quarta-feira, 31 de outubro de 2018

The City Gates, "Forever Orbiter" - Vinyl Edition!!!!!!

Bem o The City Gates você já conhece certo?

E sabe que os caras lançaram um dos grandes discos desse ano certo?

Agora, "Forever Orbiter", o disco, ganhará o formato clássico em vinil. Corra porque só serão confeccionadas unidades dessa pérola. 

Se por ventura você quer saber mais sobre o álbum leia o "Track by Track" exclusivo que a banda fez para o TBTCI, aqui.

Reserve sua cópia antes que seja tarde no bandcamp dos caras.


Grey Goes Black, "Break Apart Again / Don't Stop" - Premiere

O trio de New Jersey, Grey Goes Black, já conhecido pelos frequentadores das páginas do TBTCI, retorna com seu mais novo single "Break Apart Again" / "Don´t Stop", depois do belíssimo debute "And Inside There Was Only Water", lançado no ano passado.

Nesta nova jornada, o GGB mergulha fundo em um certo soulgaze, conexões sonoras com A.R. Kane são notadamente sentidas em "Break Apart Again". Já em "Don´t Stop", o tom épico do trabalho anterior vem a tona. 

A pedido do TBTCI os caras revelaram os segredos de ambas canções, em detalhes.

Em tonalidades eloquentes o Grey Goes Black os caras confidenciaram ao TBTCI que novos singles e EPs estão previstos para o próximo ano, com um souvenir, um cover de Jeff Buckley prometido para o próximo single.

Para ficar de ouvidos e olhos bem atentos.

***** Grey Goes Black,  "Break Apart Again / Don't Stop" - Premiere *****

"Break Apart Again" attempts to capture the slow death of love. Caught between mixed signals and a 1000 miles from home. Screaming your devotion into the wind with no response. Constantly going back to the same rose bush to only have your heart bled out from the thorns again.

"Don't Stop" is the confusion and excitement that comes from kissing someone for the first time after they've broken your heart. Laying on your floor with heavy breath wishing it would and wouldn't end.

Knowing it should but asking please" Don't Stop" recorded in house by the band with Assistance from Benjamin from coffee Haus studios.


terça-feira, 30 de outubro de 2018

Feel The Energy with Treasure Box - An Interview

Já nos primeiros segundos do novo trabalho do duo phillie, Treasure Box, "Treasure Junkie", fica claríssimo com o que estamos lidando, o lado mais experimental do MBV, leia-se "Loomer", "Glider" entre outras são literalmente a fonte de energia onde Tim e Colin alimentam-se.

Claramente as fritações vão se tornando mais experimentalmente profundas com o desfile das canções, e o fantasma de Mr. Shields perambula o disco do início ao fim, mas o Treasure Box não apenas se limita a dar andamento a obra de Shields, elementos de eletrônica pesada aparecem constantemente, cortesia da conexão deles com o Aphex Twin.

O Treasure Box, não se trata de um plágio, mas sim de uma sequência lógica, mas é apenas indicado para fãs xiitas.

***** Interview with Treasure Box *****

Q. When did Treasure Box begin? Tell us about the history...
Tim: Treasure Box started in the summer of 2016 when I bought my first 4 track cassette recorder. We began by putting together some rudimentary releases and have been progressing and picking up new equipment ever since. The band consists of my brother Colin and I with input from friends at times. We record songs separately in our home studios (Colin in Philadelphia and I in Easton, PA) and also come together to collaborate and change it up. Our focus is to make interesting analog shoegaze/ experimental lofi music at home however we want.

Q: Who are your influences?
Colin: I think The Jesus and Mary Chain and The Cocteau Twins were the ones who influenced us to use old drum machines on our recordings. My Bloody Valentine are a huge influence on the guitar sound. Other artists like astrobrite/lovesliescrushing, Seefeel, Slowdive, Swirlies, and Aphex Twin have inspired me as well.

Tim: There are too many great artists to name but a few who have really stood out to me are Kevin Shields, Richard D. James and Robin Guthrie.

Q. Make a list of 5 albums of all time…
Colin: My Bloody Valentine - You Made Me Realize
Cocteau Twins - Treasure
Dinosaur Jr - You're Living All Over Me
Swirlies - They Spent their Wild Youthful Days...
Bedhead - whatfunlifewas

Tim: My Bloody Valentine - Loveless
Aphex Twin - Richard D. James
Harold Budd and Brian Eno - Ambient 2 The Plateaux of Mirror
Slowdive - Blue Day
Cocteau Twins - Heaven or Las Vegas

Q. How do you feel playing live?
Tim: We have yet to play live to an audience but we'd like to. Otherwise I love performing alone at home.

Q. How do you describe Treasure Box´s sounds?
Colin: Fuzzy, hissing, blurry

Tim: Textural and a little bipolar.

Q: Tell us about the process of recording the songs ?
Colin: All of our tracks are recorded to various 4-track cassette recorders and feature drum machines. I usually start by recording the drum part in full and then build from there. Adding guitars, bass, loops and vocals etc. Since there are only 4 tracks you gotta get creative, but that is most of the fun.

Tim: I start with the drums as well, sometimes with a guitar loop or something. I try to make each track a little performance on it's own that's sort of evolving throughout so when it's time to mix down, the sound might surprise me. We each have our own collection of guitar pedals, old processors and instruments to work with. Everything is recorded and mixed on tape, only being converted to the computer lastly so we can put it out there.

Q. Which new bands do you recommend?
Colin: This band called Just Mustard recently released a new album that i liked a lot. Scott Cortez is still releasing some of the best shoegaze/ambient with his various projects. I'm excited to hear the new Ringo Deathstarr album as well.

Tim: nubble light, testphase, turbo ether.

Q: Which band would you love to made a cover version of?
Tim: I'd love to do a super lofi cover of Winona by Drop Nineteens.

Colin: Maybe a Kraftwerk song.

Q: What are your plans for the future?
Tim: Our plan is to continue making music, gathering equipment and putting tapes together in an effort to improve to the point where we may influence others to create something of their own.

Q: Any parting words?
Colin: Thank you so much for checking out our music and for doing this interview. I am very grateful for anyone who takes the time to check our band out.

Tim: Thanks again and always remember to fight evil (don't succumb).

segunda-feira, 29 de outubro de 2018

Flashes of Sound with Already Dreamers - An Interview

Depois de alguns singles e EPs, o quarteto sonhador inglês, Already Dreamers chega a seu primeiro álbum "Flashes of Sound"

Como não poderia deixar de ser, "Flashes of Sound", é um passeio cintilante por entre texturas hipnóticas que soam como um convite a levitar até as nuvens, contemplando-as sem pressa.

Sonoramente, o Already Dreamers me remete diretamente ao saudoso Rumskib, obviamente que, com isto colocado, as matrizes Eno, Cocteau, entre outros, são ainda mais óbvias.

Uma doce purificação para momentos cinzentos.

***** Interview with Already Dreamers *****

Q. When did Already Dreamers begin? Tell us about the history...
Already Dreamers have existed in numerous forms (and under different names) for several years now. The current line up have played together since 2015 and we are really pleased with the work we’ve produced together so far.

Q: Who are your influences?
We are an eclectic group so our influences range far and wide from Beethoven to the Beastie Boys! But our main inspiration comes from Cocteau Twins, My Bloody Valentine, Mike Oldfield, Hammock, and Brian Eno. We have a Spotify playlist showcasing the artists and works which have had the greatest impact on our sound if you’re interested in finding out more.

Q. Make a list of 5 albums of all time…
We’ve gone for the ones which we’ve felt have had the greatest impact on both ourselves as musicians and music as a whole. In no particular order:
1. Pet Sounds: Beach Boys
2. St. Pepper Lonely Hearts Club Band: The Beatles
3. Paul’s Boutique: The Bestie Boys
4. Loveless: My Bloody Valentine
5. Tubular Bells: Mike Oldfield

That wasn’t an easy list to curate though. 5 seems like a short number considering all the musically significant albums that have been made over the years. But the direction each of these masterpieces individually helped to push both popular music and sound engineering to new areas of innovation are unparalleled . At least in our nerdy opinion anyway!

Q. How do you feel playing live?
We don't know because we have never played live. Not in our current line up anyway! That's down to two main reasons. Firstly, acute shyness. And secondly, we've yet to find a way of re-creating the sound we record in the studio, on the stage. We are starting to think about possibly doing some multimedia based live show which will incorporate visuals as well as our own songs. But as we say, that's very much in the early stages of development so watch this space.

Q. How do you describe Already Dreamers´ sounds?
We like to mix elements of electronica, rock, dream-pop, and ambient into all our work. The main part of our sound though originates from the guitar and our use of reverb and delay. We hardly ever use synthesisers which is something people are surprised to hear. We had a conversation with a journalist once who refused to believe that the only instrument we used in “Safely in the Arms of October” was a guitar. They could have sworn they heard an array of keyboards in the intro. But there isn’t. It’s all exclusively guitars and the way we treat them.

Q: Tell us about the process of recording the songs ?
We never enter a recording session with any songs or preconceived ideas. We jam, play around and generally make a large noise before the basics of a song starts to come together. Our trick is to record everything. Then our lead guitarist Christopher listens back to our sessions the next day. He’s brilliant at picking out motifs, chord changes or sound effects and then splicing it up with other jamming sessions. Then sometimes we will come back to the studio and he’ll excitedly say “we’ve got something really great here, let’s work on this and possibly add this or this”. The buzzing guitar effect during the chorus of Even The Whitest Snow Melts, took about a week to create with an array of distortion, reverb and compression. But Christopher (who produces all our stuff) will have an idea and of what will work with a particular element of the song and we’ll try our best to create that. He’s not a perfectionist per se, but he does like to get it right!

Q. Which new bands do you recommend?
Well they aren’t new as such as they’ve been producing music for while, regardless though, they are new to us.

Olan Mill (anything Alex Smalley produces with either OM or Pausal is truly special), Hammock (melancholy personified) and Jefre Cantu Ledesema (ethereal doesn’t do his music justice, as it seems to come from another time in space way back when life seemed a lot simpler).

Q: Which band would you love to made a cover version of?
We are not confident of our own ability to deliver any cover with the right amount of justice. We are huge admirers of musicians who can deconstruct a song and make it sound like their own. That’s not a skill we’ve mastered yet, but never say never! We would love the opportunity to remix someone else’s songs though. That would really excite us.

Q: What are your plans for the future?
It’s taken a while for us to get the debut album off the ground, but we are now committed to releasing two or three new bodies of work a year, as a minimum. That doesn’t mean we would sacrifice quality for quantity though. That’s part of the beauty of running our own label; we can release what we feel will resonate with our listeners the most, as often as we need too.

Q: Any parting words?
Thank you so much for listening.


sexta-feira, 26 de outubro de 2018

In This Life with Violet Waves - An Interview

Apesar de declararem amor e devoção ao Radiohead e ao Explosions in The Sky, o quarteto de Langhorne na Filadélfia, Violet Waves, não soa em nenhum momento como suas referências, pelo contrário, o que se ouve em "In This Life/Otosis", é um indie rock com fortes influências de shoegaze, claro que momentos eloquentes como o que acontece lá por volta do quarto minuto de "In This Life", remete sim a baluartes do post rock, mas aquela fórmula manjada de crescendo/tranquilidade/esporro, não necessariamente nessa ordem, definitivamente não é perpetuada pelos caras.

"Otosis" o lado B do single sim, já possui estruturas mais próximas à concepção do post rock básico, mas mesmo ela, contém um encantamento muito mais sonhador do que os pseudo delírios do post rock, o que agrada muito mais.

De qualquer forma, o Violet Waves, agradará fãs de shoegaze, post rock e principalmente de música, melhor assim.

***** Interview with Violet Waves *****

Q. How did Violet Waves begin? Tell us about the history…
John started playing with the original drummer Greg Diamond in 2016, and met Brett and Nate shortly thereafter through Craigslist. They wrote and recorded the Endless EP together during the fall of 2017, and I joined the band shortly after that when Greg started going to school in New York. The current lineup has been together for almost a year. We’ve written a lot of material and played shows consistently, but In This Life/Otosis is the first recording we’ve put out together.

Q. Who are your influences?
We’re all into a lot of guitar-heavy bands like Explosions in the Sky, My Bloody Valentine, Slowdive, Caspian, This Will Destroy You, etc. We’ve all been way into Foxing lately. There was a great period over the summer during which Radiohead and My Bloody Valentine played Philly within three days of one another. That was a really inspirational week for us. Nate tends to use a lot of visuals when describing ideas for songs- a lot of references to space and oceans and mountains. I think we really find our sound in the differences we individually bring to the group. We would probably all pull the music in a different direction if we had full control, so our collective sound comes from the point where we intersect.

Q. Make a list of 5 albums of all time…
In Rainbows by Radiohead,
Those Who Tell the Truth Shall Die, Those Who Tell the Truth Shall Live Forever, and,
The Earth is not a Cold Dead Place by Explosions in the Sky,
The Albatross by Foxing,
and Slowdive by Slowdive.

Q. How do you feel playing live?
Energized. We get pretty into it when we play. Lately we’ve been focusing on making our show more cohesive lately and working to fill in the space between songs so things flow as a single fluid set. The physical set lists are twice as long because they now include notes on what we’re doing between songs. Playing live is so much fun, especially in Philly. People are really supportive in this town.

Q. How do you describe Violet Waves’ sound?

Q. Tell us about the process of recording the songs.
The writing process was pretty much entirely from jamming, which is our typical way of doing things. Sometimes someone brings in a riff and we work off of that. We tend to loop the same few measures over and over while people figure out their own parts for it, which makes the writing process pretty fast but also organic and keeps us from overthinking things. We recorded the instrumentals in our practice space, which is inside an old warehouse in Philly. It’s a pretty small room with just the right amount of natural reverb in it. It’s not too dead, but also not so resonant that a band like ours becomes too muddy. There were a lot of small mishaps along the way that go along with recording in an old space you share with several other bands- lots of tiny rattles and creaks all around the room. We accidentally left the air conditioner running in the background of one of the drum tracks, which inevitably ended up being the best take. Nate did all the sound engineering and worked around all of it. He did the all the mixing too. We had a very long text exchange full of different onomatopoeias trying to describe the specifics of certain snare sounds or exact overdrive tone. He did a really amazing job of listening to each member of the band and getting a sound we were all really happy with. We had both tracks mastered by Corey Coffman of Gleemer, and the results were exactly what we were hoping for.

Q. Which new bands do you recommend?
Definitely Lovelorn. They’re a band out of Philly comprised of three of the four members of Creepoid. We were at Creepoid’s final show earlier this year at a 1,200 capacity venue, which was amazing. Now it’s great to see Lovelorn play more intimate shows around town. They opened for A Place to Bury Strangers at a house show a few months ago and blew everyone’s minds. Gleemer (Colorado) is also a band favorite. There are so many great local bands that are worth checking out. We just played a really fun show with Mesa Glow, Pale Shade, and Elbowache, who are all from Philadelphia or New Jersey. Slenko & McKeys lays out some great dark bootgaze. I listen to them while studying all the time. A Film in Color is another Northeast band that’s doing great things right now. Our band group text is mostly full of self-deprecating post-rock memes and links to obscure shoegaze music we find on the internet. We’re all looking for new music pretty much constantly and we enable one another in our internet deep-dives.

Q. Which band would you love to make a cover version of?
Probably something by Radiohead. We play “Weird Fishes/Arpeggi” constantly in practice. Any one of us will start a riff from the song and we’ll all join in and start playing it immediately. We like to choose songs that pay tribute to our favorite bands but we can also make our own. We used to cover “Scientist Studies” by Death Cab for Cutie. It was fun to stretch out and make really loud during the instrumental measures at the end.

Q. What are your plans for the future?
We’d like to put out a full LP and possibly do some regional touring. Lately we’ve been trying to play shows around Philadelphia with bands that are coming from a similar musical standpoint. We’ve been on a lot of very diverse bills, which is awesome, but it’s really something special when all the bands are genuinely excited to hear everyone else and not just focused on their own set.

Q. Any parting words?
Thanks for listening. It always means a lot <3 br="">*


The Spiral Electric, "A Descent Into The Maelstrom" - Premiere

Os freaks californianos do The Spiral Electric estão de volta.

Depois da acidez em formas sonoras de seu último trabalho "Ask The Sky" de 2016, os caras retornam com o primeiro apetite de seu futuro álbum que esta em ebulição.

"A Descent Into The Maelstrom" é a canção, uma peça intensa do mais puro acid space rock. Com letras adaptadas de um conto de Edgar Allan Poe do mesmo nome a canção foi produzida por Steve Kille do Dead Meadow) e masterizada por Howie Weinberg  que já trabalhou com gente do nível de Nirvana, Smashing Pumpkins e Mars Volta.

O The Spiral Electric é, fritações, delírios em esporros frenéticos exalando psilocibina para todos os lados, "A Descent Into The Maelstrom" é pura viagem com os olhos abertos.

Escute alto, em todos os sentidos, e boa viagem!

***** The Spiral Electric, "A Descent Into The Maelstrom" *****


quarta-feira, 24 de outubro de 2018

9617 GRAHAMCHAPMAN with Start Together - An Interview

Ouvir "9617 GRAHAMCHAPMAN", terceiro single dos australianos do Start Together é como se projetar lentamente em algum andaime, caminhando vagarosamente, saboreando ao mesmo tempo, o perigo e o auto controle.

O novo single vai completamente pelo lado oposto do anterior, "Being Born", o que engrandece ainda mais a sonoridade dos caras.

Se em "Being Born", a escola MBV/Swervedriver era evidente, em "9617 GRAHAMCHAPMAN", o que se ouve é um delírio gazer moldado via The Church ou HOL, um lirismo latente exala da canção que a torna viciante a cada audição.

Vale ressaltar que o Start Together esta em meio às gravações de seu debute, e pelos aperitivos teremos algo sublime por vir.

O TBTC aguarda ansiosamente ao som de "9617 GRAHAMCHAPMAN"....

***** Interview with Start Together *****

Q. When did Start Together begin? Tell us about the history...
Start Together began in October 2016 - Gerard (guitar, vocals) had previously played in a band with James (drums) and when that band ended they reached out to Emma (bass) and to create a new band. They jammed on songs Gerard had been writing at James’ house at Mt Glorious (just outside of Brisbane, Australia) on the weekends and a couple of months later Gerard asked Demetry (guitar) to join the band. Their first live show was in June 2017, and since then we have been playing many live shows, recording and releasing music.

Q: Who are your influences?
The Cure, Sonic Youth, Au Paris, Fugazi, Sleater-Kinney (that’s where the name ‘Start Together’ comes from.

Q. Make a list of 5 albums of all time…
Emma: An impossible task! Some of my favourites would be Silence Yourself - Savages, Slowdive - Slowdive, Nothing Feels Natural - Priests, In Bloom - Beach House, Tapestry - Carol King.

James: Lately i’ve been listening to Relationship of Command - At The Drive In, The Shape of Punk to Come - Refused, III - Badbadnotgood, The Mouse and the Mask - Danger Doom, Animals - Pink Floyd

Demetry: Get To Heaven - Everything Everything, The Agent Intellect - Protomartyr, 1000001 - Seagull, Big Skies -Mere Women, Summer Make Good - Múm.

Gerard: Right now i’ve been listening to Laurel Halo, Lala Lala, Relay Tapes, Protomatyr.

Q. How do you feel playing live?
Gerard: Live is fine! Sometimes it’s chaos, sometimes it’s scary, but always better then not playing live

Emma: We are very comfortable playing live - that’s mostly what we do. It feels good to take the audience on a journey.

Demetry: Playing live is extremely enjoyable. During rehearsals and recording I'm usually thinking about changing parts or experimenting. Playing live allows me to just play the songs without thinking too much.

Q. How do you describe Start Together´s sound?
Emma: Post-punk, shoegaze…

Demetry: Loud, somewhat thoughtful, and fun.

Q: Tell us about the process of recording the songs ?
Emma: Gerard is the main songwriter - He brings the concept of the songs to the rest of the band at band practice and we each add of own parts from there, but we try to follow Gerard’s intent of how the song should feel and sound.

Q. Which new bands do you recommend?
Gerard: Some other Brisbane bands we recommend are Sweater curse, Pool Shop, Relay Tapes, Sleepclub, Terra Pines.

Q: Which band would you love to made a cover version of?
Gerard: Curtis Mayfield

Emma: or maybe Womack & Womack?

Demetry: Television by IDLES

James: A song by Doves.

Q: What are your plans for the future?
Emma: We are currently in the studio right now recording an album, which will be released next year. We’d love to tour soon.

Demetry: We often dream about touring overseas - more like a band holiday rather than making money.

Gerard: Release an album, get a dog.
James: Eat more hummus and seaweed crackers.

Q: Any parting words?
Demetry: When our album comes out you should probably listen to it while walking the dog or driving to see someone you love.

Thankyou for the interview!


terça-feira, 23 de outubro de 2018

Me I My with Whitelands - An Interview

Quando coloquei minhas mãos e ouvidos no trio londrino Whitelands, através do primeiro álbum, "Whitelands", lançado nos primeiros dias de Julho, senti um certo shoegaze com pitadas claras de melancolia mas um certo charme diferente, algo meio soul, algo como se o Cheatahs flertasse com o The Veldt, o barulho e as texturas do shoegaze e principalmente dos loucos anos noventistas estão ali, mas algo suingado exalando a cada canção.

Após algumas audições, a conclusão de estar diante de um soulgazer ficou ainda mais evidente depois de ir a fundo na curta história dos caras, onde Jagun Meseorisa, bateria, Etienne Quartey, guitarras e vocais e Nathan Mckinnon,, baixo, seguem de certa maneira a tradição de ícones como A.R. Kane e o próprio The Veldt.

Sim, o Whitelands é puro soulgaze.

***** Interview with Whitelands *****

Q. When did Whitelands begin? Tell us about the history...
Whitelands began in 2016 as a small solo project of mine, a friend and I played a small acoustic show for a birthday party around June, I had only been playing the guitar for a few months and was really rough around the edges, to say the least.

For my birthday that year in January, I saw my first ever gig, Beach Slang. It was at scala I never knew rock and roll could be something so inviting and brilliant, I think that when I started to take music seriously from then on, I wanted to one day be on the same stage he was on.

A few months later during my school's exam season, I decided to apply to a gig called first-timers at a venue in London called DIY space for London. I still hadn't really found my voice as a 17-year-old playing music in a genre that isn't common at all for my race, but I wanted to do it out of pure love and respect. I met with Jagun shortly after and we started gigging as a duo, really grateful to have met him he's very talented and gung-ho about gigs and performances which contrasts my own self-depreciation a lot haha.

Q: Who are your influences?
My main influences stem from beach slang, citizen, local natives and hibou. I've always been into the dream-pop/shoegaze genre and really wanted to make my own music in that style. When the band was originally a two piece it was much more rock and roll oriented, you can see that in our song 'something else'.

Q. Make a list of 5 albums of all time…
1)Bon Iver- Bon Iver
2)Citizen- jet
3)Local Natives-hummingbird
4)Strfkr- Being no one going nowhere

Q. How do you feel playing live?
Playing live is always scary sometimes like we don't know how an audience is going to be, if they're gonna hate us or anything. Thankfully I'm always wrong and we get some of the most inviting and loveliest people. For Jagun he's very used to playing live so most of the anxiety comes from my end.

Q. How do you describe Whitelands´ sounds?
We are a mix of slow, reverb-drenched lead lines that are contrasted by heavy distorted guitar, and that's the sound I love so that might not change for a while.

Q: Tell us about the process of recording the songs?
For the album and Ep, it was all recorded in Di through a Focusrite using stock plugins, there's not much to say about it other than the fact I'm learning along the way. For the album every song except 'something else ' was done digitally, we couldn't get the band together to record so I just did it at home with logic's drummer software.

Q. Which new bands do you recommend?
The Tuts, Colour me Wednesday, Panic pocket, Charmer, Whitelands (of course), Okay Alright, War is over.

Q: Which band would you love to make a cover version of?
We are actually in the process of making a song for a cover album of a band called modern baseball, but otherwise, we would love to cover local natives.

Q: What are your plans for the future?
Record songs, Gig, and enjoy the music!

Q: Any parting words?
Thanks for interviewing us we really appreciate it, for the audience, listen to us here! https://whitelands.bandcamp.com


segunda-feira, 22 de outubro de 2018

malcontent, "Just Loneliness Can Save The World"

"É num mundo polarizado, ainda mais intolerante, violento, com milhões subjugados ao poder do dinheiro cada vez mais na mão de poucos que os malcontent regressam. “This Is The Violence of Institutions”, o terceiro longa duração, é um retrato desse mundo onde até a democracia se autodestrói. Quatro anos após a edição de “Riot Sound Effects”, “This Is The Violence Of Institutions” traduz um som ainda mais contundente, questionando a surpreendente incapacidade de contestar o status quo. Num universo sonoro que espelha uma sociedade onde a violência e o entretenimento se confundem, os malcontent incentivam à objecção, a uma atitude diferente. Just Loneliness Can Save The World é o primeiro avanço do álbum que ficará disponível a 5 de novembro. O single, disponível nas plataformas digitais já a partir de 17 de outubro, é um estímulo à autoconfiança, à determinação, à liberdade individual em oposição ao unanimismo.

Quanto a influências, não temos uma referência concreta. O nosso som está um pouco mais pesado, mas mantém a identidade. O som traduz aquilo que observamos no mundo. É uma reacção, como diz no press, a um mundo cada vez mais violento, polarizado e injusto. O tema acaba por concluir que por vezes o melhor será a solidão a única forma de "salvar o mundo"

Foram quatro anos em que nos questionamos a nós próprios. As versões originais dos temas do novo álbum são radicalmente diferentes do produto final. Não queríamos repetir a fórmula e o resultado está aí. Julgamos ter um som mais contundente e afirmativo."

Assim, os portugueses do malcontent, apresentam seu retorno depois de um certo hiato, digamos que atualmente 3 anos, é um tempo considerável, principalmente na época onde o consumo desenfreado é feito tão vorazmente que se um álbum e lançado hoje, pode ser que na próxima semana ele já tenha sido completamente esquecido, o que, de certo, é altamente cruel.

O ponto é que os caras do malcontent voltaram mais ferozes, a fonte primária de sua música esta presente, leia-se J&MC, mas uma nítida injeção hormonal com sabores e fantasmas de NIN são ecoados por todos os poros do primeiro apetite de "This Is The Violence OF Institutions", o single "Just Loneliness Can Save The World" é exatamente como seus criadores a definem: É uma reacção, como diz no press, a um mundo cada vez mais violento, polarizado e injusto. O tema acaba por concluir que por vezes o melhor será a solidão a única forma de "salvar o mundo".
Se é que o nosso mundo tem mesmo uma salvação, quem viver verá.


1/2 Tablespoon of My Existence with The Seismic Waves - An Interview

Já não é de hoje que o TBTCI bate na tecla que, de uns anos pra cá, o universo dos bons sons deixaram de serem exclusividade do eixo, USA/UK, muito além das fronteiras globais, música de qualidade é feita em todos os locais mais inusitados do globo.

Os caras do The Seismic Waves, chegam agora para endossar e comprovar esta afirmação.
Provenientes da cidade de Ulaanbaatar na Mongólia, a banda chega agora ao seu terceiro trabalho. "1/2 Tablespoon of My Existence", lançado em Junho, é sonoramente uma conjunção dos amores dos caras. 

Sendo o pontapé inicial vindo do shoegaze, mas que serve apenas de pano de fundo no que diz respeito a texturas, o The Seismic Waves esta bem mais próximo de um DIIV do que propriamente a cena gazer original, mas vai um pouco além disso, aliás como basicamente a maciça maioria dos novos sonhadores, as conexões surgem das mais inusitadas formas possíveis.

Muito provavelmente, décadas de sonoridades indies e suas fusões, vão dando encorpamento aos novos garotos, mundo afora, de forma a desprenderem-se de amarras ou rotulações.

Em resumo, o The Seismic Waves é a música alternativa do nosso tempo atual.

***** Interview with The Seismic Waves *****

Q. When did The Seismic Waves begin? Tell us about the history...
- I think my music writing experience started when my girlfriend went to the states in 2015. I missed her a lot and tried to expressed my emotion through music. I wrote her privately two albums 1 EP in total for now. Later on I started writing songs under the name The Seismic Waves and decided to write an EP and just publish it without really thinking about anything. That EP led me to start playing my songs live on events and participate in music festivals. And just recently, i had published my new album "1/2 tablespoon of my existence" . Thats pretty much the timeline

Q: Who are your influences?
- At first I was leaning towards shoegaze genre only and my biggest influence was Slowdive. As time passed by I experimented many different genres and mix them together in my own way. Of course there are many more such as Joy Division, the libertines, the horrors, diiv etc. I could go on and on cuz i usually write what i listen to.

Q. Make a list of 5 albuns of all time…
-1) Slowdive - Just for a day
2). King gizzard and the lizard wizard - murder of thr universe
3). Babyshambles - Shotters Nation
4). Explosions in the sky - All of a sudden i miss everyone
5). Mono - hymn to the immortal wind

Q. How do you feel playing live?
- I really dont know how to describe that feeling. if i were to put it in a word i guess it feels like im shifting into a different dimension where its filled with unknown colors and elements, and its too addictive that you want to stay there as long as possible.

Q. How do you describe The Seismic Waves´ sounds?
- I personally dont want to label it in some words. i guess the sound depends on the listeners emotion.

Q: Tell us about the process of recording the songs ?
- My way of recording music is very DIY. The seismic waves is my solo project where I get to write and record it on my own, usually in my bedroom. At the beginning, I even used plastic bottles to make my drum beats and my voice as a bass line. But I’m trying to become more and more professional everyday

Q. Which new bands do you recommend?
- For recommendation, off the top of my head Black Marbles, Launder, Tanukichan

Q: Which band would you love to made a cover version of?
- I would love to cover DIIV songs

Q: What are your plans for the future?
- I dont plan on my music. i just write whenever i feel like it.

Q: Any parting words?
- As Anna Freud once said “In our dreams we can have our eggs cooked exactly how we want them, but we can't eat them.”


quinta-feira, 18 de outubro de 2018

Blush with Prince Bunny - An Interview

Ana Klahr e Michael Wagner, ou, para os íntimos, Prince Bunny, juntos criaram um dos discos mais belos que ouvi neste ano.

"Blush", lançado há pouco menos de um mês atrás, é uma pequena obra prima, que, infelizmente, ficará escondida no submundo dos bons sons, sendo apreciada apenas por poucos felizardos.

O que é realmente uma enorme pena, "Blush" é hipnótico do início ao fim, um pérola calcada no dream pop. Suas nuances são absolutamente envolventes, a voz é um colírio para os ouvidos, Michael, habilmente comanda as camadas através de seu synth, criando texturas com padrão 4AD de qualidade.

Muito mais do que um álbum, um verdadeiro medicamente para a mente.

***** Interview with Prince Bunny *****

Q. When did Prince Bunny begin? Tell us about the history...
Ana (vocals+guitars) played some songs at a local music festival that featured new female/femme presenting/nonbinary artists in 2016. Her solo artist name was Prince Bunny, given her obsession with rabbits. Mike (synth+drum machine+sampler) saw her and asked if he could collaborate with her. And they continued together as Prince Bunny.

Q: Who are your influences?
Beach house, Slowdive, My Bloody Valentine, Cocteau Twins, Depeche Mode, Jesus and Mary Chain, Curve

Q. Make a list of 5 albums of all time…
Devotion - Beach House
Loveless- My bloody valentine
Heaven or Las Vegas- Cocteau Twins
Honey's Dead- Jesus and Mary Chain
Dopelganger- Curve

Q. How do you feel playing live?
We picture that our music engulfs the audience in a fluffy cloud of pastel swirly sounds

Q. How do you describe Prince Bunny´s sounds?
DIY dream pop

Q: Tell us about the process of recording the songs ?
We recorded all our music in Mike's basement! We only used a laptop, condenser mic, and an interface. Lots of reverb and trial+error.

Q. Which new bands do you recommend?
We do not listen to a lot of new music, we are kind of stuck in the past. Of the newer music we really enjoy well known Canadian artists TR/ST and Grimes, and not really that famous but really amazing Canadian artists and friends Hush Pup https://hushpup.bandcamp.com/

Q: Which band would you love to made a cover version of?
Orchestral Manoeuvres in the Dark- So in love

Q: What are your plans for the future?
We are in a sort of hiatus because we both moved to different cities. We are hoping we can keep a long distance project going and maybe tour next Summer around Eastern Canada.

Q: Any parting words?
Thank you for featuring us! And I hope you all enjoy the album <3 br="">*


quarta-feira, 17 de outubro de 2018

Contusiones with Queridos Edificios - An Interview

De San José, Costa Rica, vem o shoegaze moderno do quarteto Queridos Edificios.

Em seu primeiro EP, "Contusiones", os caras mesclam o novo e clássico, adicionando ao seu emaranhado melódico um ar denso e quase dark. Algo como um elo perdido entre Chameleons e Slowdive.

Tudo torna-se ainda mais interessante, tendo em vista que as letras são todas em espanhol, deixando o resultado ainda mais sedutor e hipnótico.

O Queridos Edificios reforça a máxima de que, a música hoje é universal, muita além do eixo USA/UK.

***** Interview with Queridos Edificios *****

Q. When did Queridos Edificios begin? Tell us about the history...
A: Queridos edificios officially started on 2017, January 9th to be exact but it's a result of various projects that I tried to have with some friends, we never played live or recorded something but we learned a lot about how is it having a band and how influences of every member goes in final product. The first project was a intend of psychedelic pop sounds and the other one completely different with Black Sabbath as major influence haha we used to have a lot of fun playing all evening, eating junkie food and watching other bands videos but sadly I saw that none of the projects had the intentions or responsibility to have great things like recordings or videos and all that so I formed QE with my former drummer Castro and after some flash members we are with Diego Cubillo as guitarist and Alberto del Valle as bassist. We've recorded our debut Ep Contusiones and right now it seems to be a very strong formation.

Q: Who are your influences?
A: I'm sure our major influences are a mixed of new and old Shoegaze bands like Deerhunter, Slowdive, MBV, The Horrors, DIIV, Beach Fossils.

Q. Make a list of 5 albuns of all time…
A: I would say in order of favorites:
1. Halcyon Digest/ Deerhunter
2. The Horrors/ Primary Colours
3. Pygmalion/ Slowdive
4. Loveless/ MBV
5. Clash the truth/ Beach fossils

Q. How do you feel playing live?
A: I thing I'm speaking for all here; at the beginning al little nervous, cuted voice and all haha but after some intro jam we feel more and more secure. At the end we just joy a lot playing and watching peoples reactions, whether they're good or bad it's always fun haha.

Q. How do you describe Queridos Edificios´ sounds?
A: Hmmm I would say it's a mix of ambiental and a little dark sounds or at least that's the line we're having now. But mostly ambiental, that's probably the must important thing we try to reach.

Q: Tell us about the process of recording the songs ?
A: i think there's not a stricted path but it's usually an idea that surges while playing in my room and maybe I got to rehearsal with a whole or partial idea and they complete the other part. Sometimes someone also bring back melodies, basses or riffs and the rest put their own effort.

Q. Which new bands do you recommend?
A: We really recommend Dylan Thomas Ep "Suceso en la plaza" and also Sway's first Ep "Imágenes violentas" (it would be better if you get to see them live some time, it's a really exciting thing)

Q: Which band would you love to made a cover version of?
A: I'd love if we ever do a version of Vad hände med dem by The Brian's Jonestown Massacre

Q: What are your plans for the future?
A: Our closest future is to have another single, maybe another video and for long terms we would really like to travel and have a LP.

Q: Any parting words?
A: We really want to thank you for the interview and we hope everyone who listens our Ep gets to like it. Thank you so much and greetings from SJO! Bye :)


terça-feira, 16 de outubro de 2018

Stranger Today with Our Girl - An Interview

Ouvir "Stranger Today", debute dos ingleses do Our Girl é imergir para dentro do universo das saudosas guitar bands noventistas.

O poder do álbum é claramente as guitarras poderosamente melódicas, e claro, os vocais pegajosos e viciantes. 

Ecos de Velocity Girl, Madder Rose, Pixies, vão se sucedendo no desfile das onze preciosidades do álbum, desde a deliciosa "Our Girl" até a epopeia final com "Boring".

"Stranger Today" é daqueles álbuns que quando se começa a ouvir fica bem difícil parar.

Grudento e perfeito, simples assim.

***** Interview with Our Girl *****

Q. When did Our Girl begin? Tell us about the history...
S - It began in spring 2014! I wanted the band to exist for a long time before that though really. I ended up writing a lot of songs in one go around that time, and Josh and I were friends already so started playing them together. Then we tracked Loz down in the summer and Our Girl properly formed!

Q: Who are your influences?
L- personally I really love Stella mozgawa from Warpaint, all just all of Warpaint really! I also love dave grohl, Stuart Copeland and ringo Starr’s drum fills

Q. Make a list of 5 albums of all time…
L- rumours - fleetwood mac,
come on feel the lemonheads- lemonheads,
funeral - arcade fire,
lullabies to paralyze- queens of the stone age
and grace - Jeff Buckley

Q. How do you feel playing live?
L- It’s great. I used to get really nervous before playing, but over the last year that’s really improved and I’m enjoying to play live more and more. It’s a very freeing experience! It looks chaotic, but I’m actually pretty calm on the inside.

S - Yeah Lauren’s got a good headbanging thing going on. I used to get really nervous too, I’d get such a bad stomach ache and couldn’t eat before going on. It’s completely changed though, I mainly feel excited before a show now! I find it very freeing too, it’s a kind of physical and emotional release that I don’t really get in any other area of my life.

Q. How do you describe Our Girl´s sounds?
L- it’s always tricky! I like people to make up their own minds. There’s loud bits and quiet bits, sad bits and happy bits.

S - Agreed. Some of it’s really heavy, some of it’s super quiet. I guess dynamic is a good way to describe it!

Q: Tell us about the process of recording the songs ?
L- we like to record live, so we were all in one room together and then vocals and extra guitars and percussion were added on after.

S - Yeah I think that suits us best. So we can get the essence and feel of the song live first, the three of us just playing it in a room. Once we have that it’s a really exciting process to take time to experiment and layer sounds on top of that.

Q. Which new bands do you recommend?
L- I really love boy azooga, we toured with them earlier this year. They’re really great live and very sweet guys.

S: Yeah we love them! They’re friends with a band called Buzzard Buzzard Buzzard who we’re lucky to have coming on tour with us soon too.

Q: Which band would you love to made a cover version of?
L- I love great covers! Maybe a pixies song?

S - Me too! We did a cover of sad fuzz by ty segall that was really fun to do. Maybe Talking Heads?

Q: What are your plans for the future?
L- we’re going on tour in October around the uk, that’ll be our first headline so that’s really exciting!

S - Yeah I can’t wait to visit and play in lots of different cities, we’ve never played in a couple of them so that’s exciting!

Q: Any parting words
L- I hope we can visit you in Brazil one day!

S- Me too!!


quinta-feira, 11 de outubro de 2018

Theories with Still Dreams - An Interview

O duo japonês, Still Dreams, é um caso meio a parte do universo sonoro daquelas terras, Ryuta e Maaya, não são gazers, também não fazem dreampop, tampouco se aventuram em terrenos experimentais, o negócio deles é um pop oitentista basicamente datado, mas que tem um frescor que acerta o alvo bem no centro.

Desde os primeiros momentos de "Try!" faixa que abre o debute deles, "Theories", já é notado qual a deles, synth pop new wave dançante, que pega New Order, Scritti Polliti, Madonna, até chegar no A-ha, pode acreditar.

Inofensivo, dançante e pegajoso, pra se divertir sem contra indicação.

***** Interview with Still Dreams *****

Q. When did Still Dreams begin? Tell us about the history...
Still Dreams is a duo band and I (Ryuta) make songs and Maaya is in charge of vocals.

In July 2016, I and Maaya married and started to live together.

At that time we started this band because it is a waste for us not to do anything while staying together.

The name "Still Dreams" is quoted from Paul Auster's novel "In the country of last things".

Besides, both of us like to talk about dreams.

We made the music at slow pace and finally released the first album "Theories" in August 2018.

You can listen to it via Spotify and Apple Music and other major streaming services or Bandcamp.

Q: Who are your influences?
Our songs on this album are mainly affected by 80s pops, shoegaze and indie pop.

Our favorite artists are New Order, Scritti Politti and A-HA, with recent bands, Ice Choir, Strange Names and The Perfect Kiss and etc.

However, it is rare to directly refer to specific songs or phrases.

If the reference sound source is too distinct, it may cause confusion for myself, and there is also a possibility that I will be disappointed in the gap between a reference song and my song.

When it comes to stories other than sounds, the view of the world of our lyrics is influenced by Tezuka Osamu's "Hinotori" and Stanislaw Lem's "Solaris".

I like science fiction themes over the passage of a long time.

Q. Make a list of 5 albuns of all time…
That's too difficult question!

Gangway "Happy Ever After"
New Order "Brotherhood"
Scritti Polliti "Cupid & Psyche 85"
Sophie and Peter Johnston "s/t"(2007)
XTC "Mummer"

All albums have highlights in these while other songs are refined, and the song order is also the best.

Q. How do you feel playing live?
Actually we have never played a live.

When making an album, I was not thinking about doing live, so I have not decided which instrument I will play.

But we are preparing for the live show little by little, I am looking for support members and Maaya is practicing dance.

Q. How do you describe Still Dreams´ sounds?
I think our songs sound cheap and old-fashioned.

However, maybe this music is comfortable for some kind of people.

I hope our songs recall the retro-future we imagined optimally from a certain era (like videogames "Fallout" and "Bioshock").

Q: Tell us about the process of recording the songs ?
I am using Ableton Live for making songs.

First I create the main melody with guitar or piano and then wrap it with rhythm and chords.

Where the song is almost finished, I always have a talk with Maaya about the image of the song and add the lyrics.

Then I send a demo to Maaya and she practices the vocal of the song based on it.

When Mayaa is ready, it is time to record vocals at home.

Because we live in the countryside, we do not go to the studio so much and we make all in our house.

Q. Which new bands do you recommend?
We recommend a band called youthcomics!

He is our friend who lives nearby and he makes lots of wonderful songs.

Q: Which band would you love to made a cover version of?
We would like to create the cover version of "Leave Me Alone" by New Order.

The lyrics of the song seems to be a viewpoint of God who felt frightened by observing humanity for a long time.

Q: What are your plans for the future?
At this moment our album "Theories" is only digital distributed, but we have a plan for physicalizing it including an unreleased song.

Also, since I am making songs for the next album, I think that we can announce new ones next spring.

Q: Any parting words?
Thank you very much for those who read it.

May all of us have good dreams.


Adult Weakness with Maripool - An Interview

Doces canções despretensiosas se perfilam naquela já conhecida atmosfera lo fi, servindo como um convite a um belo passeio a beira mar naquele entardecer mezzo romântico mezzo melancólico.

Assim flui, "Adult Weakness" primeiro EP do projeto inglês, Maripool, encabeçado por sua mentora, Natasha Simões.

Ecos de Best Coast, é claro, com direito a releitura de "The Sun Was High (And So Was I),  entre outros tesouros do indie rock de baixa fidelidade alimentam a mente da garota.

Boa brisa.

***** Interview with Maripool ******

Q. When did Maripool begin? Tell us about the history...
Maripool started about two years ago after my band broke up. I was really upset so I decided that I was going to learn drums and just start doing and recording everything myself without depending on anyone.

Q: Who are your influences?
This is a really hard one because I’m constantly listening to different bands and music genres. Whenever I listen to a song and there's something I like in it I will just try to do something similar in one of my songs. I’m really into jazz and 90’s emo but I don't think any of those sounds actually transcribe into my music.

Q. Make a list of 5 albums of all time…
Songs of Leonard Cohen by Leonard Cohen
American Football by American Football
You’re Living All Over Me by Dinosaur Jr
Evol by Sonic Youth
Roman Candle by Elliott Smith

Q. How do you feel playing live?
I really enjoy playing live. When I was younger all I used to care about was seeing bands live so now it feels amazing to be able to be on the other side. It’s also very rewarding when people come to you after and say they really enjoyed it.

Q. How do you describe Maripool´s sounds?
Everyone asks me this and I still haven't come up with a good enough answer. I always just ask my friends what do they think I sound like and they just say its lo-fi so that’s probably what I’m gonna go with.

Q: Tell us about the process of recording the songs ?
I record everything in my bedroom and into a cassette deck. I always do the drums first and everything else comes after. Doing the drums for me is always the hardest part and can take up to days.

Q. Which new bands do you recommend?
I’m really bad at keeping up with new bands, I only find out about bands after they’ve been around for ages. Two bands I found out about recently was Wych Elm and Porridge Radio, they are pretty cool.

Q: Which band would you love to made a cover version of?
Probably just some band you could do a mosh pit to. I always wish I could write more upbeat songs you could mosh and crowd surf to but my songs just never turn out that way.

Q: What are your plans for the future?
Just gonna carry on writing songs, playing shows and see what happens.

Q: Any parting words?
I’m recording a second EP now which will hopefully be out next year so keep an eye for that one!

I will also start playing with a full band and doing more shows in the next year which is quite exciting.

Thank you so much for having me!


quarta-feira, 10 de outubro de 2018

Foxxxy Mulder, "Heretic" - Track by Track

A constância em que David e Kori, ou Foxxxy Mulder para os íntimos, tem aparecido nas páginas do TBTCI vem crescendo, e não é para menos, depois do brilhante debute, "Premarital Hex", do ano passado, passando pelos singles/aperitivos do seu aguardando segundo trabalho, eis que "Heretic" conheceu o mundo no último 21 de Setembro.

Como era de se esperar, a obra é densa, soturna, envolta a sombras, e claro, melancólico até a medula.

Já havíamos realizado a premiere de "Everything in Bloom" semanas atrás e agora, David e Kori a convite do TBTCI, e principalmente pela curiosidade de poder entender e compreender os segredos e mistérios de um dos grandes álbuns de pós punk do ano, o duo dissecou a obra em detalhes quase sórdidos.

Se por ventura você ainda não apreciou o poder de "Heretic", eis aqui uma oportunidade única.

***** Foxxxy Mulder, "Heretic" - Track by Track *****

1. Everything in Bloom
David: This was actually the first song written for the record. I wrote it, I think, while Premarital Hex was being mastered. I remember it was day after I passed my PhD exams—which was one of the most challenging things I’ve ever done—so I was kind of riding this weird post-exams euphoria, and I went for a walk through the graveyard near my apartment, and then this song kind of happened.

Kori: When David sent over the earliest version of this one, I immediately understood that we were shifting gears. Premarital Hex was a bit less delicate, and this one I knew was going to require a bit more softness. I think opening the album with this one sets our audience up for something a bit more exploratory. I always really enjoy providing back-up vocals for songs like this, getting to show a softness that sets the stage for something really explosive later on.

2. Broken Glass
Kori: I gotta tell ya, performing this one was SO much fun. I absolutely channeled Siouxsie Sioux when I belted it out in the bridge at the end. Every iteration of this song, every revision, is utterly different than the one before it. We struggled to decide which was the right tone to set with this one, but I think the final form it took is the most authentic, really taking a direct, almost stern approach to the bull shit this record interrogates.

David: Yeah, this song went through more revisions than anything else on the record. When I originally wrote it, it was very shoegazey. I was trying really hard to emulate Rex Shelverton’s guitar work on the first two Tamaryn records (The Waves is one of my all-time favorite records). We actually released a rough mix with those guitar parts on Heretic Demos and B-Sides.

3. Apostate
David: This song also evolved a lot. The demo is on Heretic Demos and B-Sides, if you’re interested in checking out the early version. The sound was initially inspired very much by Exploded View’s first record. Later on, we ended up trying to incorporate some elements drawn from Zola Jesus, particularly the vocal sampling. Lyrically I was inspired pretty heavily by Sylvia Federici’s book Caliban and the Witch, specifically her discussions of the Medieval heretic movements in Europe. One thing she points out is that these heretic movements were often less concerned with challenging orthodox religious doctrine, as the word “heretic” tends to suggest, than they were with democratizing social life. So, these movements would get demonized and labeled as heretical and whatnot, but at the core their aim was revolutionary social change. Anyway, this song brings that rhetoric of heresy—in all its forms—to bear on our contemporary moment. It imagines a revolutionary moment when the heretics, the witches, the criminals, the apostates, and, you know, all of us, gather and dance on the graves of billionaires. It’s not exactly pretty—I mean, everybody’s bloody and we’ve got broken bones—but, I don’t know, it’s something. Of course, we’re not saying go out and kill rich people. It’s more like the entire conceptual category of the “billionaire” should be eliminated from the realm of possibility. It’s just a testament to how much of a fucking disaster our global economic system is that anyone can accumulate that much wealth.

Kori: In this one, I just wanted to sound evil, or maybe really vengeful. I wanted my voice to sound like thick blood, and when composing the horns for this track, I wanted them to really bounce around in the headphones. To be dizzying and confounding, but still with a recognizable pattern. I think about patterns a lot when writing instrumentation, and the repetition in this track lent itself so well to the dizzying, spiraling horns that pop off in the back end of this track. I’m really proud of this one, and helping David revise the lyrics and the structure of the track revealed how absolutely eclectic this LP is.

4. Drought
Kori: This track is the banger, in my opinion. It’s the one I really turn up loud when driving around because David’s deep, gloomy bass voice only compounds the melancholy of this track. This one feels best in headphones, because LOUD. I like that this one sort of hurts my ears, the same sort of affliction clearly affecting our speaker. And that final image, “Quake and the ground goes up / swallows you away,” ending it that desperate way is such a seamless, ironic transition into the next track, which is just hellfire and damnation.

David: In terms of lyrics, this is maybe my favorite song on the record. I think at the core it’s about the feeling of being crushed by the experience of modern life paired with the knowledge that you’re an integral part of the exact system that crushes you. You can barely pay your rent because your wages are shit, so you buy cheap things that are made in sweatshops, and as a result the rich get richer and the poor get poorer. So you feel guilty and trapped at the same time. Marx says capital is a vampire—you know, because it’s ultimately a dead thing that leeches value from the living—but soon you start to realize that you’re drinking other people’s blood, too, because you’re buying two-dollar H&M t-shirts that were made in a Cambodian sweatshop, because the apples you bought at the grocery store were picked by migrant workers who straight up didn’t get paid because the boss didn’t feel like it. You just want to get by in the world but, I mean, how are you supposed to do that? And so you go to therapy once a week in order to treat your stress, and your anxiety, and your depression, or whatever. And as a result, all these huge, world problems that are crushing you get individualized and medicalized, and maybe you take some drugs to make them go away, and you go back to work, because what else are you supposed to do? And if you can do that, you’re one of the lucky ones. It’s just fucked, you know?

5. Ghost
David: Witches are a big theme on this record, and this song’s pretty directly about that. Basically, the song tells the story of a woman who was executed as a witch—probably because she did something weird or said something mean to a man—and now she’s come back to haunt the community. It’s a story that’s been told again and again—just look at films like Black Sunday and The City of the Dead—except almost always, in these stories, the witch returns in all her evil monstrosity and the villagers are proven justified in executing her: She was in league with the devil all along and the only error on the side of the villagers was not killing her sooner. But the thing is, when I watch these movies, I always want to side with the witch because, in my assumption, she probably wasn’t executed because she was evil and hexing everybody and what have you. She was executed because the community didn’t like her—she talked out of turn too much or refused to play “good housewife” or rejected their religion or used natural remedies to heal people—so they labeled her a witch, said she was in league with the devil, and killed her for it. And when that’s the story, she fucking should come back and haunt her murderers. And we should be cheering for her, not them.

Kori: When David and I were in the studio recording vocals for this one, I felt myself almost trancing out. Keeping Zola Jesus’s deep, operatic, syrupy voice in mind, I really wanted to perform this one with its meaning at the forefront. I wanted to be intentional with performance, because performativity is so central to the ideas behind this record, and “Ghost” demonstrates those ideas best, I think. To think about the balance between female performativity and actual artistic performance, and how to act with intention and freedom, to ask the song what it needed and how I could be a maker in its conception, that’s fucking power. It was me in the dark digging deep into my gut to really get at the soul of this track, the ghost of it. I couldn’t help but cry a little while singing it, because god damn, y’all: this shit is real and yeah, I’m gonna haunt the fuck out of an oppressor and this song is almost a call to arms.

6. Easy
David: This song is maybe the odd one on the record. Both musically and lyrically it’s a bit different than the rest. But we liked it, so we kept it. I think there’s some vague Twin Peaks inspiration on this one, especially the character Candie from the new season. She’s such an enigmatic character, but there’s something compelling about her. I was also listening to J.Faraday on repeat when I wrote this song—he has a really great record called Beat Tape #1—and I think that comes out in the drum loops.

Kori: Okay, so I learned how to play a theremin for this song and I’m just really proud of myself for that. Then David made it sound fucking rad, so I’m proud of him for that. And the entire thing is just very sugary sweet, you will get a sad cavity, so please call us David Lynch. I hope someone makes out to this song. That would make me very happy and only vaguely grossed out. Get dreamy, kids.

7. No Angels Block Your Way
Kori: Of all the tracks on the LP, this one gets the highest score from me for the WL (Weed Listen). You know what I’m talking about, you burnouts. But seriously, I almost want to do a super slowed down cover (like we do) of this one. Is it even a cover if it’s your own track? Drone remix. That’s it.

David: This might be my favorite song on the record, even though I don’t expect it to be many people’s favorite. To be honest, I think we just straight-up ripped off Tropic of Cancer on this song. They have a record called The End of All Things that I was listening to obsessively when we were writing Heretic. And if I’m totally honest with myself, this song is just me trying to write a Tropic of Cancer song. They’re just so good that I couldn’t help it! I hope it ultimately turned out to be something of its own, but I don’t have the critical distance to judge that myself. The lyrics are an homage to this scene from Fire Walk With Me: https://www.youtube.com/watch?v=nXfS_pkMk-0 But even there, we’re not the first, because Sky Ferreira already wrote a (really great) song about that scene: https://www.youtube.com/watch?v=TnD8rzQ5_Sc

8. The Witch
David: This is kind of a sister song to “Ghost.” I wrote it a few days after seeing Blanck Mass live. The ending of it is very much inspired by his record World Eater, although I wouldn’t pretend that it comes anywhere near the raw brutality of that record. World Eater is simply unreal. I actually assigned that record to my undergraduate students during the time we were working on Heretic. They usually returned to class utterly confounded by what they had just listened to.

Kori: We saved the most challenging track for last, because this one gets LOUD. And those vocal runs were not a piece of cake for me. I was extremely hungover when recording this one, but I think that made it better honestly. It really captured the sheer exhaustion that the record laments regarding what modern life is fucking doing to us. Jesus, I’m tired, y’all. “The Witch” tells that story, the one about the constant shakedown, then the sinking. I can’t tell you how much I dissociate these days. I lose hours sometimes. I know I’m not alone, and this is a collective dissociation in many ways. But I have a feeling that once the sleeping gives way to that icy dawn, we will terrorize. All it takes is just one push...


terça-feira, 9 de outubro de 2018

Abattoir with Aufbau Principle - An Interview

Pense em psicodelismo sem as cores do flower power, pense em pós punk com apenas nuances de melancolia, pense em art noise sem extremismos, pense em caos, angustia, raiva, sombras envoltos a doses estridentes e tensas de barulho, pense em tudo isso saindo de Glasgow. Pense ainda que tudo isso esta mais perto de você do que você mesmo imagina.

O segundo EP, "Abattoir" dos escoceses do Aufbau Principle é um convite ao fim do mundo.

A escuridão comanda o caminho, por aqui não existe a menor chance de haver qualquer indicio de luz no final do túnel, o juízo final, o apocalipse é a única salvação, apenas isso.

Se por ventura sua auto estima não estiver bem calibrada, mantenha distância do Aufbau Principle, as consequências poderão ser seríssimas, agora, se tudo estiver ok com você, pode embarcar e expurgue seus demônios.

***** Interview with Aufbau Principle *****

Q. When did Aufbau Principle begin? Tell us about the history...
I (Kieran) had been working on a solo project under the moniker “Slow Bleed” and wanted to expand the project to have a band behind it. I knew Ruth from the art scene in Glasgow and had found out she played drums and invited her to jam out some of the tracks I had been writing. I had asked a couple of people to play bass on it but they fell through due to other commitments and then I on the off-chance asked Stefano if he fancied trying out the bass. We had jammed together both on guitars and I knew he had played guitar in other bands before but he was up for trying our bass guitar and he took to it very quickly. The first practice we had together I think we wrote like three of the five songs on the GODHEAD EP, or at least started fleshing them out. It felt like a very natural process and instant synchronicity. “Better than nothing” and “tear it from bone” off our first demo and GODHEAD EP were songs we had adapted from the Slow Bleed project which was a good jumping off point but I think aesthetically and sonically we have developed a lot in less than a year of playing together. For the GODHEAD EP Stefano suggested that his friend and former bandmate Qaiyyum should record it for us. Me and Ruth instantly clicked with Q and we all sort of simultaneously suggested that he join the band as another guitarist. Since Q joined the band the sound has developed a lot from the super stark lo-fi sounds of the GODHEAD EP and is contantly evolving and remaining exciting for us all to write and play.

Q: Who are your influences?
I think our list of influences could be an article in itself but off the top of my head and from our “aufbau inspo” playlist on spotify it would be: The Cure, BJM, Test Icicles, Interpol, Joy Division, Pixies, The Distillers, The Black Angels, Wooden Shjips, Velvet Underground, Sonic Youth, Broadcast, NEU!, Yo La Tengo, The Church for Kudes and many many more!

We played a support slot for The Underground Youth and felt very inspired by the energy they brought to the stage and me and Stef have been pretty hooked on Girls Names recently, especially the Arms around a Vision album.

Q. Make a list of 5 albuns of all time…
BJM: Methodrone
The Velvet Underground: White Light/White Heat
The Cure: Seventeen Seconds
NEU!: 75
Sonic Youth: Dirty

Q. How do you feel playing live?
Locked in, like we are all contributing to creating something necessary and energetic. Every time we play it changes and we improve upon the set. I personally feel connected to the other band members through the sound and that lifts me out of some kind of existential malaise of the everyday. Its like a collaborative art practice but the connection to the audience is far more tangible and the feedback is immediate and real.

Q. How do you describe Aufbau Principle´s sounds?
Here are some answers from our group chat:
“Really good”


“A night in on Ibiza with closed curtains and the worst coke and a cafe del mar cassette playing in somebody elses room in the shitey hotel you’re staying at.”

“Like a smacky ecto crushed up and snorted through a costa loyalty card.”

“The girl from ipanema put through a cathedral reverb”

Q: Tell us about the process of recording the songs ?
Our first demo we recorded on a Coomber tape recorder I bought off a work mate and we just placed it at the back of the room and played to it. Its pretty gnarly sounding but people seemed to dig the sound. For GODHEAD Qaiyyum recorded the Bass and Drums together in the practice space and then overdubbed the vocals and guitar parts in Stefanos flat. And then for our latest release “ABATTOIR” we went up to Dundee to record with my good friend Callum Mackie who I used to play in a traditional folk band with and we recorded it live then overdubbed the vocals afterwards. I think we are pretty efficient at recording and like to try keep it fresh with as few takes as possible. I think we one-shotted 3 of the 5 tracks on that EP and I think there is an immediacy to the sound which can get sapped away a little bit with too much overdubbing and re-recording.

Q. Which new bands do you recommend?
We are playing with GHUM next week and love their sound. I am a big fan of the Glasgow music scene and I think Herbert Powell are on of the best live acts I’ve seen in that city. Charrette (new project fronted by Ewan Grant formerly of Algernon Doll), Kaputt, Im excited to see the new band Gimp World play as I havent caught them yet but it consists of most of Anxiety who were one of the best bands I had seen. I really like Warsaw Pact from California, they have a cool sound. Tights, Overwhelmed, Brain Fluid, Cartilage.

Q: Which band would you love to made a cover version of?
We are working on a cover of Earth Angel by Marvin Berry.

Q: What are your plans for the future?
We have another EP in the works but havent had a chance to properly sit down and get it written yet. Stef has a baby due in the next month so that will probably take priority! We support GHUM on their tour for their Glasgow show on Wednesday the 12th at Glasgow Autonomous Space and the next morning we fly to Portugal to have our first international show in Lisbon on the 16th of September which is very exciting. Our friend Sarah is taking over bass duties for that and then we have a Halloween show which should be very fun as well.

Q: Any parting words?