps me up on stuff when I see him. He played me the latest Beach House album. That made some really good sense to me.

Q. What´s the plans for the future?
A. The future – goodness, I don’t know. We’ve been working on a new record for many months now, and it’s sounding really wonderful. Maybe it’ll get released – that’d be something, all around…

Q. Any parting words..
A. Thank you for your patience, and best wishes for 2011 -------
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Hey Chris thanks for all.....best to you friend

www.myspace.com/chevalsombre

TBTCI Presents The Best Albuns of 2010

Opa opa opa, retornando ao inferno novamente, estamos de volta após merecidas ferias, mesmo que sejam pequenas, e nada melhor do que apresentar a lista particular do TBTCI referente aos melhores albuns de 2010, sem maiores explicações tá ai...

2010 Best Albuns

1. Laboratory Noise – When Sound Generates Lights
2. Ceremony – Rocket Fire
3. Serena Maneesh – S-M Abysis in B Minor
4. Weekend – Sports
5. No Joy – Ghost Blondes
6. Tamaryn – Waves
7. Veil Veil Vanish – Change In The Neon Light
8. Astral – Forever After
9. White Noise Sound – ST
10. Crocodiles – Sleep Forever
11. Insect Guide – Dark Days & Nights
12. Broken Water – Whet
13. Film School – Fission
14. O. Children – ST
15. Bloody Knives – Burn It All Down
16. Messias – “escrever-me, envelhecer-me, esquecer-me”
17. Thrushes – Night Falls
18. Air Formation – Nothing To Wish For (Nothing To Lose)
19. The Blanched Hudson Weekend – Reverence, Severance and Spite
20. Dum Dum Girls – I Will Be
21. The Third Sound – ST
22. Woven Bones – In and Out and Back Again
23. Sennen – Denial
24. Deerhunter – Halcyon Digest
25. B.R.M.C. – Beat The Devil´s Tattoo
26. Butterfly Explosion – Lost Trails
27. Presents For Sally – A Touch Of Joy, A Touch Of Sadness
28. Rraaiillss – 1098
29. Frankie Rose And The Outs – ST
30. Telltale – Altahman

Gostaria de agradecer a todos que frequentam o blog e principalmente as bandas, 2010 foi um ano espetacular, grandes entrevistas rolaram por aqui e dentre as prediletas deste que vos escreve gostaria de citar as grandiosas historias que Ceremony e SVI nos brindaram....

Fica aqui a promessa que em 2011 manterei o nivel, ou pelo menos tentarei.....ahahahahhahahahhaha

2011 já esta rolando....