Grande vídeo para uma grande música de um soberbo album de uma banda simplesmente maravilhosa!!!
terça-feira, 28 de maio de 2013
quarta-feira, 22 de maio de 2013
All Tomorrow Parties with Tales of Murder and Dust - An Interview
A Dinamarca definitivamente tem apresentado ao mundo verdadeiros tesouros da nova era psicodélia, bandas como Get Your Gun, Road to Suicide, Woken Trees e inúmeras outras demonstram o real motivo desta psicodélia gélida e mântrica perpetuada, mas a mais impressionante de todas é o Tales of Murder and Dust, algo como um encontro de All Tomorrow Parties e Slip Inside This House em ritmo desacelerado e extremamente denso, o album lançado ano passado Hallucination of Beauty é uma verdadeira obra prima da música moderna, é bem verdade que poucos terão acesso em tempo vivo para atestar essas palavras, mas acreditem esta obra ultrapassara décadas e sera motivo de adoração, pegue a hipnótica Hypnotized Narcissist e entende o que essas linhas tentam explicar.
O ponto é que em breve, mais precisamente dia 06.06 vem ao mundo o novo ep Skeleton Flowers, mas o TOMAD já soltou a emblemática In Apathy, certamente uma das melhores canções deste 2013.
O ponto é que em breve, mais precisamente dia 06.06 vem ao mundo o novo ep Skeleton Flowers, mas o TOMAD já soltou a emblemática In Apathy, certamente uma das melhores canções deste 2013.
E aproveitando a ocasião o TOMAD concedeu ao TBTCI a entrevista que segue abaixo para delírio do mundo psych, pegue sua bebida e o que mais lhe convir e deguste sem moderação.
***** Interview with Tales of Murder and Dust *****
Q. When did TOMAD starts, tell us about the history...
After having played in different constellations since 2003, we formed the band TOMAD in 2007. In the beginning we were only 4 members and Kathrine and Kasper joined in 2009 to help create the perfect setup for the sound we were looking for.
Q: Who are your influences?
Being a six-piece band we have a wide variety of influences. We all have our own preferences regarding music, films, and art and we all contribute with inputs from our individual back catalogues. But to name a few we all agree on: The Velvet Underground, Swans, The Blue Angel Lounge. The films of Andrei Tarkovsky is also very inspiring to us. The slow pace in which the story is told along with the beautiful images and an underlying sense of desperation and chaos is something we have tried to incorporate on the album “Hallucination of Beauty”.
Q. Made a list of 5 albuns of all time…
In random order:
The Velvet Underground – The Velvet Underground & Nico
My Bloody Valentine – Loveless
The Cure – Disintegration
Swans – The Great Annihilator
Rowland S. Howard – Teenage Snuff Film
Q. How do you fell playing alive?
We are really starting to enjoy it. As the music compels us to be very introverted on stage it can be hard to establish a connection with the audience. But when we see people standing in their own world with their eyes closed absorbed in the music like ourselves it feels really great!
Q. How do you describe TOMAD sounds?
On “HOB”; static, cinematic and chaotic would be suitable words to describe it. However on “Skeleton Flowers” we have adapted a more aggressive and violent expression. It is more influenced by Post-Punk than the Neo-Psychedelic.
Q: Tell us about the process of recording the albuns?
As we are a non-signed band we don't have a lot of resources. When recording “HOB” we didn't have any money to spend on a studio, so it is recorded in our bedrooms using our only microphone. A song would typically start with recording guitars, as the base of the song in one room and then moving our recording gear because of neighbors making noise-complaints. Then recording drums with borrowed microphones in the rehearsal space and finally recording vocals, violin and percussion. It was an extremely long process but also very educating.
Recording our soon to be released EP “Skeleton Flowers”, we went in the studio to get a better sound on drums and bass, while recording guitar, vocals and the rest by ourselves.
Q. Which new bands do you recommended?
At this stage we are looking back in time to find inspiration, so we must admit that we don't really have much knowledge of new bands. However “Get Your Gun” and “The Woken Trees” are two upcoming danish bands definitely worth checking out.
Q. What´s the plans for future....
We are releasing a 4 track EP “Skeleton Flowers” on Vinyl on 06.06. and we will be playing a few festivals over the summer while planning a European Tour that will include London and Barcelona in the fall. While doing this of course we are working on new material for our second full length album. So you will be able to hear some new songs if you catch us live during the summer/fall.
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Thanks TOMAD
https://www.facebook.com/talesonline?fref=ts
http://talesofmurderanddust.bandcamp.com/track/in-apathy
segunda-feira, 20 de maio de 2013
Cut The Cake by The Wolfhounds - An Interview
Ah sim, a Class of 86, movimento que tirou da mesmice aquela época onde o tecnopop dominava a cena britânica, onde haviam mais clones de Sisters of Mercy do que o próprio Andrew Eldricht poderiam imaginar, sim a C86 foi um pequena e ruidosa salvação onde a molecada da época estava interessadíssima em resgatar os Buzzcocks, Undertones e a psicodelia dos 60´s, adoráveis baluartes como The Pastels, The Wedding Present, The Bodines, Shop Assistants, Close Lobters e inúmeros outros viraram de ponta cabeça a metada dos 80´s pra frente e dentre essas grandiosas bandas Dave Callahan e seu espetacular The Wolfhounds fizeram parte dessa pequena revolução, que durou pouco diga-se de passagem, mas que serviu de pano de fundo para todos os desmembramentos da música independente mundial dali pra frente.
O Wolfhounds sucumbiu em 1990 e Callahan se juntou com Margaret Fiedlee do grande Ultra Vivid Scene e fundou outra grandiosa banda o Moonshake, que caminhava inicialmente pelo shoegazer mas rapidamente aventurou-se por ares pós punk altamente influenciados por PIL e demais experimentalismos, a banda também não demorou muito e foi dessa para o fim.
Mas, anos e anos se passaram e para o deleite de muita gente o Wolfhounds voltou a ativa e vem tocando lá pelos clubinhos de Londres e fazendo a felicidade dos solitários fãs da C86.
Quando menos se espera, eis que este que vos escreve dá de cara com um email do mestre, onde além de citar que ele frequenta as páginas do TBTCI me dá a notícia da volta, daí obviamente era um passo pra acontecer o que vocês terão a honra de ler logo abaixo, Mr. David Callahan em entrevista pra engrandecer mais ainda o trabalho feito nestas páginas.
Amigos e amigas, The Wolfhouds / Moonshake pelas palavras do mestre.
***** Interview with David Callahan ( The Wolfhounds / Moonshake *****
Q. When did you begin to get interested in music? 
There was no sudden interest. My dad had very few records, but I still like them now: Marty Robbins, Jerry Lee Lewis, Lonnie Donegan; my mum had Frank Sinatra and Nat King Cole – I like them, too. A real influenfce early on was a huge pile of discarded 45s that we found by the dustbin when we moved into our family house in 1972 (I was 8) – instant record collection! In the stack was Johnny Kidd’s Shakin’ All Over (still one of the best records ever made, in my opinion), Julie London, Fats Domino, Jackie Wilson, She’s Mine by Conway Twitty, some Charlie Rich – I still have a lot of them.
Crucial to my emotional connection with music and determination to play and write songs was a WH Smith record voucher I got for Christmas at the end of 1976 (I exchanged it for Dr Feelgood’s Stupidity, Who’s Next by The Who and Sgt Pepper) and seeing the Sex Pistols on London Weekend Television just before that. I didn’t understand the music which seemed like noise at the time, but the positive aggression of the performances made my 12-year-old brain reel and I had to walk round the block a few times after seeing it, knowing that I had to do something …
The plethora of independent records coming out between 1977 and 1982 kept at a fever pitch of excitement throughout my teens – so many possibilities between pop and experiment all squeezed into a 3-minute 7” single, and at their peak there were dozens coming out every week – I’m still catching up now …
Q. When did the Wolfhounds start? Tell us a story …
Wolfhounds started as The Changelings, kind of a side project of the Purple Hearts in which their guitarist and singer wanted to play drums and guitar respectively, to play 1960s punk/garage. Me, Paul Clark and a fellow named Mike Edmondstone were known as Nuggets fans on the local scene and joined in. The originally mooted singer was too shy to sing so after 2 rehearsals I started to yell lyrics (I fancied myself as some kind of poet at the time) just so we could move forward. We covered Love, 13th Floor Elevators, Seeds, Standells, all the usuals …
I had a couple of bands before that: a school punk band called Avarice, again with Paul Clark (future Wolfhounds guitarist), while we were about 14-15, a more kind of Messthetics-type band called 22,000 Flowers (Age now 16-17) who put out a little cassette, and a pre-Wolfhounds band called Nasal Spray and the Wolfhounds with some older friends (kind of a Subway Sect/Spiral Scratch punk band). I also put out a post-punk-type fanzine and corresponded with some other fanzine writers. By the time I was 18, Wolfhounds was supporting bands like The Playn Jayn and Chelsea at various London dives, feeling well out of place. We felt such a relief when somewhat cooler bands like June Brides and That Petrol Emotion started putting us on as well.
Q. What are your influences?
I’m influenced by things I don’t like as much as things I do - they provide motivation.I have gradually accumulated thousands of records, CDs and MP3s. In film, literature, and music, I‘m a genre buff. I like film noir and sci-fi, crime novels and old travel books, and in music I like 70s punk and reggae, 60s garage, 80s hiphop, 50s exotica, post-punk (both the poppy and arty side) and rockabilly. I like anything that goes a bit strange or weird, that pushes against its boundaries, self-imposed or otherwise.
Wolfhounds started with the idea that you could write proper pop tunes with both noise and oddness in them, following bands like Wire and Josef K, and even things like the Beatles and various psychedelic outfits - I still prefer the term ‘noise pop’ rather than ‘C86’ or ‘indie’.
Q. What represented the Class of 86 for you?
As far as our own little contemporaries went, Bogshed were the best – great guitar and lyrics - but I also liked the Pastels, June Brides, Dog Faced Hermans, The Loft and a few others. I have great memories of several Sonic Youth shows and a couple of Nick Cave performances, and hearing the first sample-based hip hop records, like LL Cool J, Public Enemy, Schoolly D and Eric B & Rakim.
Q. How were the shows at that time?
I found the smoky, boozy packed clubs full of hormone-addled adolescents dancing and spilling over on to the stage, buzzing about music and striving to just do something, very exciting, being a hormone-addled adolescent myself. There were fights, parties, ill-advised sex, relationships, liaisons and friendships, tears and delirious laughter. The early indie scene was as sex- and drug-oriented as any other youth movements/scenes, and not the very fey scene which people think it was nowadays. As far as modern genre-specific ‘indie’ and alternative music goes, I think it stinks. But I might not if I was 20, I guess.
Q. When and how did Moonshake form? What was the concept of the band?
That was my early predilection for PiL, Gang of Four and The Slits coming out, via a self-education in music like Can, Miles Davis, Kraftwerk and Lee Perry, as well as taking on board the influence of hiphop and the American noisy post-hardcore bands.
We had already been assimilating some of this in the Wolfhounds’ music latterly, and on our break-up I decided that I needed a very rhythmic base and a less laddish feel, hence asking Margaret to join. She actually came to a Wolfhounds show after I had tentatively asked her to consider joining them, and I rang her up to say I was fed up with pure guitar music and wanted to work with samples, despite having no sampler. I did manage to get a development deal with Creation, which helped. The original concept of Moonshake was ‘Metal Box meets the Byrds with samples’. Our voices never did go together very well, but other things worked so …
Q. What are your favourite Wolfhounds and Moonshake records?
The best Wolfhounds records are Cut The Cake (except Deadthink, which is shit) and the Blown Away mini-LP. Big Good Angel is the best Moonshake record, probably the purest distillation of the original concept.
Q. Tell us about your projects after the end of Moonshake?
Afterwards, I put together The $urp!u$ with a German woman called Anja Buechele and we did a few London shows and a New York gig, ran a club in Shoreditch, and recorded some demos but it didn’t quite work. I‘m doing several of the songs with Wolfhounds now and they work a lot better with a whole well-honed band.
Q. The Wolfhounds are active again - what is the motive for the return?
Fun. However, unfortunately, I’m one of those people who can’t have fun for long without turning it into a bit of a song and dance, and I write as a reflex reaction to life so it’s good to have somewhere to direct my efforts. And I’m still having fun, having both nothing and everything to prove at the same time …
Q. What are your plans for the future?
We seem to be putting out a single every 6 months or so, and once we’ve done about 5, we’ll probably compile them into an LP. We’re also talking to a few people about reissuing our historical stuff, though we’re still trying to track down the odd missing master! We have so much new material in various stages, it’s sort of daunting, but samples will be coming in again – I‘ve still not heard them used much in a raw pop context. Odd tunings are raising their heads again too. There’s another potential genre, right there, by the way: ‘raw pop’.
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Thanks Dave
https://www.facebook.com/TheWolfhounds?fref=ts
terça-feira, 14 de maio de 2013
segunda-feira, 13 de maio de 2013
Kaktusz by derTANZ - An Interview
Art Noise, No Wave, essa é a paranoia musical chamada derTANZ, diretamente de Budapeste para agredir os tímpanos dos iniciados, o album Kaktusz é daqueles de fazer Steve Albini e Michael Gira abrirem um sorriso de ponta a ponta, pra fãs de Current 93.
O contato imediato entre derTANZ e o TBTCI aconteceu ao acaso e dai meus caros,Kaktusz vire e mexe faz parte dos abusos sonoros que perpetuam o dial deste que vos escreve.
Tipo o derTANZ é a tipica banda que agradara aos mas perversos e insanos amigos, tipicamente uma banda que não faria feio a qualquer set list do ROUGH! sim sim, o programa do mestre das insanidades Mr. Ricardo Bola.
Vai a entrevista pra que todos sintam o drama do negócio.
***** Interview with derTANZ *****
Q. When did derTANZ starts, tell us about the history...
Gábor: We’ve started derTANZ at the end of 2009. Around that time I was singing in an electroclash band, what was my first musical attempt, and I really enjoyed it for a while, but it was all about pop, glitters and synthesizers, and my inspirations are always coming from a wider scale. Basically I have a strange attraction to the so called darker elements of life. I should say these things aren’t dark at all, but true. I think most of the people are missing the point and confusing sadness with beauty. Truth is beautiful, but truth is a seldom seen thing, and this is what actually makes you sad. There’s so much lie out there. So I wanted to say something about the weekdays, not only the weekends. Musically it meant something more instrumental, guitar based thing for me, and that became the derTANZ. With the first set-up/Bálint Tisch-Márton Tornyos- and me) we still used drum machines and synthesizers, but at the same time we started to use live basses and guitars, and the music was somewhere between post-punk and new wave. But then former members quit, and Árpi came and brought his really open minded attitude with a lot of noise and improvisation, and the transformation has begun. On the summer of 2011 we decided that we’re moving toward as a trio (Ákos Tornyos on drums, Árpád Gulyás on bass, and me on vocals), so step by step the whole thing turned into something radically different than the beginning.
Q: Who are your influences?
Árpi: I was really into noise rock at the early 90’s, grew up with the bands of Sub Pop and Touch N’ Go records for example The Jesus Lizard, Gos Of Kermeur, Ted Milton And The Blurt. I’m also really like the classical Warp records sound with Oval or Autechre. Nowadays I’m listening a lot of classical music, Béla Bartók, John Cage, Steve Reich.
Ákos: Mainly so called free music like Zu, Sun Ra, Mats Gustafsson, Lightning Bolt, and some dirty zippy stuff like Primus, Grinderman.
Gábor: When I was a kid I used to listen to electronic music, mostly house and techno, maybe Radiohead was the first “real” band which made a great affect on me as the way they mixing guitars and electronics. Then I started to pile up different kinds of experimental music from early post punk, no wave, and noise records to free jazz. I’m a huge Swans fan for example. Currently I’m listening to soundtracks, drone and ambient music like Howard Shore, Popol Vuh, Kevin Drumm, The Haxan Cloak, Ensemble Pearl, some extreme metal (Brutal Truth, Converge, Ulcerate, Meshuggah etc…), and I’m really lost in Scott Walker and Current 93.
Q. Made a list of 5 albums of all time…
Ákos:
VHK - A halál móresre tanítása
Full Blast - Black Hole
The Thing - Two bands and a legend
Shellac - At Action Park
Európa Kiadó - Mi így vonulunk be
Árpi:
Skeleton Crew-The Country of Blinds
Goz of kermeur-Mythoman
John Coltrane, Rashied Ali-Interstellar Space
Ted Milton Blurt-Magic moments
Autechre-Exai
Gábor:
Scott Walker - The Drift
Swans - Public Castration Is A Good Idea
Converge: Jane Doe
The Birthday Party - Mutiny/The Bad Seed
Current 93: Anok Pe: Aleph at Hallucinatory Mountain
Q. How do you fell playing alive?
Gábor: For me it’s a very physical experience, I could suggest it to a trip where I’m the travel guide of a landscape beyond everything, innermost and outermost at the same time.
Árpi: I’m enjoying it a lot; sometimes it is so intense that it scares me.
Ákos: If it’s good it’s very good, if it’s shit it’s totally shit, if it’s mediocre it doesn’t worth it at all.
Q. How do you describe derTANZ sounds?
Árpi. We’re improvising a lot, so the place determines our structural choices. Our sound is a result of a living, organic process.
G: Sometimes it’s punk, sometimes it’s metal rarely waltz, but it’s always raw and minimal, and on the top of this monotone dissonant carpet the vocal is dancing like a one-legged priest.
Q: Tell us about the process of recording the songs?
G: We recorded the album in an empty post socialist community house at Érsekvadkert. This is a small village at North Hungary, where Árpi is living, and this is the county where we’re from.
Ákos: The whole place has a very unique abandoned atmosphere with a lot of weird character. It has this Black lodge (Twin Peaks) feeling what very inspirational. So we just put the equipment on the stage, pulled In the curtains and pushed the rec. button. It was a one and a half day long session.
Q. Which new bands do you recommended?
Árpi: From Hungary be sure to check out Broken Cups, Ship Arriving Too Late to Save A Drowning Bitch and Buster Keaton. From the rest of the world our personal favorite newbie is Metz.
Q: Which bands you love to made a cover version?
Ákos: Maybe a Screamin Jay Hawkins or a Can cover could be fun.
Q: What´s the plans for future....
Árpi: We want to play live as much as we could; we’re trying to book gigs for the summer in Hungary and all over Europe.
G: We’re planning to make some recording sessions in an artificial cave which is actually a part of a land art project. There is a special place for music with small cell and holes in the wall which has the same effect as the pick ups on a guitar, so the whole space works like a huge natural amplifier, very exciting.
Q: Any parting words?
G: You’re never close enough to things.
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Thanks Guys
http://dertanz.bandcamp.com/album/kaktusz
https://www.facebook.com/pages/derTANZ/225787074887
sexta-feira, 10 de maio de 2013
At Home He´s a Tourist with Monozid - An Interview
Desde 2003 na ativa, uma discografia poderosa na bagagem, o Monozid é daquelas bandas que nasceram e permaneceram no submundo dos bons sons, enquanto Interpol e similares despontaram para a grande midia com o pós punk e cold wave gélida, o Monozid jamais foi citado, talvez pela procedência, a Alemanha no caso, mas cuidado, o Monozid e suas gélidas e gritantes músicas poderiam deixa Paul Banks extremamente depressivo.
A Splinter for the Pure é o último trabalho e segue a risca os anteriores com uma pequena diferenca a parte rítmica evoca Andy Gill e Dave Allen e ai o pós punk do Monozid torna-se mais e mais pesado, simplesmente um discaco esse A Splinter for the Pure.
E aproveitando a ocasião vamos de Monozid.
***** Interview with Monozid *****
Q. When did Monozid starts, tell us about the history...
Franz: We started in spring 2003. I was organizing a gig for max´s former band FORMFLEISCH and we decided to start a band together. After various other people ralf joined the band in 2006. At first we were four people, with Daniel g. in the band who also sang and played bass. Since 2010 we are a trio. Mostly I play bass now, on some songs guitar. In the last 10 years we played 11 tours all over Europe and the usa, we released 2 albums, a 7” and two cd-eps.
Q: Who are your influences?
F: Musically we are influenced by postpunk, noise-rock, new wave, no wave. But besides we listen to different kind of music that probably also influences us. Lyrically I am influenced by the usual struggle of daily live in this society.
Q. Made a list of 5 albuns of all time…
F: this is a hard one… I try in no particular order.
THE SOUND – jeopardy
JOY DIVISION – unknown pleasures
GANG OF FOUR – entertainment
SLOWDIVE – souvlaky
BAUHAUS – mask
But there are so many more to mention…
Q. How do you fell playing alive?
F: Playing shows is really a great experience. Especially if you feel that the audience enjoys what you are doing. If people are dancing, yelling, laughing… sometimes it is hard to play if nobody is interested. But most of the time it is really good. We all enjoy touring, travelling, meeting new people and seeing different places!!
Q. How do you describe Monozid sounds?
F: Danceable, strong postpunk.
Q: Tell us about the process of recording the songs?
F: We recorded the songs at “dollhouse studios” on long island/new York with producer Peter Mavrogeorgis (who worked with THE NATIONAL, and our dear friends BOOTBLACKS). It was the first time that we recorded with a producer and it was a really nice experience. The songs have grown a lot in the studio. We added various sounds, instruments, backing vocals. I am really glad with the result.
Q. Which new bands do you recommended?
F: our friends BOOTBLACKS, VELVET CONDOM, THE DREAMS or DON VITO from Leipzig. Besides from the more “popular” bands of these days I enjoy TRUST, BLOUSE, DISAPPEARS, A PLACE TO BURY STRANGERS.
Q: Which bands you love to made a cover version?
F: I don´t know. In general some bands of another genre. I would like to do a cover of an old soul or funk track for example.
Q: What´s the plans for future....
F: we will do a lot of touring this year. We have a tour in Russia coming up in june and we will go to eastern-europe in October. Besides we are starting to work on songs for the next album.
Q: Any parting words?
F: Thanks for your support!! Please check out our new album “a splinter for the pure”!!!
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Thanks Franz
www.monozid.com
www.facebook.com/monozidofficial
quarta-feira, 8 de maio de 2013
Higher Than The Sun with Indian Jewelry - An Interview
Basicamente um patrimônio do underground do Texas, o Indian Jewelry vem desde 2002 lancamento albuns atrás de albuns e fritando a mente dos iniciados.
Prediletos entre 11 de 10 freaks e psychedelic fãs o Indian Jewelry finalmente adentra as páginas do TBTCI após devastar Austin e demais cidades, deixando adeptos lisérgicos por onde quer que passe.
E não a toa o TBTCI faz parte do seleto grupo de freaks, então meio que sem blá, blá, blás, vamos de Indian Jewelry que é muito mais interessante, ah sim, não tenho este ou aquele album a indicar, eu simplesmente indico Indian Jewelry na integra.
Prediletos entre 11 de 10 freaks e psychedelic fãs o Indian Jewelry finalmente adentra as páginas do TBTCI após devastar Austin e demais cidades, deixando adeptos lisérgicos por onde quer que passe.
E não a toa o TBTCI faz parte do seleto grupo de freaks, então meio que sem blá, blá, blás, vamos de Indian Jewelry que é muito mais interessante, ah sim, não tenho este ou aquele album a indicar, eu simplesmente indico Indian Jewelry na integra.
***** Interview with Indian Jewelry *****
Q. When did Indian Jewelry start, tell us about the history...
We started this band sometime in 2002 in Houston, Texas.Q: Who are your influences?
Roxy Music, Gaza Boots, Enfangt, Little Joe Washington, La Belle Dame Sans Merci, New Order, Fugazi, Townes Van Zandt, Pain Teens, Parliament, and the Great Mother's Tits. By now, it's just the tao. As much as we love hearing new stuff and finding out about the inexhaustible mines of older music that we missed, it's just the tao. The tao of our daughter. The tao of our dear departed dog. The tao of our family, friends, loss, gain, rise, fall, sadness, elation, traveling, staying at home, watching things discover their nature.
Q. Make a list of 5 albums of all time…
Butthole Surfers - Psychic Powerless... Another Man's Sac, Ol Dirty Bastard - Nigga Please, Von Sudenfed - Tromatic Reflexxions, Geto Boys - (S/T), Willie Nelson - Redheaded Stranger, Betty Davis - S/T
Q. How do you feel playing live?
If people knew how good it feels to play this music they would quit their jobs, leave the farm, and give up religion.
Q. How do you describe Indian Jewelry sounds?
Imagine a daffodil running its fingernails on a lilac chalkboard. Imagine a star giving birth to a rat. Imagine a rat giving birth to a rainbow. Imagine hanging around in a theater after a horror movie ends and a comedy starts.
Q: Tell us about the process of recording last album?
We have a hard time with people, especially technical people, up in our shit, so we make our records ourselves. It allows us to the time and freedom to think about what we are doing. Our record "Peel It" was made using the IJ method. A little Wu-Tang dithyrambicism and a whole lot of hillbilly engineering. We recorded most of it in Houston, TX and the rest in Queens, NY.
Q. Which new bands do you recommend?
New bands? Subsonic Voices, BI (Jimi Hey and Eric Copeland), Troller, Net Shaker, Boan, the Real Energy, Vague Fears, God's Gun. Other bands that we recommend: the Wiggins, B L A C K I E, How I Quit Crack, Future Blondes, Clipd Beaks, Darktown Strutters, Wicked Poseur, Rusted Shut, Thousand Cranes, Leslie Keffer, Psychic Ills, SSPS, Lower Dens, Prince Rama, Adult., Sixes, Deathroes, White Magic, Excepter, SSPS, Lightning Bolt, Gardens, Celebration, Fiskadoro, Black Dice, Peaking Lights, Drums Like Machine Guns, Lumerians, Chain and the Gang, Black Bananas, Cop Warmth. We are not fucking around. This list is by no means exhaustive.
Q: Which bands you love to made a cover version?
We'd really like to cover every song by Townes Van Zandt, but don't know how how to play guitar well enough.
Q: What´s the plans for future....
We're going to do some touring-- so far, the West Coast USA in June, select dates abroad in July.
Q: Any parting words?
We just finished a video, days ago, for our song Freak Pride: https://vimeo.com/64599970
Keep your head up (except when the axe is swinging.)
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Thanks guys
sexta-feira, 3 de maio de 2013
CºLD Waves with Depression - An Interview
Segunda passagem do Depression nas páginas do TBTCI, desta vez em forma de entrevista.
O Depression é Jason Elliss responsável pelos beats e loops gélidos e desesperancosos do Depression que esta em vias de soltar o debute Prozac Party em junho, via Patetico Records do grande Tom Lugo.
Certamente vem doses pesadas de cold wave e dance macabra, para fazer a festa dos depressivos de plantão, logicamente que o TBTCI agradece.
***** Interview with Depression *****
Q. When did Depression starts, tell us about the history...
Depression started on january 30th 2013, about a month after Tom Lugo(stellarscope,panophonic,shi shi) and I started
Under The Wire. Depression started out a little rocky because at first i didnt really know what direction i wanted to go with my music and i didnt know if it was going to just be another project i was in that was going to fall off and just fade away. Depression
Basically started because i wanted to do something solo and put all my emotion (good or bad) into it. i have released 3 eps and 1 full length and i am currently working on another full length. each ep titles/ song titles has to do with a phase or emotion ive dealt with or ive been surrounded by. this is my way of people seeing the real me and feeling the darkened past that ive had.
Q: Who are your influences?
My biggest influence has always been Horror show/Nothing. Domenic Palermo writes some of the best lyrics i have ever read.i got into his first band horror show when i was like 12 or 13 and they have been my favorite hardcore band ever since. when he Started Nothing and i downloaded the first demo "poshlost" i was in awe. i thought it was great. very dark,alot of emotion just an all around great demo. another influence of mine is Wesley Eisold of cold cave/american nightmare/some girls. He is also a really great poet and musician..i basically love anything these bands put out. i can relate to it and apply alot of the stuff they write to my own life.
Q. Made a list of 5 albums of all time…
1. Horror show - our design
2. Nothing - downward years to come
3. American Nightmare - background music
4. Cold Cave - love comes close
5. My Bloody Valentine - loveless ( its a classic)
Q. How do you feel playing live?
I´ve actually not performed live yet. i am working on booking shows now so I can get my music out there to the public. I should be out and about playing shows in the next month or so.
Q. How do you describe Depression sounds?
Dark,emotional not your normal electronic project i guess. Depression is the story of my life.
Q: Tell us about the process of recording the songs?
I try to do everything as simple as possible for me. I am not really a great musician so i use alot of samples and i chop and mix them. i use an akai apc 40 ableton controller with an M-Audio Axiom 25 key synth that is hooked directly into my dell pc.
I use fruity loops and ableton software as well. i try to spend atleast 2 to 3 hours writing and making music, Unfortunately i cant do it everyday but when i do i try to bang out atleast 2 or 3 songs when i do have time.
Q. Which new bands do you recommended?
Nothing, shi shi, cold cave, ummagma, Bruce Leitch, Suzy Blu Fan Club, The Veldt, Cave Days, Foreign Resort, A*STAR,The Cult Of Dom Keller....(this is my current playlist)
Q: Which bands you love to made a cover version?
I would like to remix " Just like heaven" by the cure... i might acutally work on this soon.
Q: What´s the plans for future...
To play out as much as possible, record another full length,possible tour...we'll see.
Q: Any parting words?
Ii just want to thank Tom Lugo for everything...without him none of this would be ossible...he opened a lot of doors for me and gave me the shove i needed. He became a great friend and hes a great mentor... thank you.
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Thanks Jason
www.depression.bandcamp.com
quinta-feira, 2 de maio de 2013
Thanks God for Mental Illness with The Jabberwocky Band - An Interview
Psych, psicótico da pesada, música e ritmos primitivos, mantras, cataclismas, viagens ácidas em busca da rendencão, ou salvacão, ou não, tanto faz, o negócio aqui é perigoso, um hecatombe musical.
The Jabberwocky Band vem deixando Paris, Franca em chamas, os caras definitivamente não estão dispostos a facilitar, The Doors, VU, 13th Floors Elevators, Spacemen 3, BJM e Black Angels são a fonte, Barret o fornecedor, e Siamese Delirium o debute deles a droga pesada em questão.
Psych meus amigos, psych, nú e crú, a disposicão de todos de forma gratuita no bandcamp dos caras, meio que proposital, porque na real, eles querem que todos fiquemos viciados.....o TBTCI já está, agora é a sua vez.....
***** Interview with The Jabberwocky Band *****
Q. When did The Jabberwocky Band starts, tell us about the history...
January 2011, but the current line-up is very recent. We used to be four or five. The objective at first was to have a lot of guests for percussions, keyboards, VJing or drone machines... We are three since January 2013.
Q: Who are your influences?
Spacemen 3, The Black Angels, the Velvet Underground, Night "Fuckin' Big" Beats, Western movies soundtracks, 13th Floor Elevators, the tribal music, the primitive rhythms, the sound the fridge makes, and a lot more...
Q. Made a list of 5 albums of all time…
Yann : The Cult Of Dom Keller (whole discography), Give It Back!, The Madcap Laughs...
Sylvain : I don't really know... for today it could be Rubber Soul or Revolver, the first Night beats album, Electric Ladyland, Surrealistic Pillow, RATM...
Julien : OK Computer, Yom And The Wonder Rabbis, Axis: Bold As Love, A Cross the universe, every Gainsbourg album...
Q. How do you fell playing alive?
Sweaty, carried away and in communion with mother nature
Q. How do you describe The Jabberwocky Band sounds?
Psych Tribal Epic Peplum Drone Fuzz Reverb Bukkake Sound
Q: Tell us about the process of recording Siamese Delirium?
We were five at that time. We hit the road to a garage lost in the middle of Normandy, with amps, guitars, drums and some songs, and basically no idea of what we were doing.
We experimented a lot, tried to catch the sounds we wanted to hear, played very loud, drank a lot of whisky as bluesmen do and did not sleep.
Five days of 24/7 recording sessions later, we went home with a lot of weird sounds we tried to arrange and put into an EP. It took us several months to do so.
Siamese Delirium is a totally DIY record.
Q. Which new bands do you recommended?
With The DeadBangers Company we try to organise as many gigs of those bands as possible: Cult Of Dom Keller, Piatcions, Black Manila, The RocKandys, the local scene...
And so many others are great, like Daughters Of The Sun, Sonic Jesus, Dirty Blonde Asylum, The Blondi’s Salvation, The Janitors, Wall Of Death, François Sky...
There are just so many of them !
Q. Which bands you love to made a cover version?
Bob Dylan’s Masters Of War could be great.
Q. What´s the plans for future....
We are recording a new EP right now, to be issued early next year. We plan a tour for October. We want to organise still more gigs in Rouen (France) for great bands. And we will soon establish a hippie communist regim in Switzerland.
Q. Any parting words?
To the Blog That Celebrates Itself: Thank you very much for supporting us.
To everyone: Support the bands you love ! And smash your TV.
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Thanks Ian
http://thejabberwockyband.bandcamp.com/album/siamese-delirium
https://www.facebook.com/thejabberwockyband
Sunny Sundae Smile with Bride - An Interview
Shoegazer, shoegazer e mais shoegazer, este é o Bride UK, simples assim, wall of sound, pedais, dissonâncias, guitarras, Matt Catling é Bride UK, ou vice e versa, mas por aqui temos elementos de kraut, repeticões a´la Spacemen 3, tudo bem saturado como manda o figurino.
Tudo esta no inicio, tudo é gratuito, aproveite enquanto o Bride UK não é convidado a abrir os próximos shows do MBV, porque aí meu caro, tudo vai virar do aveso.
Sem perder tempo o TBTCI se antecipa e mostra qual é a do Bride UK.
***** Interview with Bride UK*****
Q. When did Bride starts, tell us about the history...
Bride started in mid 2008 as a one man solo project when it used to be called brideburger with scuzzy noise rock and post punk elements to a post rock/shoegazing/psych/drone sound, in 2010 i released a few of my first indie releases experiemental works (ambinet electronic), A&E EP (dream pop/noise), in 2011 i released my first full lenght album soundcapes and the second e.p a beautiful mind (experiemntal/shoegazing), the last i released too many people and kalidescope, later in the year i changed the name to bride and changed musical direction from LO-FI to a wall of noise with new releases of Expressway and sunset and i'm finishing the new album off as i speak
Q: Who are your influences?
My influences are MBV, spacemen 3, sonic youth, CAN, NEU!, Mogwai, mono, LoOp, deerhunter, flying saucer attack, grouper, labradford
Q. Made a list of 5 albuns of all time…
Top 5 albums
MBV - loveless
Mogwai - young team
spacemen 3 -recurring
Can - tago mago
Grouper – Dragging A Dead Deer Up A Hill
Q. How do you fell playing alive?
For playing performing live, if feels good and alive,
Q. How do you describe Bride sounds?
For the bride sound, it's really atmospheric wall of noise and a shoegazing sounds-cape.
Q: Tell us about the process of recording the songs?
The process of the recording a track or a song, is getting better and recorded with a producer.
Q. Which new bands do you recommended?
The new band i recommend is the star field (jay holiday), ypsmael, looperstar, memory ghost, poisk and mother sky
Q: Which bands you love to made a cover version?
For covers i guess it would be MBV, neu! and spacemen 3 becasue they inspired me alot
Q: What´s the plans for future....
My plan for the future is to relocate to U.S or europe for more exposure more playing live performance and new equipment for progression
Q: Any parting words?
I recommend my music for people who are into shoegazing/psych/drone/post rock and i hope to play in your town soon.
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Thanks Matt
quarta-feira, 1 de maio de 2013
And Your Bird Can Sing with Analog Birds - An Interview
Beatles, Beach Boys, The Kinks, The Who, ou seja psicodelismo e mod caminhando lado a lado a servico dos bons.
No Knock e Master Breacher se completam, lado A e B unindo-se perfeitamente, um deleite psicodélico de fazer Mr Brian Wilson abrir um sorriso de ponta a ponta.
Se você não conhece, vá conhecer os links estão no fim da entrevista mais que exclusiva ao TBTCI.
Q. When did Analog Birds start, tell us about the history...
Asa: I met Tim in high school art class in the late 1990s. He was musically inclined, and I had been asking around, trying to find people to start a band. Most people were into ska and punk at the time, and we felt that we had a wider range of influences to draw from.
Tim: After exchanging some demos and sharing some ideas, we decided to get together, jam, and lay down some recordings. We began feeding off of each other's ideas and energy, and after releasing a few tapes and a CD, we began to develop our own style.
Ali: I started working with the other two around 2000, and joined full-time in 2005, prior to the Musique Concrete album.
Asa: We have also had some very talented collaborators who are now Analog Birds alumni, and continue to work with us... Such as the wonderful multi-instrumentalist Matt McNiff, violinist Dan Tanenbaum, and our departed Analog Birds co-founder George Niesuchouski, whose final appearance was on Musique Concrete.
Q: Who are your influences?
Asa: The other guys are covering the major names, and there may be some redundancy, so
- Beck, Traffic, Caetano Veloso, Sly Stone, William Sheller, Serge Gainsbourg. Raymond Scott, a little bit. Brazilian music has influenced us quite a bit, especially Caetano Veloso and Jorge Ben.
Tim: Neil Young, Nick Drake, Radiohead, Stereolab, The Beach Boys, Pink Floyd, Harry Nilsson...
Ali: The Beatles, Ween, Harry Nilsson (again), Stevie Wonder, Jorge Ben, 10cc, Radiohead (again), and many more.
Q. Made a list of 5 albums of all time…
Asa: Midnite Vultures by Beck, Beach Boys Love You, Pink Moon by Nick Drake, and two Brazilian albums... Joia by Caetano Veloso and A Tabua De Esmerelda by Jorge Ben are both absolutely transcendent.
Tim: Abbey Road by The Beatles, Smile by The Beach Boys, Sound Dust by Stereolab, Sunflower by Beach Boys, End of the World Party (Just in Case) by Medeski, Martin and Wood
Ali: Animals by Pink Floyd, Ram by Paul McCartney, California by Mr. Bungle, Either Surf's Up or Sunflower by Beach Boys (hard to pick one), and Innervisions by Stevie Wonder
Q. How do you feel about playing live?
Asa: I love to play live. It is always interesting when we arrange our work for live performance... it is a totally different game compared to recording.. when we are able to translate studio material to the live experience, it is very gratifying to me.
Tim: It's what rock and roll is all about. I have to admit that I'd rather be writing and recording in the studio. But with studio recording, there is the whole technical side of things, which can take away from the natural expressive experience. Playing a show has the greatest reward. Also, I hear these days it's the only option to make a living :)
Ali: When the venue and the crowd are good, there's no better feeling in the world.
Q. How do you describe Analog Birds sounds?
Asa: Eclectic, authentic, progressive (but not prog) rock and roll. We want to push the medium of recorded music forward, in our own little way.
Tim: Whenever people ask me what genre Analog Birds fall into, my response is always, "I'm not sure. You tell me." I've heard answers including psychedelic rock, electro-rock, experimental rock, indie-rock, Avant-Garde, pop, and alternative. I myself have trouble describing our sound as a whole. With the many influences, styles, and textures that go into any particular composition, each song is very different form the next.
Ali: It's the sound of 3 Guys getting high and making music together. We don't let ourselves get bound to one particular style or another, but we feel there is a unifying feel to whatever styles we play around with.
Q: Tell us about the process of recording the songs?
Tim: When describing our writing process, I would say that most songs fall into one of the two categories. One of which involves someone bringing a single idea to the table, like a bass riff or a synth part, to be built upon and developed a full song. The other process involves one of us bringing a more complete vision of a song to the mix, where we all contribute our own ideas to help create the full the composition.
Asa: Some of our songs are written by one or two of us in a solitary way, some are studio experiments that evolve, and some, like our new single "No-Knock" that is a free download atmountvalley.net (ha-ha), evolve from an in-studio jam. Each song is the sum total of its composition, arrangement, and production, and then when we play the songs live, they take on new lives of their own.
Ali: It is the thing we most enjoy. One of us will lay down a track, then another one of us will lay down a track and so on until the song has transitioned from the realm of possibilities into the realm of actuality. It gets harder the further along the song is, but each song has its own unique genesis. Some songs are rehearsed before recording, while others are worked out as we go.
Asa: Some songs are also modular, with different parts recorded at different times and then stuck together. The coda of our new single "No-Knock" is an example of this.
Q. Which new bands do you recommend?
Asa: Ryan Weiner's excellent Lazy Talkers, and Foxygen, who are immensely talented.
Ali: Lazy Talkers.
Tim: I am not too hip on new music being produced nowadays…probably because I am stuck in the 60s and 70s and I hear all the mainstream crap being released today. But anything that Radiohead puts out, in my book, is always epic. Also, McCartney has been putting out painfully unnoticed albums since Wings. As far as new bands, hmmmm.
Q: Which bands you love to made a cover version?
Asa: I've always wanted to cover "O Telefone Tocou Novamente" by Jorge Ben and "Traveler" by Screaming Trees. As for another act covering us, Beck would do an amazing job (in my wildest dreams). Oh, and I'd also love to cover "My Year Is A Day," written by the incomparable William Sheller.
Tim: I've always wanted to cover Stones' or Zepplin songs more that anyone..probably because of the sex appeal involved. In the end, cover songs never really have appealed to us, probably due to the massive amount of tunes that we've written and have never released.
Ali: Something by Mark Lanegan...
Q: What are the plans for future....
Asa: To play live and continue to release singles and albums. We have a new album, The First One Follows, that will be releasing this summer or fall, and we will be dropping more singles in the meantime. We are also considering an anthology project for the end of 2013, as well as some in-studio streaming shows for our audience outside of NYC... Until we can tour Brazil!
Tim: To make music that has the ability to change the basic thinking of mankind.
Q: Any parting words?
Asa: Thanks to you, Renato, for this opportunity. We love making music... and we love and appreciate the fact that people, like you and your readers, enjoy it. Check out mountvalley.net for the latest info, and our site analogbirds.com will be updated and revamped very soon.
Ali: Thanks for your time! We love Brazil.
Tim: We are born to this earth…not this government!! :)
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mountvalley.net
analogbirds.com
***** Interview with Analog Birds *****
Q. When did Analog Birds start, tell us about the history...
Asa: I met Tim in high school art class in the late 1990s. He was musically inclined, and I had been asking around, trying to find people to start a band. Most people were into ska and punk at the time, and we felt that we had a wider range of influences to draw from.
Tim: After exchanging some demos and sharing some ideas, we decided to get together, jam, and lay down some recordings. We began feeding off of each other's ideas and energy, and after releasing a few tapes and a CD, we began to develop our own style.
Ali: I started working with the other two around 2000, and joined full-time in 2005, prior to the Musique Concrete album.
Asa: We have also had some very talented collaborators who are now Analog Birds alumni, and continue to work with us... Such as the wonderful multi-instrumentalist Matt McNiff, violinist Dan Tanenbaum, and our departed Analog Birds co-founder George Niesuchouski, whose final appearance was on Musique Concrete.
Q: Who are your influences?
Asa: The other guys are covering the major names, and there may be some redundancy, so
- Beck, Traffic, Caetano Veloso, Sly Stone, William Sheller, Serge Gainsbourg. Raymond Scott, a little bit. Brazilian music has influenced us quite a bit, especially Caetano Veloso and Jorge Ben.
Tim: Neil Young, Nick Drake, Radiohead, Stereolab, The Beach Boys, Pink Floyd, Harry Nilsson...
Ali: The Beatles, Ween, Harry Nilsson (again), Stevie Wonder, Jorge Ben, 10cc, Radiohead (again), and many more.
Q. Made a list of 5 albums of all time…
Asa: Midnite Vultures by Beck, Beach Boys Love You, Pink Moon by Nick Drake, and two Brazilian albums... Joia by Caetano Veloso and A Tabua De Esmerelda by Jorge Ben are both absolutely transcendent.
Tim: Abbey Road by The Beatles, Smile by The Beach Boys, Sound Dust by Stereolab, Sunflower by Beach Boys, End of the World Party (Just in Case) by Medeski, Martin and Wood
Ali: Animals by Pink Floyd, Ram by Paul McCartney, California by Mr. Bungle, Either Surf's Up or Sunflower by Beach Boys (hard to pick one), and Innervisions by Stevie Wonder
Q. How do you feel about playing live?
Asa: I love to play live. It is always interesting when we arrange our work for live performance... it is a totally different game compared to recording.. when we are able to translate studio material to the live experience, it is very gratifying to me.
Tim: It's what rock and roll is all about. I have to admit that I'd rather be writing and recording in the studio. But with studio recording, there is the whole technical side of things, which can take away from the natural expressive experience. Playing a show has the greatest reward. Also, I hear these days it's the only option to make a living :)
Ali: When the venue and the crowd are good, there's no better feeling in the world.
Q. How do you describe Analog Birds sounds?
Asa: Eclectic, authentic, progressive (but not prog) rock and roll. We want to push the medium of recorded music forward, in our own little way.
Tim: Whenever people ask me what genre Analog Birds fall into, my response is always, "I'm not sure. You tell me." I've heard answers including psychedelic rock, electro-rock, experimental rock, indie-rock, Avant-Garde, pop, and alternative. I myself have trouble describing our sound as a whole. With the many influences, styles, and textures that go into any particular composition, each song is very different form the next.
Ali: It's the sound of 3 Guys getting high and making music together. We don't let ourselves get bound to one particular style or another, but we feel there is a unifying feel to whatever styles we play around with.
Q: Tell us about the process of recording the songs?
Tim: When describing our writing process, I would say that most songs fall into one of the two categories. One of which involves someone bringing a single idea to the table, like a bass riff or a synth part, to be built upon and developed a full song. The other process involves one of us bringing a more complete vision of a song to the mix, where we all contribute our own ideas to help create the full the composition.
Asa: Some of our songs are written by one or two of us in a solitary way, some are studio experiments that evolve, and some, like our new single "No-Knock" that is a free download atmountvalley.net (ha-ha), evolve from an in-studio jam. Each song is the sum total of its composition, arrangement, and production, and then when we play the songs live, they take on new lives of their own.
Ali: It is the thing we most enjoy. One of us will lay down a track, then another one of us will lay down a track and so on until the song has transitioned from the realm of possibilities into the realm of actuality. It gets harder the further along the song is, but each song has its own unique genesis. Some songs are rehearsed before recording, while others are worked out as we go.
Asa: Some songs are also modular, with different parts recorded at different times and then stuck together. The coda of our new single "No-Knock" is an example of this.
Q. Which new bands do you recommend?
Asa: Ryan Weiner's excellent Lazy Talkers, and Foxygen, who are immensely talented.
Ali: Lazy Talkers.
Tim: I am not too hip on new music being produced nowadays…probably because I am stuck in the 60s and 70s and I hear all the mainstream crap being released today. But anything that Radiohead puts out, in my book, is always epic. Also, McCartney has been putting out painfully unnoticed albums since Wings. As far as new bands, hmmmm.
Q: Which bands you love to made a cover version?
Asa: I've always wanted to cover "O Telefone Tocou Novamente" by Jorge Ben and "Traveler" by Screaming Trees. As for another act covering us, Beck would do an amazing job (in my wildest dreams). Oh, and I'd also love to cover "My Year Is A Day," written by the incomparable William Sheller.
Tim: I've always wanted to cover Stones' or Zepplin songs more that anyone..probably because of the sex appeal involved. In the end, cover songs never really have appealed to us, probably due to the massive amount of tunes that we've written and have never released.
Ali: Something by Mark Lanegan...
Q: What are the plans for future....
Asa: To play live and continue to release singles and albums. We have a new album, The First One Follows, that will be releasing this summer or fall, and we will be dropping more singles in the meantime. We are also considering an anthology project for the end of 2013, as well as some in-studio streaming shows for our audience outside of NYC... Until we can tour Brazil!
Tim: To make music that has the ability to change the basic thinking of mankind.
Q: Any parting words?
Asa: Thanks to you, Renato, for this opportunity. We love making music... and we love and appreciate the fact that people, like you and your readers, enjoy it. Check out mountvalley.net for the latest info, and our site analogbirds.com will be updated and revamped very soon.
Ali: Thanks for your time! We love Brazil.
Tim: We are born to this earth…not this government!! :)
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mountvalley.net
analogbirds.com