terça-feira, 26 de dezembro de 2017

Down In The Sky with A Party For The Dead - An Interview

"Down In The Sky" é o terceiro EP lançado só neste ano dos franceses do A Party For The Dead.

Cruelmente desconhecidos os caras, são o que podemos resumidamente chamar de pós qualquer coisa, tem post hardcore, tem pós punk, tem noise, tem principalmente caos em formas barulhentas.

Discípulos dos ensinamentos de SY, Fugazi, MBV, Joy Division, a lista poderia ser imensa, mas o que o APFTD fez, foi condensar décadas de desesperado, barulho e angústia, condensando em doses cavalares em espasmos caóticos.

É com eles que o TBTCI se despede deste 2017, tão caótico, intenso e desesperado como a música do APFTD.

Escute alto e tente ficar imune.

***** Interview with A Party For The Dead *****

Q. When did A Party for The Dead start? Tell us about the history...
APFTD started in 2013 in Bordeaux France. It was a jam no covers at the beginning, we started to create our own music, they were only instrumental songs a mix of post rock, sludge and surf music. I played experimental sounds of guitars and samples on a repetitive drum and bass.

The mutation was experimental a sort of dub rock with spoken words, then we decide to write songs.
I was into post punk shoe gaze, Patrick (drums) and Xavier (bass) were doing the metal thing and it all mashed together.

Q: Who are your influences?
We have several, we all like old punk rock, post core, noise rock, stoner metal, and ambient.

Q. Make a list of 5 albums of all time…
so hard to answer it is a cross section for sure. We like
- Joy Division Unknown pleasures
- Smashing Pumpkins Mellon collie and the infinite sadness
- My Bloody Valentine Loveless
- Kyuss Welcome to sky valley
- Sonic Youth Goo

Q. How do you feel playing live?
It’s still always a new context.
This doesn’t get boring to us no matter how many times the songs are played.

We are focus on transmit some of the thoughts or feelings we have and play them to people afresh.
Positive energy is the point.

Q. How do you describe A Party for The Dead sounds?
One day someone talked about cold stoner but sludge gaze that’s our definition. It’s a kind of post rock songs mixed with sludge heaviness and electro noises. The mix is raw especially with fuzzy basslines, mystic parts, noisy samples and reverb effects. APFTD is a live band and we want to stay like this, with a pure rock energy. We wants to go deep but not dark, it’s white magic. It is about our life and the nature we think about emotionally, and then the sound and the groove, it just mix together and turn into music. It makes people feel something. Music is a pure art form.

Q: Tell us about the process of recording the songs ?
Everyone brings something patience or ideas. That’s our process of writing. The place where we record is important. It is always a new challenge, we still want to progress. The mood and the people we work with, it’s an honest adventure.

Q. Which new bands do you recommend?
Ringo Deathstarr
Alexandre Navarro
some of them are not new sorry

Q: Which band would you love to made a cover version of?
Joy division, Pink Floyd, Young Gods, Fugazi, Mogwai

Q: What are your plans for the future?
Concerts, meeting other bands, songwriting, travelling. We can’t wait to do the next record

Q: Any parting words?
We would like to thank our friends, families, bands, people who enjoy our concerts and recordings.


Sangue Neuf with Madonnatron - An Interview

Como numa seita, as quatro cavaleiras londrinas do Madonnatron atacam hipnoticamente com um pós punk freak, evocando baluartes como Raincoats, Slits, acrescente a loucura toda, andamentos infectados pelo kraut, e os mantras estarão criados.

Assim é "Madonnatron" disco de estreia das garotas, caótico, divertido, esquizofrênico, e principalmente viciante.

Um tapa na cara de quem diz que não há nada excitante na música atualmente.

***** Interview with Madonnatron *****

Q. When did Madonnatron start? Tell us about the history...
Charlotte - The band was initially a 3 piece - Beth, Stef, and Melary (our former front person), formed at random after a drunken Trashmouth night at the Shacklewell arms. Beth and I were housemates at the time….she tried to get me to join in the early stages, but initially I flatly refused on account of the fact that a) I couldn't play the bass and b) I thought they were musically insufferable. A combination of desperate boredom and morbid fascination made me change my mind. We played our first gig as a 4 piece after 6 weeks of playing (or not playing) together with our arses hanging out in a shop window. None of us knew how the songs went or what we were supposed to be playing. It was challenging for everybody present. Class and integrity have been a strong point from the start. Joanie joined at the end of January this year and commands total respect for learning everything within 6 weeks having not previously played before.

Q: Who are your influences?
PJ Harvey, The Velvet Underground, Can, Joy Division, Iggy & The Stooges, Nick Cave, Peter Laughner’s Rocket From The Tombs, Hawkwind, Early Pink Floyd, Mississippi Delta Blues, Kate Bush, Rod Stewart, The Pointer Sisters, Indian Classical music, Drone and Raga music.

Q. Make a list of 5 albums of all time…
(we had to change it to 10 because there are too many to narrow down. Dread to think what we’ve left off!)

Raw Power - Iggy & The Stooges
The Dreaming - Kate Bush
Broken English - Marianne Faithfull
Paranoid - Black Sabbath
Tago Mago - Can
Maggot Brain - Funkadelic
Let England Shake/ To Bring You My Love - PJ Harvey
The Piper at the Gates of Dawn - Pink Floyd
Madonnatron - Madonnatron (obviously)

Q. How do you feel playing live?
This is something that has morphed significantly from our first gig (an utterly mortifying humiliation of the profoundest kind) to our most recent. - We were proud to support The Black Lips for the notorious Fluffer Pit Parties show, which was to commemorate the end of an era for the much loved live music venue The Coronet in Elephant & Castle (soon to be torn down and made into “luxury” flats). This was an amazing experience...it was a 360 degree stage, epic sound, and an incredible line up (Warmduscher and Future of The Left also played). I had so much fun I had to check several times that my ass hadn’t caught fire!

Q. How do you describe Madonnatron sounds?
Uncompromising. Audacious. A manifestation of intent.

Q: Tell us about the process of recording the songs?
This was a slow, grueling and committed mission. We were handicapped by our extreme novice approach to our instruments. We felt technically inhibited and very unsure of ourselves. The recordings took the best part of a year but as we developed as musicians and became more competent, we were able to elaborate on our initial ideas with creativity taking over self doubt.

Charlotte was expecting a baby and heavily pregnant by the time we recorded the final overdubs….(she had a child 3 weeks later!) so that added to the pressure to get the work done in time for release. Also, our former front person left the band moments before the songs were ready to master, so we had to re-write the top lines to lot of the material at very short notice….plus Joanie had a very short amount of time to learn the material (which she did of course and with incredible speed and fearlessness), so it was a tricky process. We are still in shock at how well the record has been received!

Q. Which new bands do you recommend?
PINSPINSPINSPINS!!! PINS! We recently supported these ladies for a part of their UK tour….they mean business! They are totally in control of their sound and they are taking no prisoners!

Sex Cells are just amazing. We saw them play at our album launch and were blown away. We love the dynamic between them on stage.

Melt Dunes create a psyche sonic experience that is cathedral sized whilst being low down and dirty. We’ve played on the same bill a couple of times and there are moments when it feels like you can’t believe that these sounds are actually happening in front of you. It’s immense.

Arxx - they were the other support band when we did the show with PINS in Brighton recently. There are only two of them (Hannah on guitar & Clara on drums) but they sound like a full band and have excellent vocals. These women know how to rock!

No Friendz - their frontman Angus Steakhouse is such a talented musician, as well as being an amazing performer on stage. We just released a split 7” single with them on Trashmouth Records and will play with them at the Trashmouth Christmas Party at the Windmill in December.

Q: Which band would you love to made a cover version of?
We have thought about the possibility of covering a couple of the tracks from the Manson Family Jams...Beth and Charlotte used to perform in The Fat White Manson Family (short-lived but interesting). Obviously there are some dubious connotations, but some of the harmonies are wild and there is something very primal about the flow of these songs

Q: What are your plans for the future?
To keep writing...to continue learning….We are all desperate to travel and do shows in other countries...festivals and stuff. We would love to play Austin Psych fest ……..anywhere in New York, Europe or Japan! We’d love to come to South America! Most importantly for us is that we are able to continue exploring sounds as a band. We love writing together and making music is a wonderful tonic in these suffocating times…..

Q: Any parting words?
A man who never made a mistake never made anything. Don’t let the bastards grind you down.


sexta-feira, 22 de dezembro de 2017

Spiritual Objects with Tisiphone - An Interview

Pós punk tribal, cabalístico e desesperador, assim é o trio francês, Tisiphone.

Rezando pela cartilha e evocando Neubauten, Siouxsie, Lydia Lunch, These Immortal Souls, Crime & The City Solution, o Tisiphone cometeu um álbum fúnebre e hipnótico. O disco homônimo veio ao mundo no ano passado e sugere uma aura sombria regada a caos e desesperança.

Não há espaço para a luz na música do Tisiphone, penetre nos caminhos desesperadores da música deles se tiver coragem.

***** Interview with Tisiphone *****

Q. When did Tisiphone start? Tell us about the history...
Clara: Tisiphone started in 2013. Leonard and Suzanne met 10 years ago at the Conservatoire in Lyon, they were in violin studies. I met Leonard in 2012 in a Drama school in Lyon, so I met Suzanne who was sharing a flat with Leonard. We were all friends "almost" living together, partying, etc, and during the winter of 2013, we watched David Lynch's serial Twin peaks, and were also listening to The cure's Pornography album. One day we decided to make "cold wave" music, to make a band together and maybe one day playing concert! Leonard had a guitar and an old drum in his room, suzanne had a bass, , I wanted to sing and to hit something, we made our first rehearsal in his room by night with candles - it was fucking cold - and we created our song Black Velvet, that's how Tisiphone was born.

Q: Who are your influences?
Influences would be bands like The Cure, Prokofiev, Nina Hagen, David Lynch, Coil, Einsturzende Neubauten, Joy division, Sonic youth, Suicide, but also R'n'B music, electro, punk... and things they aren't this type of music as nature, our dreams and poetry.

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

Q. How do you feel playing live?
Clara : I feel alive. that i want to be honest with what i'm feeling at the moment, which that's a thing that sometimes could be difficult to touch in life, to trust our feelings. I need to share with Leonard and Suzanne, that's a moment we create together, I love harmony and strengh that it can give, and i love them so much when we play all together, anyway I feel love like donna Summer.

The power to give, to share with people what's happening, what I express by playing and singing our songs, and i'm very sensitive with people in live because I look at them all the time while I'm playing, because I want them to listen, to be here, and sometimes it's frightening, sometimes I don't want them to look at me but I try to accept it and to make it good. But I don't want people feel unconfortable, even if i think it's not always a bad thing.

Q. How do you describe Tisiphone sounds?
Clara : I would say it can be hypnotic, cold, can be also warm, savage, dark, brutal, tribal, soft, absurd, romantic, raging.. Like a dream. A lot of chaos.

Q: Tell us about the process of recording the songs ?
Clara : That's not our speciality!! ( lol) We recorded at a time we didn't know really how to do it the right way. We made it with a lot of instinct, it's a lot of work, you have to be prepared very well, to know what to do first, in which order you record the instruments etc..

Q. Which new bands do you recommend?
Sevdaliza / PRICE / Tombouctou / Pharmakon / Wand / Le prince Harry...

Q: Which band would you love to made a cover version of?
Clara : I would like to make a cover of Rowland S. Howard, a song called "autoluminescent".
And so many more, like alan vega's "love cry".

Q: What are your plans for the future?
Clara : We are going to record our next album this winter ! Niiiice.

Q: Any parting words?
"It was so beautiful that i would not want to live anymore." Georges Bataille



quinta-feira, 21 de dezembro de 2017

English Girls with UK Cinema - An Interview

Ao contrário do que o nome possa sugerir, o quinteto UK Cinema, não é londrino, mas sim canadense, e faz jus ao motivo maior da existência do TBTCI, divulgar ao máximo de pessoas possíveis, o que de realmente importa no submundo dos bons sons.

Com apenas um single, e eu diria, que este single é uma das melhores músicas escritas nesta década que remete a clássica era do pós punk romântico. Assim é "English Girls", emanando um certo romantismo sofisticado, seguindo uma tradição de lirismo inglesa, leia-se Lloyd Cole, entre outros, os caras cometeram um verdadeiro primor de canção.

Para novatos, o UK Cinema tem muito a dizer, e que os próximos passos venham logo.

***** Interview with UK Cinema *****

Q. When did UK Cinema start? Tell us about the history...
UK Cinema started with the desire to pick up our instruments and start playing music again. Together we had all had history playing and writing music, although it had been a few years since. Only our guitarist, RJ Kemp (or Robert J. Kemp) had in the meantime recorded and released a solo album (Warmer Now) of atmospheric, emotionally-charged songs which charmingly fused 80s New Wave with cinematic instrumental compositions. This release inspired us all to get back into it, to experiment with where we felt we were and where we felt we could go musically.

Q: Who are your influences?
We are influenced by a broad range of artists, many of which are not exclusively musical. Film has always been a primary source of guidance in both our sound and our visuals.

A few of our favourite films come from the well-established names like Christopher Nolan, Danny Boyle and Stanley Kubrick; and more recently, we’ve been inspired by the onscreen grit of Nicolas Winding Refn, Jeremy Saulnier and Cary Fukanaga; as well as the enchanting, subtle works of Lynn Shelton, Richard Linklater, and Joe Swanberg. On the music side of things, some of our enduring favourites include The National, Slowdive, Frightened Rabbit and Joy Division. At the intersection of film and music, we have come to be heavily influenced by musical scores of all genres, from Hanz Zimmer’s epics to Brian Eno’s ambiences.

Q. Make a list of 5 albums of all time…
This is a tough one. Put to the test, we might choose the following:
- Slowdive, Souvlaki
- The National, High Violet
- Explosions in the Sky, The Earth is Not a Cold Dead Place
- Trashcan Sinatras, Weightlifting
- Neutral Milk Hotel, In the Aeroplane Over the Sea

Q. How do you feel playing live?
Playing live has always been an exhilarating experience for us. Sharing our music with friends or strangers is always equally daunting and exciting, but this union only adds to the raw emotion we hope to evoke from listeners and convey ourselves. With UK Cinema, we wanted to add another element to live shows by including cinematic visuals by Black Lake (www.blacklakemedia.com). Believing the combination of music and film to be rather emotionally powerful, we—with the amazing help and talented work of Black Lake—attempt to bring it all to the table. So, our main goal is to make the show a unique experience.

Q. How do you describe UK Cinema sounds?
Simply speaking, we wanted to create music that we would want to hear.

With a lifelong love for film and music both, we wanted to imbue our music with a cinematic, timeless sound. We like to play around with emotion, often settling with a paradox of sorts: something extremely personal and individual, but accessible and collective; something dark and gloomy, while simultaneously fun and self-reflexive. Josh (vocals, keys and lyrics) typically writes from personal experience, a limitless territory of curiosity and sentiment.

Q: Tell us about the process of recording the songs ?
We worked with Josh Korody of the band Beliefs (one of our local favourites) at his studio Candle Recording in Toronto for “English Girls.” When we walked into the studio, Korody had the latest Slowdive record playing, so we knew immediately that our pairing would work (haha). The song was written well before recording, so it was a simple process of recording; taking the most time to find the sounds we were hoping for. Josh also encouraged experimentation in certain parts of the track which ultimately benefited it greatly. We were all ecstatic with how things turned out and extremely thankful to Josh Korody and Candle Recording.

 Currently, we only have our single “English Girls” officially recorded. We are sitting on many demos and hope to record some in the near future for an EP or full-length release.

Q. Which new bands do you recommend?
Some new bands we’re really into are Black Marble, Ruby Haunt, Alvvays, Pinkshinkyultrablast and Outsider (previously ‘Moscow Metro’) – to name a few.

Q: Which band would you love to made a cover version of?
We’ve been debating this question for months now. We have considered including a cover into our live show, most likely a modern rendition of a favourite 80’s post-punk track. Although, we also want to try for something totally different by choosing a song wildly outside of our genre and have fun with blending the two styles.

Q: What are your plans for the future?
We’re playing a lot of local shows within the next few months (Hamilton & Toronto), hoping to continue and build on our live experience. We hope to record either an EP or full length in the Summer of 2018.

Q: Any parting words?
We’ve never really been formally interviewed before so we apologize about our overeager and long-winded responses! From all of us in UK Cinema, thank you for your time and interest. We’re true fans of The Blog That Celebrates Itself. Wishing you all the best!


quarta-feira, 20 de dezembro de 2017

Sweet Bell Echo Baby with sweetbellechobaby - An Interview

Photo by James Birtwhistle
Existe uma palavra na língua inglesa que pode definir facilmente o que é experimentar a candura do duo inglês de Leicester, Sweetbellechobaby, ela chama-se "shimmering", traduzindo para o português seria algo como "cintilante".

É basicamente assim que as quatro canções do EP de estreia deles flui, suavemente cintilante, as quatro canções, uma mais cristalina do que as outras, remetem ao nome do duo multifacetadamente, "Sweet", "Bell", "Echo" e "Baby" se unem em sua beleza, formando obviamente o Sweetbellechobaby.

Se você aprecia, Mazzy Star, The Sundays, Fleetwood Mac e outras pérolas da música pop, apaixone-se imediatamente pelo Sweetbellechobaby.

***** Interview with Sweetbellechobaby *****

Q. When did sweetbellechobaby start? Tell us about the history...
We made the EP three years ago. Originally we saw those songs as demos that we would come back to, but over time our perfectionism softened a little and listening again all we could hear was the tender beauty. We could hear bigger versions of them, more expansive, but there are touches of the everyday - a chair creaking, a cough, the click track - that are as much a part of the songs as the instruments. It’s nice to hear that character in other people’s music so why erase those moments from our own? There is something timid and fragile about these songs - they are the cocoon we emerged from. The sound of our lives at the time, recorded in the cathedral of the dining room. The songs we are currently working on are much more confident, defined. Super pop.

Q: Who are your influences?
At the time we were listening to a lot of Judee Sill, Sandy Denny, Mazzy Star, Warpaint, Fleetwood Mac, PJ Harvey, The Sundays, Big Star, John Martyn- We both have big, broad musical appetites and undeniable pop sensibilities so a typical playlist might include Julianna Barwick, Tom Waits and Carley Rae Jepsen.

Q. Make a list of 5 albuns of all time…
1. Rumours
2. Rumours
3. Rumours
4. Rumours
5. Rumours

Q. How do you feel playing live?
At the moment we’re playing acoustically, placing the songs in the room. Especially the older songs. As we move forward we’d like to build the sound, fill the room more. Noise with hooks.

Q. How do you describe sweetbellechobaby sounds?
Somewhere safe to spend some time. Familiar. Simple. Shimmery. Pop.

Q: Tell us about the process of recording the songs ?
It was an exercise in spontaneity. Lyrics first, very quickly. Then vocal lines and guitar in one go. Second vocals added with some garageband keys and electric to finish. Everything is double tracked and we made it over the course of three days.

Q. Which new bands do you recommend?
Leicester has a lot going on! Ash Mammal, Kermes, Anatomy, Jitterz, lovely gazers Dayflower.

Q: Which band would you love to made a cover version of?
We’ve done a few Big Star covers which are up on our Youtube channel. Rumours in one take.

Q: What are your plans for the future?
We’re in the process of rearranging our lives to make more space for creative work. More songs, more writing, collaboration.

Q: Any parting words?
Thanks for finding us! How amazing! To everyone, keep going, make more space for art - we can all grow together.


terça-feira, 19 de dezembro de 2017

...and the oscar goes to...... Best of 2017...

Mais um ano chegando ao fim, e logicamente listas e mais listas vão aparecendo nos quatro cantos do mundo.

Listas são altamente subjetivas e pessoais, dependem muito de uma ótica, de um ponto de vista específico, então, não existe verdade absoluta, existe sim, música boa e música ruim, isto é fato., música de bom gosto e música de gosto duvidoso, já diria o mestre Kid Vinil.

E obviamente que aqui no TBTCI não poderia deixar de constar a lista dos melhores deste grande 2017, mesmo que muitos não tenham dado a devida atenção, houve uma verdadeira avalanche de grandes lançamentos, muitos deles, certamente passarão desapercebidos pela grande maioria, infelizmente.

O TBTCI tentou fazer um apanhado do que de melhor aconteceu neste ano, mas veja, isso é altamente pessoal, talvez se eu fosse fazer uma nova lista contemplando os 20 melhores discos deste ano amanhã, certamente haveriam mudanças, mesmo porque o correto seria enumerar, talvez, os 100 melhores álbuns, mas como o tempo as vezes não anda lado a lado comigo, resolvi fechar em 20 discos dos quais mais ouvi durante o decorrer deste ano.

Então, esta é a lista do que aconteceu de melhor no submundo dos bons sons neste 2017....

And the oscar goes to....

***** ...and the oscar goes to...... Best of 2017... *****

1. Overlake - Fall

2. Fotoform - ST

3. Soon, She Said - The First Casualty of Love is Innocence

4. Drab Majesty - The Demonstration

5. Pale Lights - The Stars Seemed Brighter

6. Suir - Ater

7. Crash City Saints - Are You Free?

8. The Common Men - A Separate Peace

9. The Morelings - Same Century

10. Blankenberge - Radiogaze

11. Lacing - Bummer

12. The Jesus & Mary Chain - Damage and Joy

13. The Sorry Shop - Softspoken

14. Parlor Walls - Opposite

15. Airiel - Molten Young Lovers

16. Ride - Weather Diaries

17. Palehorse/Palerider - Burial Songs

18. Dark Narrows - Visitation

19. Whimsical - Sleep to Dream

20. The Underground Youth - What Kind Of Dystopian Hellhole Is This?

Factory with Matty Ann - An Interview

Matty Ann é dessas garotas mega hiper ativas e, altamente criativas, que desde janeiro deste ano, simplesmente lançou um álbum, mais um penca de singles, e eps e não parou um segundo sequer.

O último dessa série devastadora de lançamentos é o EP "Factory" que conheceu o mundo há pouco mais de um mês, e segue o raciocínio lógico do que Matty tem feito, um indie rock noventista com predileção pelo fuzz. Tudo devidamente abafado, com a guitarra de Matty comandando a festa.

Para ouvir alto em seus fones de ouvido, e digo mais, preferencialmente numa session de skate....vai cair muito bem.

***** Interview with Matty Ann *****

Q. When did Matty Ann start? Tell us about the history...
My solo project just started earlier this year so it's still pretty new. It started mostly out of necessity. I graduated from college last year and moved back to my home town. Previous bands that I've played with had members move as well and we all just kind of scattered all over the place. I felt really strange being back in a town that I didn't identify much with. I ended up isolating myself and just writing as much as possible throughout last winter and got the momentum going for releasing music this year. We've recently started playing the material live as well, which has been a lot of fun. My friend Marck who I've played in previous bands with plays bass and our friend Jon plays drums. They're both awesome at what they do and I'm stoked they're into it.

Q: Who are your influences?
I try to mix up what I listen to as much as possible, but my favorite types of music always fall somewhere into alternative rock and it's many subgenres. Lately I've been really into Spoon, Creepoid, Night Beats, Sonic Youth, Them, Beck, Vaux, Crocodiles, The Kills, and Dead Vibrations. I've been listening to the new album (V) by The Bronx a lot lately. I'm actually listening to it as I write this.

Q. Make a list of 5 albums of all time…
1. Good Grief - Record Highs // This band is from Stevens Point where I went to college and their music is everything that I like about rock and roll. We recently played a show with them and it reminded me how much I'll always love them. They're great musicians and people.

2. Mikal Cronin - MCII // Mikal Cronin is one of my favorite songwriters ever. I love every album he's ever made so it's hard to even pick a favorite. The balance of melodic parts and fuzzed out garage rock in his songs is too perfect.

3. Silversun Pickups - Carnavas // Before I ever got too familiar with 90's alternative, I was into bands that were influenced a lot by that style and SSPU's first album is the best example of that. This album will always feel nostalgic to me and it's one of my favorite albums ever. I love that the distortion is so prevalent that it's hard to separate the instruments at times. Brian Aubert's yells on this are too great as well.

4. Black Rebel Motorcycle Club - Take Them On, On Your Own // BRMC is another band where I've loved everything they've ever released so it's hard to even pick a favorite. I find myself reaching for this album a lot though which is why I put it on the list. BRMC has some of the most unique elements to their songs and they never cease to amaze me. Mostly the little details in songs especially, like turning on guitar effects in the middle of a verse, or building an entire song out of a repeating vocal or guitar part. I think that's pretty awesome.

5. Ty Segall - Goodbye Bread // All of Ty's music is great but Goodbye Bread is a really unique album to me. It sounds classic to the point where it's authentic. It doesn't sound like a modern musician trying to emulate vintage sounds, it sounds like you're listening to an album that's actually from the 60's, which is really interesting.

Q. How do you feel playing live?
Playing music live is one of my favorite things to do in life. Hands down. I can't help but feel happy when I play music live, especially since I'm fortunate enough to do it with friends of mine.

Q. How do you describe Matty Ann sounds?
If I had to describe it in one word it'd be: mashup. The biggest change with my solo career from bands I've previously played with, is that I want to try to make music that resembles all of the sounds I like instead of just some of them. If one song is really shoegaze sounding, and the next is really punk sounding, and the one after that is really indie or pop sounding that's super awesome to me.

Q: Tell us about the process of recording the songs ?
The recording process for all of my music thus far has been me by myself recording everything at my house. I made my whole first album in my bedroom with some guitars, a drum machine and some cheap microphones. I think a lot of that goes back to the necessity that I mentioned earlier. I moved back to my hometown and had some ideas for music, but didn't have a band put together or any money for booking a recording studio, so I just made due with the resources I had.

Q. Which new bands do you recommend?
That depends on how new of a band you're looking for. Bully, White Reaper and Wand are all somewhat new. For bands even newer than them, I'd recommend bands that we met on tour this year, like Gully Boys and The Bbys.

Q: Which band would you love to made a cover version of?
I like covering songs that aren't similar genre wise to music I already make and then turning them into something that sounds similar to music I write. Especially pop songs, covering pop songs is really fun to me. If I had to pick one song I want to cover right now it'd be be Backbeat by Dagny.

Q: What are your plans for the future?
Making as much music and art as possible. I think Jay Reatard summed that up perfectly; how he can't make music when he's dead so he wanted to make as much as he could while he was still alive. I think musicians and artists that look at their work that way are pretty inspiring.

Q: Any parting words?
Thanks for having me TBTCI. You're awesome.


segunda-feira, 18 de dezembro de 2017

Pale Lights, "The Stars Seemed Brighter" - Track by Track

Há muito eu aguardava um novo trabalho do soberbo Pale Lights.

O último sopro da genialidade do quinteto havia acontecido no ano passado, o EP, "Séance For Something", mas foi pouco, explico: atualmente é raro um banda ter um senso poético/melódico tão aguçado como o Pale Lights. Para quem os conhece, principalmente, desde o debute, homônimo, lançado em maio de 2014, sabe do que estou tentando explicar.

Herdeiros da verve de gente como, The Go-Betweens, The Chills, C86, The Field Mice, o Pale Lights enfim nos brindou no último dia 15, com simplesmente um dos melhores discos lançados neste 2017, "The Stars Seemed Brighter" fez a espera realmente valer cada momento. Se uma receita para criar pérolas pop perfeitas, o Pale Lights conhece a receita. Escute por exemplo "Jean, Bring The Flowers" e ateste.

Um verdadeiro elixir para alma, coração e mente, assim é "The Stars Seemed Brighter", e eu particularmente queria ir um pouco mais a fundo nesta verdadeira obra prima, e, conversei com Phil Sutton, o mentor dessas genialidades, e gentilmente elucidou as dez mágicas canções desta preciosidade.

Purifique sua mente com o Pale Lights, dê play imediatamente....simplesmente acima.

***** Pale Lights, "The Stars Seemed Brighter" - Track by Track  *****

100 YearsI think it’s always a good idea to have a fairly upbeat song start a record. The title is a reference to a line in a biography I read about the poet and artist William Blake, whom I love. The biographer was writing about London at the time of Blake’s birth. He said something like “250 years ago the stars over London would have been more visible, the night sky would have seemed much brighter,’ owing to there being less light pollution. I like that idea of contrast between then and now, but also the allusion to dreams. I talk about dreams and flying dreams, which I used to have a lot, in a couple of the LP's other songs. I also thought the title was a good play on the idea of old film stars, from the silent period perhaps, and early Hollywood, which I allude to in the opening song from Before There Were Pictures, Another Broken Heart. “You can begin again, the films will let you pretend.”

Mother Cries
The title of this song isn’t referring to a mother crying tears, but calling her children in for supper, and noises you would here in a house. Only the house is empty now. As if being revisited by someone who used to live there. Houses contain histories and memories, all forgotten. I think that’s a very poetic notion. A room as a place of memory. Old postcards, photographs, letters. We have thousands of old postcards written years ago, maybe more than a 100 years ago, by people we do not know. People who lived and loved and died. Memory is fleeting. A swallow flying through an empty room is pinched from my memory of Beowulf, which refers to our fleeting existence. Very heavy!!

I Will Not PrayMore rooms, more ghosts, but also my thoughts on prayer. It’s not a song that’s against religion, but against prayer as a solution to man made problems. Like when politicians say they will pray for the victims of gun violence, but then they do nothing to curb it. Prayer as a cop out. Features one of my favorite (of many) guitar solos by Andy. He really nails the sound too.

Does not refer to an actual person, but rather to an idealized version of love, or something more than love. A dream of a perfect, yet intangible idea of perfection, of a perfect existence. Which is impossible. Kyle Forester and Gary Olson (our producer/engineer) added a saxophone solo without telling us, as a joke. But we had the last laugh as we liked it so much we left it in!

Jean, Bring The Flowers
Jean is not a person, but rather a metaphor for happier times, and for art and beauty as an antidote, a belief in the act of creating as a weapon against the terrible people in control of our country, the United States. No need to guess who is telling the rotten lies right now. The sleeve for the single of Jean was created by Silja Haddal Mork, a designer from Norway, who also hosts the festival Indiefjord, which we got to play just this last summer. It was the most fun any of us ever had playing music (and some of us have been around for a while!), so it was great that we got to work on something creative again. She used a photograph of a long forgotten actress named Betty Alden (1897-1948), whose photograph was in the Digital Collections of The New York Public Library, where I work.

The Army Game
My father was in the British Army (I emigrated to the US 10 years ago), and this song is (sort of) about how people like him, veterans, get treated like crap by the war hungry governments that persuaded them to join up. I’m from a long line of military men, but am the first generation that didn’t join up. I’m a pacifist. My Dad was from a generation that was especially locked into the British class system, and he was pretty much pushed into getting a trade, then joining the Army, when really he should probably have gone to art school.

Poor Old Ruby Ellen
This is a little vignette, I suppose. It also alludes to flying in dreams! I like the 12 string electric guitar Andy plays, and think that Suzanne’s harmony is the real hook of the song. Sometimes a voice is the lead instrument! Suzanne does some amazing harmony / backing vocals, as usual. This record is the first release where she is a full time member of the band, though she joined us at the beginning of this year.

The Sounds
This is a very simple song about teenage dating anxiety, with a little half remembered scene from a Jean Luc Godarad film. I forget which one! No ghosts, or flying dreams! Ghosts of youth maybe?

Coming Up For Air
Titled for Orwell’s novel, which really struck home. In the book the lead character returns from the suburbs to visit the village where he was raised as a child, which happens to be in Oxfordshire. I too was raised in a village in Oxfordshire. The song starts with me looking out of the window of my New York apartment. Old Tom’s Corner Store was a real shop in our village, now long gone. Possibly the only song ever written about Launton, in Oxfordshire. In Orwell’s book Goerge Bowling returns to his village and finds everything changed. He hates where he lives now (I don’t!), but his childhood home is changed, all the old faces gone. He has no home. As an army child we moved constantly, so I’ve never felt really at home anywhere.

Perhaps a bit Poe-esque this one? A dream within a dream. I used to have lots of flying dreams, always on bright moonlit nights. I’d be running down the street, taking bigger and bigger steps, then leaps until I was flying. I’d fly over towns and villages at night, looking down on people, animals, cows in fields, sometimes I’d be seen and would fly away quickly. Then the dreams stopped, and I never had them again, but the images have stayed with me. This song refers to those dreams, but also to the importance of the creative act, for it’s own sake, as a political act, particularly know we are living in dark times. Don’t let anyone ever tell you the creative thing you are doing has no worth. Do/say something pretty today is a reference to creativity as a statement. If if’s not blatantly political, I think it still is. Making things is a political statement.


domingo, 17 de dezembro de 2017

New Apostles - Antiquarian Medical Texts - Track by Track

"Antiquarian Medical Texts", novo álbum dos freaks de Nottingham, New Apostles, faz jus a excentricidade sonora dos caras, explico.

Desde os primeiros momentos de "The Effete Following", até o épico fechamento de "No Particular Place", o que se sente é uma odisseia aos becos sujos e o mundo surreal em que viviam Bowie, Iggy, Lou, Alan Vega, Martin Rev e outros ícones do submundo, guiados por um hipnótico sendo de desconstrução sonora, o New Apostles propõe uma intensa imersão por cinemáticas imagens em formas sonoras.

Cada uma das canções parecem compor um história ora em crescendos embalados por synths a´la Suicide, ora por ondas claustrofóbicas unindo VU, glam, pós punk e Stooges.

Um disco para fãs de música, sem rótulos, sem barreiras e sem pudores. 

Entenda melhor o que estou tentando explicar sob a ótica de seus próprios criados, Sras. e Srs, New Apostles.

***** New Apostles - Antiquarian Medical Texts - Track by Track *****
by New Aposltes

The Effete Following
Album Opener The Effete Following is a three minute caustic critique of petty provincialism set to an art school punk backing.

Bowie's Campervan
A dream of a ride! Phil's surreal dream encounter with Bowie and Iggy. Glammy electro punk!

New Soul In Heaven
Next up, New Soul, is a mellow mantra driven by a mesmeric organ and guitar riff.

Nocturnal Geography
A trumpet blast kicks off Nocturnal Geography, with its monster groove, echoing guitar and pizzicato strings before reaching a climactic crescendo.

Lonely Water
Hypnotic and repetitive, Lonely Water is six and a half minutes of pure post-punk, with Phil's plaintive vocals and layers of guitar to increase the intensity rating.

Wire, Water and the Rest
Cinematic reverberation, with echoes of Lee Hazlewood and spaghetti westerns, this song, at the strategic mid point of the album, also provides the album title in its final verse.

Burn The House Down
A sardonic and acidic putdown of Brexit madness, supposedly the "will of the people", a sinister phrase with dark historical connotations. All set to a Beefheart meets New Order backing track.

Coffin Maker
A blast of full blown gloom grooves, with guitars and mellotron bass turning up the volume to 11.

Taking the temperature down, IC1011 is a cool, stately journey into the distant reaches of the stratosphere.

Halcyon Days
A nostalgic look back on the one hand, musically this also has a Velvets 1969 live feel, complete with an extended coda.

No Particular Place
Eight minutes of Suicide fighting it out with the Stooges, with Ornette Coleman joining in the action to cause more sonic mayhem. A fitting conclusion to the album, a "dream of a ride".


quinta-feira, 14 de dezembro de 2017

Car Crash Sisters, "Sundance Sea" - Track by Track

Estive pensando, depois de ouvir seguidas vezes, o tão aguardado debute dos mexicanos prediletos do TBTCI, Car Crash Sisters, que algo foi incorporado na sonoridade que ficou característica da banda, ou seja, seu mix de distorções, sonhos e melodias, por vezes, beirando o grunge, em outras, evocando J. Mascis, mas sem extremos, seja para o lado etéreo da coisa ou para o lado fritante, o CCS sabe como dosar suas referências sem perder a identidade, mas, como coloquei lá no início, a abertura de "Sundance Sea" mostra um novo ingrediente, algo melancólico foi inserido no caldeirão dos caras e caiu perfeitamente bem.

"In Another World" e "Descension", talvez as duas melhores do disco, explicitam esta inserção com um cheiro de pós punk no meio da barulheira, mas, o ponto é, a melancolia permeia todo o trabalho por debaixo de todo o volume.

Com todos estes pontos a serem abordados o TBTCI conversou com o CCS e pediu um detalhamento de cada uma das oito pérolas do disco, e o resultado é revelador.

Leia e escute alto.

Car Crash Sisters - "Sundance Sea" - Track by Track
by CSS

01.-Some kind of regret.
This is one of the first songs I wrote for the album. It was a different experience, because, unlike the songs I wrote for 'The crystal garden' EP, this one started as a jam.

I wanted it to be a slow and heavy song, and while the idea is still there, it took a different direction when it was finished.

We actually recorded this album 3 times, and this take is from the second session. This is the only track we used from that session.

Orange -along with Some kind of regret-, is one of the first songs written for this album. To me, this one serves as some sort of “bridge” between our EP and 'Sundance sea'. I knew that I wanted to try different things this time, but I felt that I had to link both releases in some way, so I just fooled around with some of the chords I overused in our first songs and that's how this song was born.

Our former bass player, Pelón, contributed a lot in this song: The riff at the end of the chorus and the bridge were all his idea. That was something cool, his contribution fitted very well on the main idea of the song and influenced my songwritting on a couple tracks.

03.-In another world.
For some reason, a lot of people heard a lot of the Cure in this song. I mean, I love the Cure, but I never thought about'em while writting this song. Was it the flanger I used or the synth John added? I don't know.

We never finished that song before recording it, we used to jam and play it until we though it was appropriate to stop, but we didn't define it until we recorded it, but we liked the sound so much, that we decided to release this song as the first single of the album.

Like 'orange', this song was written as a band. I came with just an idea, but Noel and Pelón helped me finishing it. I think this song (and a very weird mini-tour) helped us become closer as bandmates.

This was the first time Alma included vocals on a song, we added like 5 or 6 layers of vocals during the verses, and you can clearly hear her voice there.

04.-Anne Louisse of the raging seas.
The oldest song of the bunch!. I wrote this song for a band I had between 2003-2010 but we never recorded it... in fact we never played it live, but I liked it so much... and I felt it was being wasted. In fact, it is my fav track of the album.

I wanted it to fit somewhere, but I wasn't sure CCS was the right band for it, until I decided to show it to them and they liked it!

It sounds a bit 'grunge' because it was written for a post-grunge band, but I tried to sing it a bit different and changed a few things to make it a proper Car Crash Sisters song.

This one is a bit old too. I wrote the verse, the chorus and the ending, but it took me about 5 years to come up with a bridge to link those parts together. I just didn't know what to do! It starts with this dumb and happy section and it ends with dark, dissonant chords, so what to do? I tried a lot of things but it didn't sound good to me, fortunately, inspiration finally came to me and we were able to finish it.

I liked the idea of a catchy song with heavy-distorted guitars, and the britpop-esque drums helped to achieve that sound. Happy birthday everyday, Noel!

It sounds like we ran out of ideas since we reused old songs in this album, and while -fortunately- this was not the case (I think), 'Anyway' is a new version of the original released in 2013. I think it was Noel who suggested to re-record this song as a band, because the original was just Alma and me. The drums were sequenced, so I guess it was ok to bring it back to life with a full band sound.

This is a very special song to me, because it was the very first song we released as CCS, and I still enjoy playing it live.

This song was written during the second recording session of the album. I accidentaly played the first 2 chords and eventually, the whole song, but I felt it was way too easy, like 'I just wrote a song in 5 minutes, this cannot be good'. Maybe I got used to taking more time working and detailing songs and I felt that doing it so fast was cheap, but somehow, 'midnight' became one of my favorite tracks. Sometimes being spontaneous gives you good surprises.

Alma was doing something in the kitchen, and I was sitting on a chair, talking to her, playing my acoustic guitar, and then I started playing this song. It was different, kind of weird, but I couldn't stop playing and singing, so the next day I recorded a demo of it. It took me weeks to show it to the band, I thought they were not gonna like it. The demo was me trying to emulate what I thought the rest of the band would do, but, of course, they ended up doing it much better. This song marks the departure of Pelón, the return of John and the beginning of the 3rd recording session, so in a way, it represents a new beginning.

This and 'in another world' are probably two of the most honest songs I've ever written in my life. So honest they kinda hurt.

I always try to hide certain feelings when I write lyrics, making them a bit confusing and somehow cryptic, but this one in particular happened in a moment when the only thing I could do was face reality, so I just wrote what I felt.


quarta-feira, 13 de dezembro de 2017

Viento Bravo with Melange - An Interview

Se não fosse pelo idioma, o espanhol no caso, o quinteto madrilenho Melange, passaria facilmente por alguma pepita perdida da psicodelia brasileira, tamanha a caracterização tropicalista inserida no segundo álbum dos caras. 

"Viento Bravo" lançado há pouco menos de um mês, tem sim um nítida influência de Sergio Mendes e Edu Lobo em suas canções, mas os caras a mesclam com elementos de space rock, e kraut, criando uma atmosfera com grooves viajantes.

Algo como se o Soft Machine, o Can e Sergio Mendes resolvessem formam um supergrupo, se isso acontecesse o filho seria o Melange.

Esqueça o Tame Impala, o Melange em termos de experimentação é muito mais instigante.

***** Interview with Melange *****

Q. When did Melange start? Tell us about the history...
A: We are all old friends and some of us had already played together in other projects, We share concerns and a similar vision about music, sooner or later we would have come together. So we did it at the end of 2014.

Q: Who are your influences?
A: Each one of us has a different musical universe and we share them all the time discovering a lot of music. Can, Edu Lobo, Camaron de la Isla, T2, Illinois Jacket…they sound very often in the van.

Q. Make a list of 5 albums of all time…
A: “Sons of innocence” David Axelrod,
“Escalator over the hills” Carla Bley,
“A vontade” Baden Powell,
“El Patio” Triana,
“Dudlay” Dunaj.

Q. How do you feel playing live?
Where the band brings out all its potential is on stage, in fact, our two albums have been recorded live adding voices and few arrangement after. We think that playing live is one of the best things to do so we enjoyed a lot.

Q. How do you describe Melange sounds?
A: Organic, dark, expansive, groovy…

Q: Tell us about the process of recording the songs ?
A: The new album “Viento Bravo” was recorded in Motril (Granada), in the south of Spain, at Gismo 7 with our friend and producer Carlos Diaz. We spended several days there just thinking about our music. All tracks were recorded live on tape and later we added voices.

Q. Which new bands do you recommend?
A: There are many current bands and artists that we like such as Deradoorian, Goat, Bad bad not good, Alberto Montero…

Q: Which band would you love to made a cover version of?
A: Any Edu Lobo´s song would be a great challenge for us.

Q: What are your plans for the future?
A: “Viento Bravo” has just come out and the plan is to take it to many places. Beyond Beyond is Beyond records, the Brooklyn based label, edit it worldwide so more people around the world will listen to our music. In the meantime we continue composing new songs.

Q: Any parting words?
A: Thank you so much. We´d love to play in Brazil!


terça-feira, 12 de dezembro de 2017

Sanctuary+ with Silent Forum - An Interview

Diretamente de Cardiff, o quinteto Silent Forum, vem intensificar a onda densa e crua do cenário pós punk do globo.

Uma perfeita introdução a música dos caras é "Sanctuary+", trabalho que reúne os EPs deles. Pós punk cru, ríspido, sem firulas, indo diretamente na ferida, e se ela não existe ainda, certamente vai ser aberta.

Pense num Wedding Present sombrio, assim poderia ser descrito o Silent Forum.

Para ficar de olhos e ouvidos atentos.

***** Interview with Silent Forum *****

Q. When and how did Silent Forum begin?
We met through the internet 5 years ago and have been very close ever since! We were initially a fun indie rock band called How I Faked The Moon Landing before settling on a slightly darker tone.

Q: Who are your influences?
There's a real range, each member pulls from a different place including: Pavement, The Smiths, Everything Everything, Warpaint, Interpol.

Q. What are your 5 favourite albums?
1. Joanna Newsom - Have One on Me
2. R.E.M. - Lifes Rich Pageant
3. Interpol - Turn on the Bright Lights
4. Meat Puppets - II
5. The Wedding Present - Seamonsters

Q. How do you feel playing live?
It depends on the room. Yesterday we played a DIY gig in a tiny room and there was a tremendous energy and warmth (both literal and emotinal) from the audience. Richard (the singer) is very much a "full body" performer, he can sometimes feel quite sick on stage because he does a lot of dancing/jerking about and drinking beer.

Q. How would you describe Silent Forum's sound?
Dark Indie music with elements of Goth and Post Punk.

Q: Tell us about the process of recording your new EP?
Sanctuary was recorded in Stubbington, England - a tiny village where the producer has a recording set up on the top floor of his house. It was quite strange to record such an intense record in a quiet and peaceful area. A lot of people move to Stubbington to retire.

Q. Which new bands do you recommend?
Iglooghost, Jadu Heart, People Like You, Bonzai and Girlpool (kinda new),

Q: Is there a song you would you love to make a cover version of?
Arthur Russell - This is How We Walk on the Moon. That song is addictive, working out how to do it justice would be hell. YouTube that song if you get a chance - its a glorious, perfect song.

Q: What are your plans for the future?
AT the moment we are really focusing on writing as much new material as possible as we're recording an album next year. Its going to be surprsingly poppy - we are looking forward to subverting people's expectations.

Q: Any parting words?
Listen to our new EP Sactuary! It is everywhere you could want to listen to music.

If you are feeling flush you can buy our cassette tape Sanctuary+ at this link, it contains everything we have recorded up to this point: tinyurl.com/yanbwjcs
Thank you for having us.


segunda-feira, 11 de dezembro de 2017

Need The Sun with The Medicine - An Interview

Primeiramente, não confundir com o Medicine, banda mais do que seminal, do gênio Brad Laner.

Feito o devido aviso, adentraremos ao mundo do duo japonês, The Medicine. Formado em Osaka no ano passado, com dois EPS no currículo, "Trip" de 2016 e "Need The Sun" deste ano, mas os pontos altos da curta trajetória do casal são "Flashback" e "Clumsy", algo entre os ensinamentos de Kevin Shields e os heróis do alt rock japonês The Novembers.

Indie rock com sabores gazers ou vice e versa, vale acompanhar os próximos passos do The Medicine.

***** Interview with The Medicine *****

Q When did The Medicine start? Tell us about the history...
The Medicine formed in Osaka in 2016. Members met at the university. Our 1st ep “Trip” released in 2016. Thereafter we started live activity mainly in Osaka. 2nd ep “need the sun” released in August 2017, and organized a release party with the dress code of black clothes. In October 2017, drummer Toyoda withdrew from the band. we greeted the support drum in the band. Current members are Masaya Taniguchi (vocal, guitar) and Ryunosuke Tokuyama (bass). In November 2017, a cassette single "POSE" released from HANDS AND MOMENT by XTAL PARTICLE.

Q: Who are your influences?
Masaya : Nirvana / My bloody valentine / Joy Division / Sixth June / L’Arc-en-Ciel / The Novembers

Ryunosuke : Joy Division / Weezer / Art-School / Number Girl/ downy

Q. Make a list of 5 albums of all time…
Masaya :
Nirvana - In Utero
My bloody valentine - Loveless
The Jesus & Mary Chain - Darklands
The Novembers - Rhapsody in beauty
The Cure - kiss me, kiss me, kiss me

Ryunosuke :
Weezer-Blue Album
My Bloody Valentine - Loveless
The Novembers - Picnic
Bat Nouveau - Metamorphoses

Q. How do you feel playing live?
Masaya : I want to see chaos from the stage it is an audience's chaos. I'll love that whirlpool...

Ryunosuke : Convey my sound to the audience.

Q. How do you describe The Medicine sounds?
Masaya : Drifting to daydream.

Ryunosuke : Shoegaze.

Q: Tell us about the process of recording the songs?
Basically I make songs and lyrics, then arrangement with the band.

However, when we recorded "POSE", we had a show the day before, It night was a very exciting ...So we were in a very crazy state. Next morning we headed to the studio. Anyway, I remember playing that recording incredibly crazy.

Q. Which new bands do you recommend?
Our favorite band called Chastity. It's remind an underground grunge scene of the 90s. I think their sound are perfectly new age alternative rock. Their riffs are really dope!

Q: Which band would you love to made a cover version of?
Big Black - L Dopa
For Against - Sabres
My Bloody Valentine - You Made Me Realize

Q: What are your plans for the future?
Masaya : We are planning to working for a new album. It completion will be in around next fall. and We'd like to get the opportunity to play more performance. Because we'd like to more people to know our music. and I hope that all over the world enjoy with our music, not only Japan.

Q: Any parting words?
Masaya : I wish Brazilian people to see our performance! And check out the our songs, right now!