sábado, 31 de dezembro de 2016

Collateral Damage with New Apostles - An Interview

E para fechar 2016 aqui nas páginas do TBTCI, o escolhido são os britânicos do New Apostles.

Talvez uma das bandas que mais produziram em 2016, os caras simplesmente lançaram seis trabalhos durante o ano, incluindo singles, e álbuns, onde um dos destaques dentre a discografia dos caras é "Collateral Damage", uma kraut dark sintético e psicodelicamente xamânico onde tem-se a impressão que o Sisters of Mercy colidiram em alta velocidade com o NEU! e no meio da batida havia o The Doors.

Caóticos s hipnóticos os New Apostles poderão ser seus novos doutrinadores, é apenas uma questão de direcionamento que você pode, ou não, seguir, mas o fato é que aqui no TBTCI, já adentramos a esta seita.

Simplesmente genial.

***** Interview with New Apostles *****

Q. When did New Apostles start? Tell us about the history…
It’s a long story. We got together in 1980, in the dying embers of the punk era. We knew each other through school. Originally a five piece, the nucleus was the three of us (Andy Whitehurst, Phil and Andy Pidluznyj). We went through a number of drummers and performed a lot with a primitive Dr Rhythm drum machine in this period. This was the pre-digital age so we were putting music out on cassette; also we had some of our stuff released on cult Italian anarcho label, Compact Cassette Echo. Then in 1998 we took a break. This proved to be longer than other breaks we’d taken. In fact, it lasted 17 years! Last year we tentatively started playing together again, and we soon realised it was sounding good, in fact, better than ever. Since then we have been extremely busy, recording three albums, West Bank, Apparatchiks and Collateral Damage, with a fourth already recorded and to be released early in 2017.

Q. Who are your influences?
Musically, key influences have been post-punk bands like Wire, Magazine, Joy Division and PiL. Then there’s the pre-punk stuff – Television, Patti Smith, Pere Ubu, Suicide. Going back further, The Velvet Underground, The Doors, The Stooges, 13th Floor Elevators, Love. Obviously, some krautrock – Neu! and Faust to name but two. But we’re equally influenced by lots of new stuff we hear via all the outlets there are nowadays – it’s never been easier to hear great music. And by media other than music – literature, cinema, politics.

Q. Make a list of your all-time 5 favourite albums

Favourite five albums – the list could change from day to day, hour to hour, but as of this minute: Unknown Pleasures – Joy Division
Marquee Moon – Television
154 - Wire
No More Shall We Part – Nick Cave and the Bad Seeds
Strange Days – The Doors.

Q. How do you feel playing live?
We’ve never enjoyed playing live more than we do now. We’re at the stage where we play what we want, if people don’t like it that’s their choice, we’re not going to compromise. The reaction’s been great – lots of energy and enthusiasm at our gigs, and even some outbreaks of spontaneous dancing!

Q. How do you describe New Apostles’ sounds?
People have described our music as krautrock flavoured post-punk gloom grooves. Who are we to argue? Tell us about the process of recording the songs? For both recording and songwriting, we adopt something of a punk ethos – we write songs very quickly, they come out almost fully formed; the same applies to recording, where most things are recorded as a group, live, usually in one take, just overdubbing some guitar and keyboards, plus of course the vocals. Mark at Psyrex Sound Lab understands our sound well and once we’re in a groove, we like to record all our songs in the one session, to capture a moment in time.

Q. Which new bands do you recommend?
There are too many to mention them all, but in Nottingham, The Amber Herd and Eyre Llew. For soundscapes, Transmission 13, Exploding Galaxy, Solemn Shapes, Fluffytails. For unique voices/sounds/ambience, highly recommended are Diane Marie Kloba, and PranaCrafter. Also check out Desert Mountain Tribe and our Soundcloud buddies Tiny Cuts from Cardiff.

Q. Which band would you love to make a cover version of?
Whoever it is, it would end up sounding like New Apostles! Wire, Neil Young and Crazy Horse, Lee Hazlewood would all be interesting to have a go at.

Q. What are your plans for the future?
In early 2017 we’ll be releasing our next album, with the working title “Recurring Dreams”. We’re just considering how best to release it. We have also started working on new material and have three or four tunes that will probably see the light of day later next year. Plus, a few gigs to give people the opportunity to experience the New Apostles live sound!

Q. Any parting words?
A big “Thank You” to everyone who has said kind things about our music. It’s great to find kindred spirits across the planet!!!


Killing Time with Crying Vessel - An Interview

Slade Templeton é a mente e o doutrinador do projeto Crying Vessel, que em Outubro soltou seu mais recente trabalho, o sombrio EP, "Killing Time".

Com nuances óbvias de pós punk, cold wave e leves inserções de um trip hop denso e sombrio, o Crying Vessel cometeu um dos discos mais oitentistas lançados nessa década.

Sem soar gótico, tampouco indie e muito menos tecnopop, Slade e seu Crying Vessel dão tonalidades escuras com leves toques dançantes.

Perfeito para se perder em qualquer inferninho escuro e esfumaçado.

***** Interview with Crying Vessel *****

Q. When did Crying Vessel start? Tell us about the history...
I started Crying Vessel back in 2010. I did a song for someone at the time and she happened to be a Music Journalist and she said to me “This sound is way too good to not do more music like this”… [but] I was heads deep at the time with my DJ duo “Defunct!” touring and releasing and it took a good 4 or 5 months before I really said “yea… maybe she is right… fuck it… ill do some more stuff like this.” Since then I have done 4 albums and 2 EPs. I never ever pushed it or tried to get record deals or anything with it. I was always too busy with the other projects going on and kept it sort of in a ‘secret place’ for those that cared to seek it out and enjoy it. Feelings and times change though and I stand behind it fully now. I am very excited to share this latest stuff with the world; as the message is very meaningful to me and I hope it gets through to some people.

Q What is this message you are delivering with your new songs?
I have gone through a very dark road from many years of touring and ‘partying’ or ‘living that lifestyle’ in the past. I had a near death experience nearly 4 years ago and had a life saving surgery due to my actions and decisions. When I survived I felt Crying Vessel is the perfect place to put all those emotions and feelings into a bundle of songs. The darkest of times can shed light in the best way though. I felt I could use this outlet to get a message across to those that may be suffering from their own dark demons. I was kept here for a reason that goes much deeper down that wormhole than we can ever really understand; and because I have access to an audience with my music, I should never take that for granted. I should be using it to get through to those that can relate and feel what is needed to work past their own inner-turmoil. Music is one of the most expressive forms of communication I feel. We speak on a different level when we do it through our music or art. Its something absorbed and related to with an entirely different parallel.

Q: Who are your influences?
There are many from young age to current. I started along these styles though with a mentor named Dean Garcia (SPC ECO, Curve, Sinead O Conner) when I was much younger and he influenced me heavily in those years to sort of lead me in a certain direction I guess. After that I found my own way through various experimentations and collaborations. Outside of personal influences though; I really enjoy bands like Sisters Of Mercy, Jean-Michel Jarre, The Cure, INXS, Gary Numan, Depeche Mode, Skinny Puppy… I grew up in the 80s and 90s on these sounds.

Q. Make a list of 5 albums of all time…
Oxygène (Jean-Michel Jarre)
The Fragile (Nine Inch Nails)
Disintegration (The Cure)
Violator (Depeche Mode)
Type O Negative (October Rust)

Q. How do you feel playing live?
I am actually in the process of taking Crying Vessel live at the moment. Even with so much music released I have never performed as Crying Vessel. I feel its finally time to change that. With hopes I get the live show exactly how I want it; I will be taking it live in 2017 in support of the new album “A Beautiful Curse”. I have already had bookings coming in from many places in Europe such as France, Switzerland, Germany, Portugal and Spain to name a few; so I truly hope I can fulfill them and get the ball rolling.

Q. How do you describe Crying Vessel sounds?
I have evolved since the first album but came back full circle. I was very 80s dark wave inspired in the first album then went much more trip hop over the years on the next couple albums and now found my way back into dark wave entirely. I have worked with many collaborators over the years such as Dean Garcia (Curve, SPC ECO), Rose Berlin (SPC ECO), Chris Pittman (Guns N Roses, Tool), Preston Maddox (Bloody Knives), Robert Smit (Sick Boy), Joey Kirk (RAD!) along with many others. Even after all the features I realized I was mainly doing this to hide myself from myself in my music. I had to be honest when I realized this… Crying Vessel was always my personal get-away and I should express it as such. While I was under record deals with all other projects and stuck in many ways in all directions due to contracts or expectations; I was able to not worry about much of any of that with Crying Vessel. While I was touring extensively with my other projects I always felt I needed something more personal. Something that was entirely me. This eventually would be the reason as to why I decided on this new album to take it all entirely solo. No features or anything of the sorts. Just me, myself and the instruments. Also my vocals lead much better and hold true. I used to hide behind the FX so much.

Q: Tell us about the process of recording the songs?
Previously on other albums they were filled with collaborations and I always would send online after producing the ideas or ‘starts’. But with this last album I was working mainly by myself from both my at-home studio (mainly producing the outlines and ideas) and then doing final touches and guitars, tracking, vocals, etc at the big studio that I am a Record Producer and Engineer from (called Influx Studios in Bern Switzerland/Berlin Germany). I would start by getting a good melodic progression going that sort of ‘talks to me’ and starts directing me emotionally… then work the beats around this to give it progression and groove. I sampled TR707 and Linndrums for the drums you hear. The synths were all from Roland D50, Juno 60, Jupiter 8V, and Yamaha Dx7 sampled and through samplers or emulators. I then would throw them through various processing and FX via both plugins and outboard. I recorded the vocals with my assistant helping because i needed the extra hand and ears when I do vocals to help me sort of reflect off him. I used M49 and Peluso 251 microphones with Neve or API pre amps. I ran much of the stuff you hear through Culture Vulture tubes and reamped the guitars through various amps such as VOX and Fender amps. I ran the bass guitar through Tube DI box and LA2A for leveling. I mainly used a Gibson Les Paul for the guitar and a Fender Jazz Bass for bass guitars. I then mixed and mastered with virtually every single piece of Analog gear in the studio to sort of embrace the 80s or 90s sound for the warmth and fullness, but I kept it very modern too, due to the production style.

Q. Which new bands do you recommend?
There is lots of great bands coming out in this style that are on my record label Zoey Records. Parrot To The Moon are really amazing Swiss band. Very Talk Talk sounding but more romantic. Dead Astronauts are a well known one also on the label and I was honored to also play guitar with them on their latest album on NewRetroWave/Zoey. I recently discovered this killer band from Greece called Stressed People too…They will be coming out on my label Zoey Records. SPC ECO of course is an all time fave of the underground, and not just because I work with them over the years but because they truly are unique and amazing with pure art and those heaven sent vocals from Rose tie it all off. Most of the roster over at Manic Depression Records is brilliant too. Such talent!

Q: Which band would you love to make a cover version of?
I actually heard something that grabbed me so much on the radio at a store the other day that I was like “Holy shit I need to cover this!” and… alas… I never found out what it was… I’m like a grandpa and apparently and forgot that Shazam is a thing. hah… but otherwise… honestly… It is hard… I hear too many originals blown apart in a not-so-good way and had a shit taken on them by artists… so its a very touchy subject I think with covering… but when the time strikes and I think I could do something justice I will give it a shot I’m sure. I covered Duran Duran’s “Come Undone” with a female vocalist as Crying Vessel a long time ago…. I think it is on youtube somewhere.

Q: What are your plans for the future?
Right now getting the live show together with the right drummer and then hitting the circuit. Get the new album out in Spring 2017 (A Beautiful Curse) and new music video with this awesome Swiss video producer named Dave from Fornax Void. I have been in full on talks with Manic Depression Records (France) and sounds like I will be signing with them for the VInyl/Cd/Digital release of the new album. Super excited about that. Its always hard in between all the bands and albums I’m producing and engineering at the studio to give 100% attention back into my own projects. Its not like working at Wal-Mart then coming home itching to write music. I write music or engineer music all day… the last thing I want to do when I get home is even hear music a lot of the time! So this will also be a focus for 2017 is to give CV the attention it deserves and get it to the masses and touring. I have the fire under my bum to do so :).

Q: Any parting words? Thanks again
Thanks to you too! Also thank you to those that take the time to listen and enjoy my work (or anyone else out there pushing what they truly love!)


sexta-feira, 30 de dezembro de 2016

Rewind with San Mei - An Interview

San Mei é o nome do projeto solo da australiana, bela e talentosa Emily Hamilton.

Navegando por entre facetas sonhadoras guiadas por beats e synths, aliasda as cristalinas linhas melódicas da guitarra de Emily.

Ainda sem ter nada oficialmente lançado, Emily, ou se você preferir San Mei te cativa desde os primeiros segundos, é só dar play nas belas "Revel", "Rewind" ou "Wars", e a paixão terá início.

Que venha mais em 2017, esse é nosso pedido a San Mei.

***** Interview with San Mei *****

Q. When did San Mei start? Tell us about the history...
I started San Mei in about 2012, after being in a couple of different bands over the years. As San Mei, I've released a few singles here and there, but have been taking my time to really develop my sound. Next year I'll be releasing my debut EP.

Q: Who are your influences?
I have so many different influences! From Black Rebel Motorcycle Club, Cocteau Twins, The Jesus & Mary Chain, Black Keys, to Cat Power, Warpaint, Lana Del Rey, Lykke Li... they're all quite different from each other but I've taken bits and pieces from all these artists that I love.

Q. Make a list of 5 albuns of all time…
These aren't in any particular order but they're albums that I love:

1. White Album by The Beatles
2. Forever Blue by Chris Isaak
3. Because of the Times by Kings of Leon
4. Lonerism by Tame Impala
5. Ultraviolence by Lana Del Rey

Q. How do you feel playing live?
I love it - it's exciting to feel the songs come alive with the band and connect with people face-to-face

Q. How do you describe San Mei sounds?
Dreamy, fuzzy, shoegazey

Q: Tell us about the process of recording the songs ?
I write and track all the melodies, parts/instruments at home - usually my songs are fully formed when I create the demos. I then refine the songs with the help of the producer that I go into the studio with - we work through the song together in pre-production so we know exactly what we're going to do when we get into the studio.

Q. Which new bands do you recommend?
Georgia Mae, WAAX, Stevie

Q: Which band would you love to made a cover version of?
I'd love to cover anything by The Kills

Q: What are your plans for the future? I'm planning on releasing my debut EP early next year, with a couple of small tours to support it

Q: Any parting words?
Thanks for having me!


quinta-feira, 29 de dezembro de 2016

Loss Molecules with Magnetic Ghost - An Interview

Mântrico, droneado, xamãnico, hipnótico, doentio, angustiante, estes são alguns dos adjetivos que certamente virão a sua mente e principalmente a alma, após ser submetido a audição do debute do projeto de Andrew Larson, que atende pelo nome de Magnetic Ghost. 

"Loss Molecules" é uma viagem dolorosa que caminha deste o psicodelismo bruto chegando próximo de um sadcore profundamente intimista. 

Pense em Low, Flying Saucer Attack, Faust e intensifique a dose com a intensidade de um Chelsea Girl, pode ser que chegaremos a beleza dolorosa que o Magnetic Ghost criou em "Loss Molecules".

Cabe aqui uma virgula, Andrew começou sua jornada no Whitesand/Badlands lá em 2010, e agora atingiu o ápice em sua viagem solitária rumo ao interior da alma.

O TBTCI, apenas aconselha,  cuidado, se por ventura, sua auto estima não estiver no lugar certo, pode haver efeitos colaterais.

***** Interview with Magnetic Ghost *****

Q. When did Magnetic Ghost start? Tell us about the history...
Magnetic Ghost started initially as my record imprint to release a record by my previous band (whitesand/badlands ; https://whitesandbadlands.bandcamp.com/ ) in 2010, but around that same time, I started using it as the moniker for my solo improv drone music outings--- so it grew out of that. It's turned into a means to fuse my two opposing ways of playing music--- combining improvised elements and songwriting, and I think changed my songwriting as a result.

Q: Who are your influences?
Sonic Youth, Low, GYBE!, Flying Saucer Attack, Chameleons, Beach Boys, Faust, Popul Vuh, Velvet Underground, Brian Eno, John Cale, Steve Reich, Swans, Terry Riley, Women, Broadcast, Joy Division, Unwound, Can, Slowdive, MBV, Nico, Fleetwood Mac, Pink Floyd, Radiohead.... tons of other things.

Beyond music--- open spaces in the world, the feeling of being in an expansive environment without the trappings and anxiety of civilization boxing you in. and the inverse-- trying to know and understand the world we have made for ourselves.

Writers: Edward Abbey, Hunter S. Thompson, Nietzsche, Max Horkheimer, Eric Hoffer, Cormac McCarthy, lots of others

Q. Make a list of 5 albums of all time…
An impossible task, changes and morphs all the time

Fleetwood Mac - Tusk
Sonic Youth - Washing Machine
Nico - The Marble Index
Steve Reich - Octet, Music For a Large Ensemble, Violin Phase
Chameleons - Script of the Bridge

Q. How do you feel playing live?
Live is all about trying to lose yourself, gain some sort of hypnotic state and ride the waves.


Q. How do you describe Magnetic Ghost sounds?
On record it is a bit more conventional, at least on "Loss Molecules" it's more of a "band" where I played all the instruments, live it has been interesting to re-arrange it for one man, four amps, four signal paths, instrumental and vocal loops--- it keeps reinventing itself.

Q: Tell us about the process of recording the songs ?
I started them at my friend Neil Weir's recording studio (http://bluebellknoll.com/) and then took them home to work on them over a number of months, allowing the writing and recording process to really be one in the same with them. Having the time to mull, consider, and try arrangements that you wouldn't be able to do in a normal studio time frame was of huge benefit. Then, I took the tracks back to Neil to mix, and he took a fairly active roll in producing it, he's got a great ear and ideas to match.

Q. Which new bands do you recommend?
I've been really taken with Weyes Blood at the moment, the new record "Front Row Seat to Earth" is really breathtaking modern psych folk. Not so much a new band, but savvy listeners who would like to hear a truly innovative take on a sort of post kraut psych space jazz (yeah, find that genre, but it makes sense) should look up American Cream from Minneapolis.

Q: Which band would you love to made a cover version of?
I've been playing a couple covers live of late, some pretty radically rearranged versions of Fleetwood Mac's "Sara" and Nico's "Afraid"... they actually blur together, and I think they are something of an interesting pairing lyrically.

Q: What are your plans for the future?
Sporadic shows in support of "Loss Molecules". Currently booking some shows in and around LA / Joshua Tree for early March. DroneNotDrones fest in Minneapolis in February, a truly magical event. (http://dronenotdrones.com/) And I'm already working on the follow up to "Loss Molecules" in my studio.

Q: Any parting words?
These days it's an insane world out there. Value art and creativity! Defend independence and independent thought! Use the internet as a tool, but remember that we don't live there. Go outside away from the city sometime and leave your phone at home! We all need to remember that we're animals sometimes.


quarta-feira, 28 de dezembro de 2016

Love Luster with Tideland - An Interview

É triste quando uma promissora banda por conta de mudanças ou melhor, por conta da vida mesmo, acaba entrando em um hiato e deixa um legado de quatro álbuns, ainda mais nos dias atuais, onde a dificuldade em gravar e manter um equilíbrio sonoro de qualidade é notório.

Este é o caso do trio Tideland, que começou lá no já distante 2007, e como coloquei tem quatro discos ou seriam quatro pauladas na orelha? Tanto faz, ou melhor os discos do Tideland são exatamente isso, uma estilingada nos tímpanos. Tendo como alicerces, MBV, Dinosaur Jr. e o grunge, os caras são meio que percursores desse crossover todo de shoegaze com grunge.

Se vocês por acaso não os conhece, faça um favor a você mesmo imediatamente, escolha qualquer um dos discos e aumente no talo.

Diversão e barulheira garantida.

***** Interview with Tideland *****

Q. When did Tideland start? Tell us about the history...
Tideland started in the summer of 2007. I had known Chris for a few years but meet Jon at our first practice. We all immediately hit it off and it didn't take long for us to write enough songs to start playing shows.

Q: Who are your influences?
I'd say tideland has many influences but the biggest would be bands like dinosaur jr., My bloody Valentine, Nirvana, grungy bands like that.

Q. Make a list of 5 albuns of all time…
My bloody Valentine loveless
Iggy and the stooges raw power
Nirvana bleach
The Jesus lizard liar
Dinosaur jr. Where you been

Q. How do you feel playing live?
Playing live is always a lot of fun. Good, bad, whatever, we just like to have fun.

Q. How do you describe Tideland sounds?
A sonic mash of 90s grunge and shoe gaze goodness

Q: Tell us about the process of recording the songs ?
We've always taken a pretty typical approach I'd say. We'll book a few days or a week in a studio, go in get the drums tracks down first then follow it up with guitars bass and vocals. Most time is probably spent on guitars because there are a lot of layered tracks.

Q. Which new bands do you recommend?
The cloth, a band from Philly is a fun band to play with. Also, Big hush, from DC

Q: Which band would you love to made a cover version of?
Nirvana of course haha

Q: What are your plans for the future?
Tideland doesn't really play much anymore. I've moved away from the DC area to San Francisco, so it's tough. We always try and get together to practice just for fun when I'm back in DC though.

Q: Any parting words?
I really wish tideland could be more active, it's one of the most fun bands I've been in. We've net a lot of great people and had fun touring around. Thanks for getting in touch and digging what we've done!


Must Be Nice with Fat Creeps - An Interview

O último single lançado pelo duo Miriam e Grace ou se você preferir Fat Creeps resume bem o que acontece após ser submetido a música das meninas, "In Love", o single e também o sentimento é esse aí mesmo.

Impossível não cair de amores pelo simples fusão de indie rock guitarreiro, bubblegum curto e grosso da meninas. Elas tem uma discografia extensa, cheia de singles, EPs, Splits, e um álbum absolutamente indispensável, "Must be Nice" de 2014 é tudo que você precisa neste momento.

Aumente no máximo, saia pra rua, e feliz ano novo, claro, cortesia das Fat Creeps.

***** Interview with Fat Creeps *****

Q:When did Fat Creeps start? Tell us about the history...
We met at a tacky polynesian themed Restaurant on the dancefloor...the rest was history. Just ask your social studies teacher

Q: Who are your influences?

Q. Make a list of 5 albuns of all time…
Captain Beefheart-Safe as Milk
Serge Gainsbourg and Brigitte Bardot- Bonnie & Clyde
The Lentils- Brattleboro is flooding
Devo- are we not men?
Secret Lover-Secret Lover

Q. How do you feel playing live?
Like 20 bucks, just keepin it light

Q. How do you describe Fat Creeps sounds?
the illest track at the end of your favorite movie

Q: Tell us about the process of recording the songs ?
We have an idea, then argue about it, then take it to the studio and turn it in to the real thing!

Q. Which new bands do you recommend?
Jim Leonard's music beat
Plum Professional
Ben Katzman's Degreaser

Q: Which band would you love to made a cover version of?
Mariam puts on a cool halloween cover show every year- We were the Ramones one year and the Cramps the next....I think the B52s would be a fun band to cover.

Q: What are your plans for the future?
fake our deaths and move to Wyoming

Q: Any parting words?


segunda-feira, 26 de dezembro de 2016

Be Away with Versus People - An Interview

É sabido que uma avalanche shoegaze vem cobrindo os quatro cantos do mundo, bandas que seguem a cartilha de MBV, Slowdive, Ride entre outros reverberando seus sonhos e anseios soterrando-os sob muralhas de microfonias e efeitos.

Porém é chegada a hora de ver uma nova e mais recente geração que além de reverenciar os clássicos começa a se espelhar em heróis mais recentes, leia-se Ringo Deathstarr, Flyying Colours e outros, caso dos suíços do Versus People.

"Be Away" é o segundo EP deles e muito mais do que reviver a Scene, o Versus People segue o caminho mais atual, trabalha o que existe no meio das muralhas e efeitos, as melodias, os vocais e aí que reside a beleza da banda.

Shoegaze sim, mas olhando para o futuro.

***** Interview with Versus People *****

Q. When did Versus People start? Tell us about the history...
Of course like many musicians today, we began as teenagers playing Green Day songs in our parents' houses. Lucien and Aurelien met at school, and I joined the band later on thanks to Facebook. After the punk phase, we started playing some alternative rock, doing some covers of Muse or Franz Ferdinand, stuff like that. Then we discovered new bands, particularly The Horrors, which led us to My Bloody Valentine. Also buying a lot of new pedals helped to go in the shoegaze territory.

Q: Who are your influences?
The big shoegaze classics obviously, MBV and Slowdive, but also some more recent stuff like Ringo Deathstarr, The Horrors to some extent.

Q. Make a list of 5 albums of all time…
Tough one... Let's try outside of the obvious classics for this one:
1. My Bloody Valentine - You Made Me Realise
2. The Jesus And Mary Chain - Darklands
3. The Horrors - Skying
4. M83 - M83
5. Ringo Deathstarr - Colour Trip

Q. How do you feel playing live?
Like our set is too short when it ends! But unfortunately, the music scene in Switzerland is kind of small and not hugely open minded, so we don't play live that often, maybe 8-10 times a year on average...

Q. How do you describe Versus People sounds?
Wall of sound all the way! And we love layering dozens of instrument and voice tracks to really blur it all.

Q: Tell us about the process of recording the songs ?
For the 'Be Away' EP, we recorded the guitars on a drum machine first, then we sampled live drum loops to get a nicer, more dynamic sound but still keep that almost electronic beat style. And we did everything ourselves, in our rehearsing space with a few mics and had fun with the mixing software!

Q. Which new bands do you recommend?
I think Flyying Colours and Ringo Deathstarr represent the future of shoegaze, they're both getting a pretty big discography by now, but other than that, it's really hard to say, a lot of good songs come out without follow ups so you never know. And also all the old bands are reforming and recording again, so we're hoping they're making great tunes to further the cause ;)

Q: Which band would you love to made a cover version of?
We did Air's Dead Bodies lately, live and studio (available on the latest EP). But that's probably because it's instrumental, we wanted to do Soon by MVB or Bong Load by Ringo Deathstarr for a long time, but the lyrics are impossible to find or decrypt...

Q: What are your plans for the future?
We're probably going to record stuff again, we'll see how much we can output, so expect a new EP or full length in 2017!

Q: Any parting words?
Make shoegaze great again!


domingo, 25 de dezembro de 2016

Pocket Full of Years with Housing Crash - An Interview

Não é porque é dia de Natal que o TBTCI e a música no submundo dos bons sons param, ou dão um tempo, pelo contrário, a efervescência segue intensamente.

Mantendo a tradição, agora nestas páginas é chegada a hora do quarteto e Istanbul, Turquia, Housing Crash. Com pouco menos de seis meses, sim, seis meses de existência, os caras já chamaram a atenção de quem acompanha o que há de interessante e intenso berrando e gritando nos becos escuros e barulhentos nos quatro cantos do mundo.

Dois singles, "Pocket Full of Years", o mais recente e noventista, e "Sticking Around", o debute, este mais intenso que impressiona pelo crueza e melódica mescla de um pós punk freak com um shoegaze mais pesado, como o Catherine Wheel por exemplo, exemplificando o Housing Crash seria uma colisão entre PIL e CW ou algo do gênero.

Duas músicas poderosas com destaque para "Sticking Around", como foi citado. Agora é esperar os próximos passos dessa promissora nova banda.

Que venha muito mais do Housing Crash.

***** Interview with Housing Crash *****

Q. When did Housing Crash start? Tell us about the history...
The band officially got started in May 2016. I'd been making some songs at home with a DAW for a couple of months, and I wanted to perform them live. I got in touch with Murat, Todd, and Paul because I'd played with each of them in several different projects, and they seemed pretty keen on the material. As we worked on the songs in various practice studios around town, each of the guys added their own take on the different parts and helped smooth out the song structures. We haven't been together very long, but since there's a history of collaboration between us, it was easier to gel as a group.

Q: Who are your influences?
Each of the guys brings their own set of influences to the table, and they're pretty wide-ranging. For my part, one of my biggest influences has always been The Cure, though I don't think we sound much like The Cure at all. I've always loved Simon Gallup's songwriting and tone. Really, I just want to try to make songs that have traditional pop structure but also incorporate the noisiness and dynamism of guitar-driven groups like Sonic Youth, Ride, Dinosaur Jr., Catherine Wheel, Swervedriver, etc. Lately I've been really into that crease between postpunk, psych-revival, and college rock that happened in the early to mid 80s. Snake Corps are a great example.

Q. Make a list of 5 albums of all time…
The Desert Island Top 5! Haha :) This is a difficult one, as it changes all the time. For the moment, in no particular order,
The Cure "Pornography",
Brian Jonestown Massacre "Revelations",
Idaho "Alas",
Sparklehorse "It's a Wonderful Life",
and Catherine Wheel "Chrome".

Q. How do you feel playing live?
We love it! More shows, please.

Q. How do you describe Housing Crash sounds?
We try to have the bass, guitars, and vocals all doing different things during the songs, which hopefully gives things some melodic and rhythmic depth. Most of the songs right now are sort of driven by a mid-tempo beat with guitar and vocal lines knocking around overhead. I'm not particularly good at describing our sound, but I think it sort of fits into the noisepop/rock genre. We are not afraid of guitar solos.

Q: Tell us about the process of recording the songs ?
The two songs we've got out now were recorded very differently. "Pocket Full of Years" was recorded live at JamSession Studio in Kadıköy. We banged out a few takes of it, then I did a few vocal takes, and then we sent it off for mixing and mastering. "Sticking Around" was done line-by-line at Bubinga Records in Taksim, vocals were done on a separate day, and then it went off for mixing and mastering. We're rather lucky to be working with engineer Chris Holmes for the mix/master process. He's really awesome at deciphering our input about what sort of sound we want despite the lack of face to face interaction.

Q. Which new bands do you recommend?
Spectres, No Joy, Slight, The Enters, Pinkshinyultrablast, LoveLoveLove, Dream Suicides, Nite Fields... I do an hour weekly on http://standart.fm wherein I try to play a mix of new stuff and old stuff. The amount of good new stuff out there is overwhelming. TBTCI has been incredibly useful to that end over the past couple of years. Thank you for that!

Q: Which band would you love to made a cover version of?
I've been trying to talk the guys into covering "Public Image" by P.I.L., but I'm not getting very far with that at the moment. hehe

Q: What are your plans for the future?
We've got the two video singles out now, and we're going to keep making them. The next one will hopefully be out sometime in late December/early January. Maybe an EP or something later on if we can find someone who wants to put one out.

Q: Any parting words?
Thanks for the interview and keeping up such an awesome music resource!


quinta-feira, 22 de dezembro de 2016

Moon Language with Blue Plutos - An Interview

Quando uma banda trafega com propriedade por diversos estilos sem perder sua essência é sabido que estaremos lidando com algo acima.

Este é o caso dos Blue Plutos, trio de Boston que soltou em final de Outubro seu novo álbum, o iluminado "Moon Language". 

Passeando por psicodelismo sessentista, dreampop, pitadas de post punk e desembocando tudo isso num ensolarado indie rock como nos bons tempos, os caras transbordam melodias cantaroláveis desde a primeira audição. Eu arrisco dizer que os caras são para os dias de hoje o que o Teenage Fanclub representou para os 90´s.

Acha exagerado? Experimente e delicie-se.

***** Interview with Blue Plutos *****

Q. When did Blue Plutos start? Tell us about the history...
A: Blue Plutos started in 2011. We’ve all been in bands together and separately, and also have had sort of a singer/songwriter thing going on individually too. Blue Plutos was a way of merging the two approaches. At first it was just about helping one another complete and produce each other’s songs. We’re definitely conscious about how the music is evolving and the sound we’re continuing to develop.

Q: Who are your influences?
A: Mark Mulcahy, The Monkees, The Cure, Elliott Smith, Blur, Magnetic Fields

Q. Make a list of 5 albums of all time…
A: Megadeth - Rust in Peace
Primal Scream - Sonic Flower Groove
The Wrens - The Meadowlands
This Heat - Deceit
Kate Bush - Never For Ever

Q. How do you feel playing live?
A: Playing live can be really cool, but Blue Plutos definitely prefers the process of recording.

Q. How do you describe Blue Plutos sounds?
A: Its largely about finding the right mix of earworm melodies with unexpected chord changes. It’s a very layered sound with several guitars, keys and samples on most tracks.

Q: Tell us about the process of recording the songs ?
A: Typically, the writer of the song shows some early demos to the other guys for initial feedback. After any changes, they get started recording solo. We usually bring the other guys back in for when the song has taken form - and lots of month of additions and subtractions and shuffling until we all feel comfortable it’s in its final state.

Q. Which new bands do you recommend?
A: Let’s define ‘new bands’ as bands whose debut album has come out within the last 10 years - Cymbals Eat Guitars, Doug Tuttle, Grimes, Belong, Self Defense Family

Q: Which band would you love to made a cover version of?
A: Covers are a daunting idea for a band that doesn't play live. That said, Lou Reed and Metallica’s Brandenburg Gate would be an interesting project...

Q: What are your plans for the future?
A: Keep recording. Blue Plutos has primarily been a bedroom project to date, aside from a couple of live performances. We want the next batch of songs to be recorded in a live band setting.

Q: Any parting words?
A: Cassettes are a great way to consume music nowadays.


Riffer with Melt - An Interview

O quarteto de New Jersey, Melt soltou mês passado seu debute, o noventista "Riffer".

Jogue na receita as guitar bands clássica da década mais barulhenta da música e misture tudo, o resultado é tudo aquilo que crescemos, chapamos e continuamos a ouvir com o sorriso estampado na cara.

Se formos situar atualmente, o Melt segue aquela linhagem de bandas como Nothing, Whirr e outras que pegam peso, densidade e melodias dosando os três elementos perfeitamente.

Nada de novo, nada de revolucionário, mas e daí, aumente a o volume e sai pra rua.

***** Interview with Melt *****

Q. When did Melt start? Tell us about the history...
MELT started out as a high school garage band between Joe (drummer) and myself (Dylan,) originally called Mount McKinley (you can hear one of those tracks here: https://www.youtube.com/watch?v=2udAgj1QwEg )

We were a two-piece for a while and after a few years of playing and lineup changes, ended up this way. I met Erik (lead guitar) while playing in another band and it all just kind of came together slowly. This current version of MELT started in January 2016.

Q: Who are your influences?
The very short list would be: Christie Front Drive, HUM, Duster, Nothing, Sunny Day Real Estate, Converge, Max Martin....we could go on.

Q. Make a list of 5 albums of all time…
In no particular order:

1. Jazz June - The Medicine
2. Counterfit - From Finish to Starting Line
3. Brian Eno - Another Green World
4. Jimmy Eat World - Clarity
5. American Football - S/T

Q. How do you feel playing live?

Q. How do you describe Melt sounds?
When we record, we aim for a mid-fi sound. Nothing fancy. We like tracks that are densely layered but not too cluttered.

Q: Tell us about the process of recording the songs ?
We rent a studio to use the microphones we can't afford. Then when we run out of time, we take the tracks and work on them at home until we give up.

Q. Which new bands do you recommend?
So many...lately we're really into Code Orange, Magnet School, Pinegrove, Teen Body, THICK, Forth Wanderers

Q: Which band would you love to made a cover version of?
We'd love to cover Kylie Minogue - Love At First Sight

Q: What are your plans for the future?
We just want to tour, play, write and release as much as possible. And maybe have some fun.

Q: Any parting words?
Thanks for taking an interest in our band, and we look forward coming down to Brazil!


terça-feira, 20 de dezembro de 2016

Shimmer with Sleepwalk - Track by Track

Quem acompanha as páginas do TBTCI, já conhece o quinteto Sleepwalk e sua promissora estreia, o EP "Heaven´s Gate", lançado em Abril, só que agora os caras voltam a tona com seu primeiro trabalho cheio, o discaço "Shimmer".

Seguindo a receita inicial, sendo os principais ingredientes, MBV, Smashing Pumpkins e Fugazi, ou seja, melodias, densidade, sonhos e peso, o Sleepwalk em se debute, tira um bocado do peso e capricha nas melodias, a densidade fica em segundo plano, e os sonhos surgem em primeiro plano.

Um belo disco, sem dúvida, se bem que poderia ser mais pesado, mas, para melhor entender o que é "Shimmer" o TBTCI convidou o Sleepwalk a dissecar o álbum em um track by track maliciosamente ilustrativo.

Sras, e Srs, Sleepwalk.

***** "Shimmer" - Track by Track

1. The Sinking Waltz
This particular opening was inspired by the opening track to Spritualized's "Ladies & Gentlemen We Are Floating In Space" (which I recently learned that the choir vocal melody is from Elvis's "Can't Help Falling In Love" which bummed me out learning it wasn't original) as well as Mercury Rev's "Holes." When the first guitar layer was put down, there was an obnoxious amount of reverb, delay, pitch warping, and the tone was real deep and it gave a sort of underwater feel, which coincidentally tied in perfectly with the lyrics, and so we ran with that idea. At about 2:35 there is a percussive sound that comes in. This was an attempt to mimic Gavin Bryar's The Sinking of the Titanic, an incredible minimalist/ambient work which is supposed to sound like if the string quartet among the Titanic kept playing after being submerged in water, and it has this weird percussion sound which sounds like ping pong balls bouncing around and it somehow totally gives the feel of being underwater. To get this sound we used a drumstick and an empty plastic cup from Dunkin Donuts and soaked it in reverb. The strings were another thing that had to be in there, but it wasn't until the underwater theme came about that it made sense to have them pizzicato because so they would sound like the adagietto to Mahler's 5th symphony; a piece that is the perfect representation of a rainy day. To further reach a sort of underwater sound, when we recorded the acoustic guitar layer, the recording engineer it put a mic inside of a glass jar to give it a sort of natural filter, and that is what you're hearing with regards to the acoustic guitar. There are many vocal layers in the end, and by the close of the song there is something like 6 vocal layers all going at once, double bass, violin, organ, electric guitar, acoustic guitar, e-bow, and two piano layers. It sounds massive.

2. Shimmer
This is the title track and the first song we put out from the new material. It's actually a very old song idea that came about well before we were really a serious band and when we were only a three piece. The bassist and drummer always loved it and wanted to bring it back so it eventually found it's way back and turned out to be a really nice, catchy, pretty and dreamy track that hooks you right from the start and is a perfect kick off following the opening track. The bridge towards the end that has the "Woah oh oh oh" vocals has this great vocal harmony that the recording engineer thought up that is inspired by Jimmy Eat World's "Sweetness." The lead guitars and synths really make this track.

3. Blush
This song was rewritten maybe 4 times, initially starting a bit heavier and in a different key. After many renditions, it turned into what it is now; a really pretty track almost reminiscent of a less dark The Cure following the theme of the album about the pain and regret of lost love. We were actually going to call the album Blush and by pure coincidence luckily saw that some band Moose Blood had just came out with an album with that same title already.

4. Lucidity Slips
This was another really old track that we brought back because it fit perfectly with the overall style of the other new material. A love child of Ride and Nirvana, a really great lead guitar hook and an interesting vocal melody during the chorus. The ending also has some strings in it that were written while in the studio.

5. Headtrip
This is by far the heaviest track on the album. It was one of the earliest written for the album, aiming for the heavy fuzzed out riffs that can be heard on Siamese Dream. For the really heavy part towards the end, the lead guitar was sounding like Medicine, so we ran with the idea and actually DI'd the guitar and that's why it has such a harsh fuzz tone. To further get that Medicine sound we had our friend come in and add a layer of female vocals on top of the main vocal melody.

6. Take Away
This song has some fo the best guitar tones of the album. The lead guitar for the main riff is this bending, gnarly single note that just gnaws away at you. To get it we had a couple distortions on and ran it through a Boss SP303 sampler and used the Vinyl Simulator on it to give it a vinyl warping sound sort of like what you hear with many Boards of Canada tracks, and then ran it through a super old school analog tape delay. It sounds so rad.

7. Blind
This track was born from an Earthquaker Device's "Organizer" pedal. It's similar to a POG in that it's basically just an octave pedal, but its intention is to sound similar to a church organ (the working title is "Church"). The heavier chorus part was initially something different, but what it turned out to be is really great and alongside the ending sounds a lot like something off of Slowdive's Slouvaki.

8. Shadow
This closing track is the most traditional sounding shoegaze song on the album and is reminiscent of something off of Souvalki even more than Blind. The outro was something that happened by complete accident while practicing and ending up working out perfectly. The snare drum roll during that outro is meant to be very reminiscent of Explosions in the Sky because the whole part kind of had that feel to it. There is also some cello going on, two piano layers, and our keyboardist playing some sax. It's really a great way to end the album and we also tend to end shows with it, as well.


The 4th Side of the Eternal Triangle with The Difference Machine - An Interview

Uma excêntrica e dilacerante experiência onde o improvável acontece, 

Imagine Tricky e Sonic Boom se unindo em pró de experimentos freaks, movidos a batidas, hip hop, psicodelia pesada e variáveis unindo a cultura das ruas e suas verdades embaladas por maciças doses de acidez.

No caldeirão sonoro do The Difference Machine e seu mais novo trabalho, "The 4th Side of The Eternal Triangle" essas verdades sonoras explodem sem moderação e invadem os tímpanos dos menos preparados, e,  dos iniciados também.

Os puristas poderão torcer o nariz, já os amantes dos bons sons entrarão nesta trip apenas com a passagem de ida, porque a volta meu caro, a volta é por tua conta e risco.


***** Interview with The Difference Machine *****

Q. When did The Difference Machine start? Tell us about the history...
The Difference Machine started when Atlantis sank into the ocean. Only those who grew wings could escape. We established a new home in what is present day Atlanta Georgia. Soon after we started to see people walk out of the sea. Humans with large fins on their backs.

Q: Who are your influences?
Our main influences are the mystic principles handed down to us from the great scribe Tehuti. Some know him as Hermes. He wrote the laws of the universe. Everything we do is influenced by it.

Q. Make a list of 5 albuns of all time…
13th Floor Elevators - Easter Everywhere / The Psychedelic Sounds of the 13th Floor Elevators (tie)
DJ Shadow - Endtroducing
Spacemen 3 - Sound of Confusion
Bob Dylan - Bob Dylan
Dr. Octagon - Dr Octagenocoligist / Deltron 3030 - Deltron 3030. (tie)

Q. How do you feel playing live?
Playing like is a transference of energy and an infinite feedback loop. We give it, receive it, and give it back only to receive it again and while this is happening we are constantly raising our frequency. It embodies the divinity in all of us.

Q. How do you describe The Difference Machine sounds?
The Difference Machine sounds like a cosmic monkey taking a shot in your ear holes.

Q: Tell us about the process of recording the songs ?
Recording is not very specific. We take an idea a try to put life into it. However that happens is fine as long as it happens

Q. Which new bands do you recommend?
We recommend 10th Letter. Chris Hunt. Al Lover.

Q: Which band would you love to made a cover version of?
I'd like to cover Queens of the Stone Age.

Q: What are your plans for the future?
We plan to make everyone accountable for the the destruction of the world.

Q: Any parting words?
Life is but a dream. Death is not the end. All your lightning waits inside you.


segunda-feira, 19 de dezembro de 2016

Dive into the FOAMMM - An Interview

Lembram-se de Black Tambourine? Velocity Girl? Madder Rose? Sim as deliciosamente viciantes guitar noise pop bands dos 90´s.

Pois então, se a saudade de assoviar e cantarolar mentalmente uma simples canção pop encharcada de fuzz sendo ela doce e barulhenta seus temores terminaram neste momento.

Cortesia dos noruegues do FOAMMM e seu Ep de estreia "Dive into the FOAMM", com quatro suculentos artefatos de vão entrar diretamente na sua mente e fazer aquele delicioso estrago.

Apenas uma única falha nisso tudo, "Dive into the FOAMMM" termina muito rápido. 

Precisamos imediatamente de mais, e rápido.

***** Interview with FOAMMM *****

Q. When did FOAMMM start? Tell us about the history...
It all started the summer after graduating high school, about three years ago. I was really bored and didn’t know what to do with my life, like many others in that stage of life. But it wasn’t untill seeing Metallica at Roskilde, I somehow, in a very strange way, got inspired to create this little baby that would later become FOAMMM. And so I started writing songs, but I thought it was kind of boring to ride solp, so I asked a couple of friends if they wanted to join, and luckily for me they said yes.

Q: Who are your influences?
I grew up with both punk and classical music as a kid, but everything inspires me, really! Everything from Iceage to Edvard Grieg and Darkthrone. As a band, you can easily hear that our sound, as it is now, is a lot different from what it was, and I feel like you can see all our different musical preferencies combined into what we’re currently creating. But we truly love bands such as Homeshake, Conan Mockasin, Melody’s Echo Chamber, Beach House, Walter TV, Makeout Videotape, and also asian music, filthy garage rock, jazz, 80’s hits, and some black metal of course. Did you know that everyone in Norway has to like black metal or else they'll go to jail for 666 years?

Q. Make a list of 5 albums of all time…
That’s impossible, but I’ll try.

The Strokes - “Is This It”
My cousin showed me this record when I was ten years old. I remember thinking that all I wanted next was to learn how to play guitar, so I could sound exactly the same as Nick Valensi.Then I just started browsing the cyberweb for tabs and techniques, and eventually learned a few chords and songs - and it sounded horrible, of course, but I practiced a lo. So a massive thanks to The Strokes for indirectly teaching me how to play the ax of rock!

2. Mew - “Frengers”
This record means a lot to me, and I still listen to it at all times.You could say that Mew was my Justin Bieber when I was a teenager. I was obsessed, dude, haha. Danish bands in general has got something unique that I truly love. Shout out to Less Win, Communions, Yung and Quick Quick Obey.

3. Joy Division - “Unknown Pleasures”
I grew up with this record and rumours has it that I learned to walk as a baby while listening to it. So thanks Joy Division for teaching me how to walk. Bless up!

4. Beach House - “Bloom”
Such a great band and record. We were super stoked and starstruck when we got Heba Kadry, who has worked with them, to master our EP.

5. Francoise Hardy - “Comment te Dire Adieu?”
If there is a God, it’s Francoise Hardy and no one else.

Q. How do you feel playing live?
It’s great fun now, but I remember I hated a bit in the beginning. I thought it was scary and I was afraid of people judging me. But I don’t care about that anymore. The most important thing is that you feel like you’re able to give something from yourself to somebody else. And when you feel like you’re able to do that, that’s maybe when you realize what it’s all about. It’s not about being cool or anything like that, but the connection between you and the audience and what you express with your music and how they are receiving it. You share something together. But I’d say that the crowd in Norway is one of the toughest there is. They are just standing there, with their arms crossed without hardly moving an inch, haha, so I think we’re pretty equipped to play anywhere now.

Q. How do you describe Foammm sounds?
I would say that it’s kind of dreamy, and not so shoegazy as we’ve been described as earlier. We use a lot of reverb on both the vocals and guitars, but we also have a huge fascination for chorus, flanger, playful bass lines and old synthesizers with cool effects.

Q: Tell us about the process of recording the songs ?
In the beginning we recorded everything ourselves, just me, the old drummer and the old bassist, and sometimes I did everything myself, but when we recorded “Dive Into The FOAMMM”, it was more professional. We recorded everything live in Taakeheimen Lydrike, in Oslo, with Morten Øby as our producer, and then put on some effects, the synthesizers and vocals in the end. It was a really good working technique for us and we only used two days recording it I think.

Q. Which new bands do you recommend?
There are so many great new bands! But I’d say: Chain Wallet (check out their record!!), Are You Having Fun Yet, One Track Minds, Outer Limit Lotus, Great People, Panda Panda, Plooms and Wet Dreams (which our guitar player plays in as well). All from the land of Norway, my friend.

Q: Which band would you love to made a cover version of?
There are so many horrible rock songs out there, and I want to cover all of them!

Q: What are your plans for the future?
As of now, we’re writing new songs to our debut album which we intend to record next year.

Q: Any parting words?
Message to the world: Don’t be an asshole and be kind to everyone, always.


domingo, 18 de dezembro de 2016

Good Light with BNLX - An Interview

Uma verdadeira viagem se iniciará a partir do momento que você der play em "Good Light" segundo álbum dos estadunidenses do BNLX.

Ecos de Telescopes, Spacemen 3, Loop serão sentidos e absorvidos de imediato. Andamentos cíclicos e hipnóticos se transformam em cataclismas krautianos sem a menor chance de haver tréguas durante as onze faixas do álbum, mas há espaço para momentos de calmaria pop como em "Penny Drop" ou em "Arrows Underground" em que a veia post punk assume a condução da trip.

O ápice dessa viagem esta lá pelo meio do álbum na delirante "Industrial Action" onde todos os elementos se unem e a devastação é completa.

Escute alto, em todos os sentidos.

***** Interview with BNLX *****


Q. When did BNLX start? Tell us about the history..
We started a little over 5 years ago. We initially planned to just do a couple of handmade EP’s and play a few shows, but we started having so much fun that we’ve now turned into a real band. Prior to being in BNLX, I was in a band called Polara (the US one, not the Brazilian one!). We were a psychedelic/post-shoegaze type of band that put out four records on Interscope and another two on Susstones.

Q: Who are your influences?
We all listen to a lot of different stuff and have big record collections. But for purposes of what makes BNLX sound like BNLX, core “classic” influences would be: The Jesus and Mary Chain, Sonic Youth, My Bloody Valentine, Spacemen 3/Spiritualized, New Order, Echo and the Bunnymen, Wire, Primal Scream, Can, early Pink Floyd, Gang of Four.

Q. Make a list of 5 albuns of all time…

That’s a really hard one! That list would change tomorrow if you asked me, but today I’d say:
MBV Loveless,
Sonic Youth Daydream Nation,
New Order Power, Corruption and Lies,
Primal Scream XTRMNTR,
The Stooges Funhouse.

Q. How do you feel playing live?
We LOVE playing live! We have developed our own ever-evolving, self-designed lightshow. We try to create a totally immersive live experience. The band is quite high energy live. I’ve been told we’re super loud as well, which is pretty necessary to convey the sort of music we’re creating. To us, live music is a physical experience as well as an intellectual and emotional one.

Q. How do you describe BNLX sounds?
The earliest BNLX material was very postpunk-influenced. As we’ve developed, we’ve started to indulge more of our spaced-out psych instincts, and we’ve also gotten a little dancier. For us, the fun is creating a balance between experimental sounds and melody, seeing how much we can get away with in the context of a three minute pop tune. We use a wide range of gear, including a lot of vintage synths and pedals, to try to create the coolest sounds we can think up.

Q: Tell us about the process of recording the songs ?
We record everything at our own studio here in Minneapolis (http://flowersstudio.com). We tend to write really quickly, often in response to political or social situations, and we keep the recording process as spontaneous as possible. The studio is our laboratory, and we generally record material before we’ve played it live. We feel this keeps material fresher for us, with the energy of a new idea getting captured rather than trying to refine songs on the road before recording.

I’m a record producer/engineer as my “day job”, and Flowers Studio is a professional studio with SSL console, Studer 24 track, Pro Tools HDX, and a mountain of recording gear and instruments. I do a lot of mixing/remixing for bands from all over, and I’m always looking for new projects, particularly in the psych/noisepop/dreampop sonic spectrum. Give me a shout if anyone you know wants to work on cool stuff!

Q. Which new bands do you recommend?
We love a ton of modern bands, including A Place to Bury Strangers, Les Big Byrd, BEAK>, Josefin Öhrn and the Liberation, APZOO, The Kills, The Limiñanas, Diiv, The Black Ryder, Pinkshinyultrablast, Parquet Courts, TOY, Cheatahs, Brian Jonestown Massacre, Riel, Flavor Crystals, Pauw, Magic Castles, Flamingods, Goat, The Early Years, Black Market Karma, Novella, Dead Horse One, White Hills, Flyying Colours, Deadpan Interference, Gnoomes, Dungen, Kamera, Temples, JC Flowers, Hills, The Fauns, Lay Llamas, Amber Arcades...the list goes on and on!

Q: Which band would you love to made a cover version of?
We’ve done a lot of cover versions already: Can, Black Flag, JAMC, Pink Fairies, also non-serious stuff like Lana Del Rey, Prince, and Rihanna. We love the idea of doing totally new and strange things to songs.

Q: What are your plans for the future?
Ashley (bassist/co-leader of BNLX) and I just had our first child, so we’ve been on a little bit of a break during 2016. In 2017 we plan on getting back on the road and releasing another full-length album. We also have a couple of side projects in the works, so keep an eye out for for BNLX and related projects on our social media. We’d really like to tour Europe and South America in 2017, so if anyone knows of any agents who might be into what we’re doing, please email us!

Q: Any parting words?
Thanks for writing about us on the blog, I’ve been reading it for years and have found out about a lot of cool music here! We hope people enjoy our tunes, and everyone who does should shoot us an email or “like” us on Facebook, etc. so we can keep you informed on what we have coming up in 2017.


sábado, 17 de dezembro de 2016

Now and Yours with Lillet Blanc - An Interview

Construindo suas melodias sob um espectro sonoro que foi construído pela gravadora, predileta da casa, 4AD, o duo Lillet Blanc de Nova Iorque, criou uma bela estreia.

Seu EP homônimo exala o frescor do dreampop atualizado por nomes com o Beach House e Melody´s Echo Chamber e finca ao lado deles seu promissor futuro.

Beleza cristalina para os ouvidos.

***** Interview with Lillet Blanc *****

Q. When did Lillet Blanc start? Tell us about the history...
I had taken a break from writing for a long time and I met Sean at school in Boston just around the time that I was starting to formulate the idea of Lillet Blanc. He helped push the songs and we began playing together, in apartments, recording the songs, getting demos together, finally full mixes. After I graduated this past May, we spent the summer focusing on re-recording bits and pieces of the EP and moving to New York, where we were finally able to release the EP through a blog.

Q: Who are your influences?
When starting to write the songs that would become Lillet Blanc, I admired the Alvvays' debut album, Beach House, Sunflower Bean, Melody's Echo Chamber, Diiv for modern references. Of course, bands like Cocteau Twins and My Bloody Valentine were huge influences melodically and sonically for us.

Q. Make a list of 5 albuns of all time…
Blonde is one of our favourite albums.

Q. How do you feel playing live?
We are about to play our first show ever so we will let you know!

Q. How do you describe Lillet Blanc sounds?
Jangle pop, dream pop, shoegaze. We enjoy a lot of these expansive textures but work hard to make sure the actual song is strong itself before adding any effects.

Q: Tell us about the process of recording the songs ?
Most of the album we tracked in Boston apartments using our own equipment. We had some help along the way but Sean ended up mixing and mastering the entire thing himself.

Q. Which new bands do you recommend?
Twen Furs has some really beautiful songs right now coming out of Boston, Infinity Girl, Ian Sweet, and Horse Jumper of Love

Q: Which band would you love to made a cover version of?
Frank Ocean.

Q: What are your plans for the future?
Now that the EP is fully released, we're just playing shows and working on promoting the EP and ourselves. We are ambitious in a sea of great Brooklyn bands but patient about being a baby band.

Q: Any parting words?
Come catch us at a show and we can play some skee ball afterwards!