terça-feira, 28 de fevereiro de 2012

Soft As Snow (But Warm Inside) with Le Recourder Larouge

Quando ouvi pela primeira vez o termo "a banda de um homem só" achei absolutamente fantastico, sinceramente não me recordo quem foi o responsável pelo texto que li, mas a banda eu me lembro perfeitamente, nada mais nada menos do que o grandioso e inimitável Ultra Vivid Scene ou se você preferir Ralske, que na minha opinião foi o percursor do genero Dreampop, há controversias, mas até aí sem problemas, o fato é que a introdução feita aqui serve apenas de ilustrativo para citar que atualmente o termo "a banda de um homem só" virou algo normal, logicamente pela tecnologia absurda que vivenciamos, o que de fato é valioso para talentos que antes jamais atingiriam seus bairros, por este ponto de vista a web é um poderoso veiculo de propagação da boa musica.

E foi atraves da rede que recebi o contato imediato de Rei Soto, soa estranho a você? Entendo, a mim também soou mas, lendo atentamente o conteudo do email e vale ressaltar, com uma tremenda humildade, Rei Soto sugeriu a este que vos escreve ouvir seu projeto DIY intitulado Le Recourder Larouge, e na apresentação de seu banda situou como influências o shoegazer clássico. Obvio que ouvi os dois Eps...aaaah qualidade acima da media, guitarras inspiradissimas e um belissimo cartão de visitas ao mundo do subterraneo dos bons sons.

O som? Shoegazer meus caros, com roupagem atual e altamente assoviavel e trejeitos de indie rock americano dos mais inspiradores, leia-se Dinosaur Jr e Smashing Pumpinks, fase inicial, sim sim, se alguem de gravadoras quiser apostar, sugiro Rei Soto e seu Le Recourder Larouge.

E para melhor ilustrar as ideias e a concepção dos Eps, o TBTCI apresenta Rei Soto soltando um track by track dos dois eps....ah sim ambos gratuitos no bandcamp, link no final do post, aproveitem!!!

Track by Track - Le Recourder Larouge by Rei Soto

"L" EP (released 11/22/11)

1. "Don't Talk To Me That Way" - My main influences musically were My Bloody Valentine and The Jesus And Mary Chain. My use of the whammy bar on the guitar during the intro (0:00-0:41) was definitely influenced by My Bloody Valentine and the use of feedback towards the end (4:04-4:26) was influenced by My Bloody Valentine and The Jesus And Mary Chain.

Tonally, I just wanted a killer, dense fuzz sound that might ideally be called the "signature Le Recourder Larouge fuzz". But my fuzz tones were definitely influenced by Deadsy, The Smashing Pumpkins' "Siamese Dream" album, and the self-titled Cold album.

Vocally I was influenced by My Bloody Valentine and Ringo Deathstarr. Specifically the background vocals were influenced by the female vocalists of My Bloody Valentine and Ringo Deathstarr.

Lyrically, the song is about an ex-girlfriend of mine. We had tried to become friends months after our break-up but her attitude towards me had drastically changed. She was doing well for herself at the time and she seemed to think that she could talk to me like I was beneath her, like she forgot I was the one that was there for her when she had no one. I began writing the song minutes after our last argument.

2. "Dream Of You" - My main influence really came from a comment my best friend made once. He had heard some new songs by The Depreciation Guild at the time and described them as sounding like "depressing prom music". That stuck with me and I set out to write what I thought "depressing prom music" might sound like. I wrote the song in 3/4 waltz time because it felt appropriate for "depressing prom music". But I definitely was influenced by The Depreciation Guild and The Smashing Pumpkins when I wrote the song.

Tonally, since the song is made out of 3 verses, I concentrated on making each verse sound a little bit different from each other texturally. But not so different that it took away from the main feeling of the song.

Vocally, I was influenced by My Bloody Valentine and The Depreciation Guild.
Lyrically, the song is about me not being able to accept breaking up with an ex-girlfriend.

Longing for her and hoping that things will be back the way they used to be but knowing deep inside that I am not worthy and that perhaps love isn't even real at all.

----

"E" EP (released 02/14/12)

1.
"Say That You Love Me" - I am not sure what influenced me musically to write this song as a whole but I suspect that some of the effects I used were probably influenced by Finger Eleven. The intro was definitely influenced by The Depreciation Guild and The Raveonettes. And the bridge (3:27-3:39) was probably influenced by The Smashing Pumpkins. I am not sure who influenced some of the bluesy guitar licks during the 2nd verse (2:04-2:33) and although the guitar solo (3:50-4:25) makes heavy use of the whammy bar I am not sure where the influence came from especially since certain aspects of the guitar solo are also bluesy.

Tonally, I was going for a very dense signature sound again that was influenced by Deadsy, The Smashing Pumpkins' "Siamese Dream" album, and the self-titled Cold album.

Vocally, I was influenced by My Bloody Valentine and The Depreciation Guild.

Lyrically, the song is about a time when I was dating a woman and even though it was "understood" that nothing serious would come out of it, I think deep inside we both wanted the other to feel more, probably to feed some deep-rooted loneliness or insecurity. Neither of us would admit to our real feelings to each other, let alone ourselves. We just pretended that nothing meant anything and that neither wanted more. But I think deep inside I wanted her to love me and to always come back to me and I think she wanted me to feel the same exact things for her. But we never admitted it to each other.

2. "Danielle Harris" - Musically and tonally I was influenced by 30 Seconds To Mars' "A Beautiful Lie" album and The Smashing Pumpkins' "Siamese Dream" album. The intro (0:37-1:49) was influenced by the Japanese band envy. And the outro (5:53-7:00) was influenced by The Cure's "Disintegration" album.

Vocally, I was influenced by My Bloody Valentine and The Depreciation Guild.

Lyrically, the song is about when I was 6 years old and went to go see "Halloween 4: The Return Of Michael Myers" in theatres with my parents. I immediately developed a huge crush on the child actress Danielle Harris and that crush remains to this very day. She was probably my first huge childhood crush and for all of these years she's held a special place in my heart because that day, when I saw her in the movie for the first time, was the first time I'd ever felt anything that intense for anyone. It was the first time a girl made me feel so strongly and I feel like whatever it was that I was feeling that day was my first taste of what love could be like. Not that I fell in love with her but what I felt was something I had never felt before. It was completely innocent and pure and it came from a real and unassuming place. It felt as if Cupid was making himself known to me. From that moment on, I knew that whatever "love" was, I wanted it.
*
*
*

The Cabinet of Dr. Caligari At Dopamine - Mozz Special

Data: 10/03/2012
Local: Dopamine´s Place

with:
Dimitry (The Boss)
Rob Son (The Other Boss)
and
Cicero (Xiita´s Presence)
Marcos (Other Xiita´s Presence)

Motivos essencias para que você não perca esta edição:
Mini especiais dentro das sessions de cada DJ contemplando Smiths e Morrissey afinal no dia 11/03 ou seja um dia após este Dopa teremos o mestre imortal Stephen Patrick Morrissey junto de nós, preciso dizer algo mais ou basta!?!??!?!

Night and the City with Silo Halo - An Interview







Contatos imediatos via web são rotineiros, e o mais novo objeto de adoração do TBTCI atende pela alcunha de Silo Halo, art noise da melhor qualidade que viaja entre o shoegazer psicodelico até as praias mais experimentais do art rock, e a banda chegou até o TBTCI através de sua gravadora a Etxe Records, e o debut Night and The City que saira dia 12 de abril proximo pode ser considerado desde já um dos grandes albuns do ano, este trio de Washington DC impressiona pela qualidade e suas nuances de wall of sound, e o mais impressionante é ao ler a entrevista concedida com exclusidade ao TBTCI que os caras são absolutamente fanaticos por Big Black, daí precisa dizer mais alguma coisa, melhor não, a ser saborear a exclusivissima entrevista já clássica ao TBTCI, amigos guardem este nome, Silo Halo.

***** Interview with Silo Halo *****


Q. When did Silo Halo starts, tell us about the history... and perhaps your influences?
We started playing together not long after meeting one another, a few years ago. We connected easily and almost immediately. We were- and still are- very motivated by a need to write, play, and record as often as possible.

Q: Who are your influences?
We’re influenced by our lives and the lives of people who we know, read about, listen to, and see.

Q. Made a list of 5 albums of all time…
Big Black “Lungs”
Big Black “Headache”
Big Black “Songs About Fucking”
Big Black “Atomizer”
Big Black “Racer-X”

Q. How do you fell playing alive?
We love playing live. The ideal live show for us is a communal event involving engagement and stimulation among the people who play and the people who come to the show. We prefer to play shows where the situation lends itself to mutual respect among the people hosting the show as well as the other acts who are on the bill. We like to play with other mixed gender bands whenever possible. We don’t avoid unusual or challenging situations; the wild-card factor is often interesting. But we avoid scenarios where we don’t know where the money from the door is going, or where it’s obvious that the core values of the other artists on the bill don’t jibe with the basic elements of where we come from; fairness, respect, clear motives.

Q. How do you describe Silo Halo sounds?
We use live drums on recordings and a drum machine when we play live, and then some variation of the traditional bass, guitar, and organ configuration. We switch off singing lead and backing vocals. Our approach to songwriting tends to be heavily focused on lyrics and ideas. We use chords, melodies, and arrangements as vehicles for conveying those themes and ideas. The choices that we make in arranging and recording usually involve referring back to the overall concept of the song.

Q: Tell us about the process of recording Night and the City album?
We recorded the album in a series of short bursts. We’d record for a couple of days, and then spend time rehearsing and playing shows, then go back to recording, and then play more shows and work on other songs. We record in one of our homes- where we also practice- to 16-track, so the environment allows for a comfort level that can in turn seep into the recorded versions of those songs. We mixed the album in one of our other houses. We have worked on arrangements and compositions in all three of our homes. The familiarity of home greatly outweighs any concern over not being in a professional studio with fancy equipment. Plus we have ability to work around our various schedules and the demands of our day jobs.

Q. What´s represents the shoegazer classic era to the band?
In general we don’t really think of times or places as classic, even those that we remember as birthing a lot of music that remains important to us. We’re mostly concerned with the present. Christin didn’t even know what “shoegazer” was when we started the band. She comes from more of a punk and hardcore background.


Q. Which new bands do you recommended?
There are loads of new bands who we recommend hearing. Many of our friends and people who we like to play shows with are also our favorite bands- Fangs Out, We Are Hex, Get A Tan, Screen Vinyl Image, Ceremony, The Water, Kohoutek and HotChaCha come to mind. In the broader universe of ‘new’ music, we like Weekend, Skull Defeckts, Disappears, Girl in a Coma, and Dum Dum Girls.

Q: Which bands you love to made a cover version?
The Antiques “I Want A Cat for my Birthday.”

Q: What´s the plans for future....
Recording more songs and playing more shows. We all want to make music until we’re old and grey. We hope that will include making music together for a long time. Our record will be available worldwide on April 10th, 2012. You can pre-order it on 180g vinyl (with full MP3 download) or CD at Etxe Records: http://etxerecords.com/store/

Q: Any parting words?
Thank you very much, Renato, for taking the time to talk with us. We appreciate it. We would love to play in Sao Paulo some day.
*
*
*
Thanks Silo Halo

Night and the City with Silo Halo - An Interview





Contatos imediatos via web são rotineiros, e o mais novo objeto de adoração do TBTCI atende pela alcunha de Silo Halo, art noise da melhor qualidade que viaja entre o shoegazer psicodelico até as praias mais experimentais do art rock, e a banda chegou até o TBTCI através de sua gravadora a Etxe Records, e o debut Night and The City que saira dia 12 de abril proximo pode ser considerado desde já um dos grandes albuns do ano, este trio de Washington DC impressiona pela qualidade e suas nuances de wall of sound, e o mais impressionante é ao ler a entrevista concedida com exclusidade ao TBTCI que os caras são absolutamente fanaticos por Big Black, daí precisa dizer mais alguma coisa, melhor não, a ser saborear a exclusivissima entrevista já clássica ao TBTCI, amigos guardem este nome, Silo Halo.

***** Interview with Silo Halo *****

Q. When did Silo Halo starts, tell us about the history... and perhaps your influences?
We started playing together not long after meeting one another, a few years ago. We connected easily and almost immediately. We were- and still are- very motivated by a need to write, play, and record as often as possible.

Q: Who are your influences?
We’re influenced by our lives and the lives of people who we know, read about, listen to, and see.

Q. Made a list of 5 albums of all time…
Big Black “Lungs”
Big Black “Headache”
Big Black “Songs About Fucking”
Big Black “Atomizer”
Big Black “Racer-X”

Q. How do you fell playing alive?
We love playing live. The ideal live show for us is a communal event involving engagement and stimulation among the people who play and the people who come to the show. We prefer to play shows where the situation lends itself to mutual respect among the people hosting the show as well as the other acts who are on the bill. We like to play with other mixed gender bands whenever possible. We don’t avoid unusual or challenging situations; the wild-card factor is often interesting. But we avoid scenarios where we don’t know where the money from the door is going, or where it’s obvious that the core values of the other artists on the bill don’t jibe with the basic elements of where we come from; fairness, respect, clear motives.

Q. How do you describe Silo Halo sounds?
We use live drums on recordings and a drum machine when we play live, and then some variation of the traditional bass, guitar, and organ configuration. We switch off singing lead and backing vocals. Our approach to songwriting tends to be heavily focused on lyrics and ideas. We use chords, melodies, and arrangements as vehicles for conveying those themes and ideas. The choices that we make in arranging and recording usually involve referring back to the overall concept of the song.

Q: Tell us about the process of recording Night and the City album?
We recorded the album in a series of short bursts. We’d record for a couple of days, and then spend time rehearsing and playing shows, then go back to recording, and then play more shows and work on other songs. We record in one of our homes- where we also practice- to 16-track, so the environment allows for a comfort level that can in turn seep into the recorded versions of those songs. We mixed the album in one of our other houses. We have worked on arrangements and compositions in all three of our homes. The familiarity of home greatly outweighs any concern over not being in a professional studio with fancy equipment. Plus we have ability to work around our various schedules and the demands of our day jobs.

Q. What´s represents the shoegazer classic era to the band?
In general we don’t really think of times or places as classic, even those that we remember as birthing a lot of music that remains important to us. We’re mostly concerned with the present. Christin didn’t even know what “shoegazer” was when we started the band. She comes from more of a punk and hardcore background.


Q. Which new bands do you recommended?
There are loads of new bands who we recommend hearing. Many of our friends and people who we like to play shows with are also our favorite bands- Fangs Out, We Are Hex, Get A Tan, Screen Vinyl Image, Ceremony, The Water, Kohoutek and HotChaCha come to mind. In the broader universe of ‘new’ music, we like Weekend, Skull Defeckts, Disappears, Girl in a Coma, and Dum Dum Girls.

Q: Which bands you love to made a cover version?
The Antiques “I Want A Cat for my Birthday.”

Q: What´s the plans for future....
Recording more songs and playing more shows. We all want to make music until we’re old and grey. We hope that will include making music together for a long time. Our record will be available worldwide on April 10th, 2012. You can pre-order it on 180g vinyl (with full MP3 download) or CD at Etxe Records: http://etxerecords.com/store/

Q: Any parting words?
Thank you very much, Renato, for taking the time to talk with us. We appreciate it. We would love to play in Sao Paulo some day.
*
*
*
Thanks Silo Halo

No Love Lost with Lautmusik - An Interview




Amigos, amigos, depois de um periodo de ressaca aqui no TBTCI a tendencia é retornar com todas as pedradas possiveis e imaginaveis para me redimir da ausência e para iniciar ataco logo de cara com uma das melhores bandas brasileiras atuais os gauchos da Lautmusik que simplesmente jogaram na nossa cara um dos melhores albuns do ano passado o debut Lost In Tropics, uma cacetada nos timpanos sem tempo para respirar, também pudera as influências são calcadas nos classicos do post punk, art noise e shoegazer, simplesmente basta dizer que se você ainda não ouvi Lost In Tropics deveria fazer um favor a si próprio e correr atrás urgente, desta pequena obra prima do underground nacional, e para melhor explicar o porque, como, quando e quais as reais intenções da Lautmusik nada mais perfeito do que saber dos caras o que eles tem a dizer, Srs e Sras, Lautmusik no TBTCI com a maior honra.

**** Interview with Lautmusik *****


Q Quando tudo começou? Porque Lautmusik?
A. Tudo começou em abril de 2006, quando o Prati (nosso baterista) e o Richard (nosso ex-guitarrista, hoje na Loomer), que trabalhavam na mesma empresa, começaram a falar sobre música e decidiram se juntar pra tocar. Chamaram a Marina (nossa ex-baixista, hoje na Electric Mind), que era amiga do Prati de um chat sobre o The Cure no mIRC (ou ICQ, não lembro agora). Eu não conhecia nenhum deles, mas disse pra um amigo em comum "ah, que legal, sempre quis cantar", apresentações foram feitas e, depois de ser devidamente sabatinada quanto ao meu gosto musical, acabei entrando na banda logo em seguida, em maio. Lautmusik significa "música alta" em alemão, e achamos que era um nome bem descritivo de como a gente soa. Também gostamos da sonoridade do idioma: temos duas músicas em alemão, "Zeitgeist", do segundo EP (2008), e "Mai", do álbum (2011).

Q. Quais as Influencias da banda?
A. Nossas influências são extremamente variadas - dá pra ter uma noção delas lendo um recente post nosso no Floga-se em que cada um dos integrantes citou seus 5 "discos da vida" (http://www.botequimdeideias.com.br/flogase/os-discos-da-vida-lautmusik/). Acho que o que mais transparece diretamente na sonoridade da banda é um misto de pós-punk dos 80, shoegaze/guitar rock dos 90 e punk dos 70, com uma pitadas de stoner e até de metal aqui e ali, mas ouso dizer que acho que o nosso som é atual. Como eu sempre gosto de frisar, não gostamos de revival, nem queremos emular algum movimento ou banda específicos. Claro que é inevitável que tudo aquilo que a gente ouve seja de alguma forma traduzido na nossa música, mas não é intencional. Uma coisa que eu vejo bastante são bandas sendo assimiladas a alguma outra, algo como "o (insira aqui o nome da banda) brasileiro", e também movimentos de resgate de um determinado período ou gênero musical. Acho isso até certo ponto natural, porque o ouvinte (e às vezes o próprio músico) quer se identificar com algo que conheça, mas não penso que isso acrescente muita coisa.

Q. Na opinião de vocês a cena inicial das guitar bands nacionais como brincando de deus, Pin ups, Secod Come, Low Dream entre outras tiveram influência no trabalho de vocês?
A. Pode-se dizer que sim, indiretamente. Eu só conheci a maioria dessas depois de a Laut ter sido formada, através do Richard (nosso ex-guitarrista), que é fã. São grandes bandas (também gosto bastante de Sonic Disruptor).

Q. E sobre a atual cena nacional, parece que nasce uma banda nova e boa a cada semana em cada esquina, quais bandas vocês recomendam atualmente?
A. De fato, muitas bandas excelentes têm aparecido no Brasil, provavelmente porque o "faça você mesmo", no atual estágio da tecnologia, ficou bastante simplificado. Hoje dá pra gravar material de qualidade bastante boa gastando pouco e os meios de divulgação estão ao alcance da mão. O problema é que, com esse volume de informações, é preciso filtrar bastante, mas no fim das contas ainda se sai ganhando, acho eu. Cada integrante da banda tem suas preferidas, mas gosto muito de Violeta de Outono, The Tamborines (que é 2/3 brasileira, mas vale), FireFriend, Damn Laser Vampires (conto que eles voltem, como prometeram!), Macaco Bong, Walverdes e ouvi muitas coisas interessantíssimas em 2011 (Starfire Connective Sound, Team.Radio, Labirinto, This Lonely Crowd, Lavalsa e mais uns tantos). Tem também um "levante" relativamente recente de bandas de ótima qualidade aqui no Rio Grande do Sul que não dá pra deixar de citar (Loomer, Hangovers, Medialunas e Badhoneys - todas com integrantes em comum - metroidE, Monstro Motor, Telecines e Dating Robots, por exemplo).


Q. Como foi o processo de gravação do Lost in Tropics?
A. Foi dividido em duas etapas: gravamos quatro faixas que seriam lançadas como EP, mas no meio do processo saíram várias composições novas e fizemos um esforço concentrado e gravamos mais 7 pra integrar o álbum. Apesar disso, acho que o álbum ficou coeso, apesar de variado. Sempre procuramos fazer músicas diferentes entre si mas que ao mesmo tempo sejam bem características nossas. O processo de gravação foi também bastante divertido, porque gravar com o Japa (Eduardo Suwa, nosso produtor) é sempre muito bacana, e um aprendizado.

Q. Qual a sensação de tocar ao vivo? Como foram os shows no ano passado?
A. Poucas sensações se comparam à de estar em um palco. É excepcionalmente divertido. A Laut não toca com muita frequência: no ano passado, como estávamos compondo e gravando álbum e clipe, fizemos só dois shows, no fim do ano - um pra lançar o clipe e outro pra lançar o álbum. Neste ano faremos mais shows, pra divulgar o disco.

Q. Quais bandas gringas da atualidade vocês recomendam?
A. Os guris certamente teriam várias recomendações, mas vou falar aqui do que tenho ouvido: sou muito fã do A Place to Bury Strangers, que eu acho que se destaca das outras bandas noisy porque o barulho serve a um propósito e a melodia não fica em segundo plano. Vi um show deles em 2009 e achei sensacional. Gosto de viajar pra ver shows, e outro que achei excepcional foi o do Black Rebel Motorcycle Club (não consigo entender por que eles são subestimados por tanta gente). No fim do mês vou ver o Kasabian, outra banda que eu recomendo muitíssimo (sem contar que "Velociraptor!" é um baita título de disco). Ouço bastante o Darker My Love, que me foi apresentado pelo Murilo, nosso guitarrista, The Vandelles, gostei bastante dos últimos dos Arctic Monkeys (que vou ver em abril) e do The Kills e, no momento, aguardo ansiosamente o novo do Garbage.

Q. Quais os 5 melhores álbuns de todos os tempos para a Lautmusik?
A. Bah, essa pergunta é praticamente impossível de responder! Já sofremos pra indicar 5 cada um. Falando só por mim, na matéria do Floga-se citei os que mais marcaram momentos da minha vida - não necessariamente os que acho melhores: Ramones - Rocket to Russia (embora prefira o primeiro), Black Sabbath - Paranoid, Cocteau Twins - Treasure, The Jesus & Mary Chain - Automatic (embora prefira o Psychocandy) e Joy Division - Unknown Pleasures.

Q. Quais os próximos passos para a Lautmusik?
A. Queremos continuar compondo pra lançar um segundo álbum (estamos em férias agora, mas em dezembro já compusemos mais uma música nova), talvez gravar mais um clipe e fazer uns shows por aí, mas o principal, mesmo, é continuar tendo nosso momento semanal de diversão nos ensaios e botando a criatividade a funcionar.

Q. Alguma coisa a mais para nos contar?
A. Leitores do blog, em julho tocaremos em SP - apareçam!
*
*
*
Valeu Alê

segunda-feira, 13 de fevereiro de 2012

Dead Flowers or As Flores do Mal At Dopamine

Where: Dopamine´s Place
When: 25/02/2012
With:
Dimitry Uziel (The Boss)
Rob Son (The Other Boss)
and
Special Xiita Guest: Plinio Cesar
with
Mr. Blue (The Eternal)

não indicado a indiekids!!!

terça-feira, 7 de fevereiro de 2012

Touched By The Hand of Xiita At Dopamine´s

Data: 11/02/2012
Local: Dopamine´s Place

With:
Dimitry (The Boss)
Rob Son (The Other Boss)
and
Renato Malizia (The Passenger)
and
Mr. Blue (Ethereal Presence)

preparem os protetores auriculares...