ROCKERS NOISE FESTIVAL

O FESTIVAL DO ANO

Fora do Eixo, Fora dos Padrões, Novos Conceitos, Novos Rumos...isso é Grupo Rockers

Transient Random Noisebursts with This Scarlet Mourning - An Interview

Skylight lhe diz algo?! Para os iniciados no inicio dos 90´s Perry Pelonero e Brent Martino estavam a frente desta preciosidade que chama-se Skylight, uma daquelas bandas que infelzimente sucumbiram a si mesma, por inumeros motivos dos quais a grande maioria das bandas entram em colapso, o principal frustação, por ter talento e materiais tão espetaculares e ao mesmo tempo rejeitados.

O tempo passou e Perry tomou um novo rumo ao lado de Kim Welsh e montou inumeras bandas dentre elas bliss.city.east, Morpheme e A*Star, enquanto Brent dedicou-se a seu mais novo interesse This Scarlet Mourning, e depois de muito trabalho chega a nós o debut Spinning, uma enorme e grata surpresa, principalmente porque para o TBTCI é com extrema felicidade e retorno de Brent ao mundo shoegazer ainda mais com a qualidade e a exuberância de Spinning. Uma das caracteristicas marcantes do debut é a voz d Rachel Drucker e o emaranhado de guitarras estridentes que por oras urram e em outras cristalizam todos nós.

Há tempos o TBTCI vinha namorando junto a Brent uma entrevista que em conjunt haviamos decidido que soltariamos assim que Spinning estava liberado, e finalmente a hora chegou.

O TBTCI recomenda a todos audição imediata desta preciosidade que mantem a aura do Skylight viava e pulsando até hoje.

***** Interview with This Scarlet Mourning *****

Q. When did this Scarlet Mourning start, tell us about the history...
Brent: The band started after the end of my former band Skylight. Perry (Skylight, Bliss.City.East, A Star) and I were looking for a singer and another guitar player for Skylight, He found Kim out in Chicago and I found Pete in Massachusetts. We wrote several songs but it was eventually decided we all wanted to work on projects that would allow us to play live, so Perry and Kim Started B.C.E and Pete and I started This Scarlet Mourning.

After a little more than a year of trying to find bass, drums and vocals we found our first singer and drummer Katie Bunting and Aaron Chase, then added Don Barry on bass. We began writing and eventually parted ways with Katie and Aaron replacing them with Patrick Barry and Rachel Drucker. This line up seemed to come together quickly and between august and October of 2011 we wrote enough material for a live set and started hitting the Boston area clubs.

Rachel: In August 2011 I met these fine gentleman and we have been making music and playing shows since then.

Pete: Brent can answer that one:)

Pat: My personal history/introduction into the band: My brother Don(bassist) asked if I knew of any drummers as their old one quit/exiled himself from the band. I was interested in getting back into drumming after focusing primarily on guitar for the past 8 years, and volunteered to try out. Apparently it went well.

Q: Who are your influences?
Brent: My influences are all over the place, I think the ones that have had the most impact on my playing are, Robert Smith, Adam Jones, Neil Halstead, Toni Iommi and Dave Navarro.

Rachel: Too many to name, but a few are Portishead, Imogen Heap,** Depeche Mode, Sarah McLauchlan and The Birthday Massacre. Pete: My personal influences are David Gilmour, John Fahey, Bob Mould, Jimi Hendrix, Kevin Shields. My influences for this band are, My Bloody Valentine, Sugar, Sigur Ros, The Pixies, Stereolab.

Pat: My drumming is specifically influenced by Matt Cameron, Mike Bordin, Dave Grohl, Jimmy Chamberlain, Steve Shelley, Stewart Copeland, Phil Collins, and Bill Bruford.

Outside the realm of drumming, I am extremely influenced by the likes of Mike Patton, Peter Gabriel, Josh Homme, and Roger Waters.

Being a former band geek and multi-instrumentalist, I have a lot more abstract influences that affect what I contribute to each song, including being trained in classical music, jazz, and some world music. I don't really consider myself the greatest drummer, and am more interested in coming up with rhythms that suit the song in a melodic sense rather than being flashy and technical.

                                   

Q. Make a list of 5 albums of all time…
Brent: Not sure these are the best of all time but they certainly expanded my musical horizon. The Cure: Disintegration, The Sisters of Mercy: First and last and always, Slowdive: Souvlaki, Black Sabbath: Paranoid, and Tool: Aenima.

Rachel: Poem by Delerium, Violater by Depeche Mode, The Book of Secrets by ****Loreena
McKennitt, The Doors by The Doors and Looking Glass by The Birthday Massacre.

Pete:
1) Pink Floyd: Dark side. May sound cliche, but the album is absolutely perfect.
2) Stereolab: Transient Random Noisebursts with Announcements. Perfect combination of drone, pop and layered walls of sound.
3) The Orb: Orblivion. Quite possibly the trippiest album ever made.
4) Hum: You'd Prefer an Astronaut. Heavy, spacey, and we all love the song "Stars" I mean, come on now!
5) Sublime: 40 oz. of Freedom. Amazingly executed album. Great players, great music, fantastic production. The album flows together like no other. Always have a smile on my face when listening to this one

Pat: Faith No More - "Angel Dust" : My favorite record of all time. I am extremely influenced my FNM's attitude towards songwriting; which seems to disavow lazy writing, and with the mentality of a rock band who is sick of writing rock music. It manages to encapsulate everything I love about music: Dark/brutal guitar tones, ethereal keyboards, juxtaposed with precision poppy hooks and tight funk rhythms. It's like they knew I loved goth, metal, funk, pop, and prog rock and found a way to forge them all together. This of course intertwined with Mike Patton's brilliant vocal work(who can switch between R&B crooning and grindcore squealing at the drop of the hat), which of course is unparalleled… and his David Lynch-ian lyrical content to boot. I think they were the first to sort of push me to "think outside the box" in terms of songwriting. I could go on and on about this record.

Peter Gabriel - "III(Melt)": I think what I love most about Peter Gabriel's sound is this sort of dichotomy between electronic and world instruments... like a sort of industrial/primordial cacophony. The percussion on this record is simultaneously relentless and minimalist, but what really stands out is the melody and songwriting on its own.
Soundgarden - "Superunknown" : An album from the formative years of my music absorption. Still love it to this day.
Queens of the Stone Age - "Songs for the Deaf": What a fantastic sound these guys have. I think what I found most appealing about this record is they manage to indulge in certain styles without letting themselves get pigeonholed. They delve into metal without sounding over-macho, prog-rock without sounding pretentious, stoner-rock without sounding lazy, and straight-ahead blues rock without sounding generic. Much like FNM, these guys avoid lazy songwriting and keep you entranced for the whole ride. Plus, Dave Grohl plays drums on for them on this record; your argument is invalid.
Yes - "Fragile": One of the best recordings put to tape circa 1972. These guys wrote the rules on prog rock as far as I'm concerned. Only Steve Howe could make a hollow-bodied barely distorted guitar rock.

                                   

Q. How do you feel playing alive?
Brent: I enjoy playing live, but I am naturally introverted, I don’t like to be the center of attention so when I play live I feel like I’m in kind of a bubble, I am focused on what I’m doing and have no recollection of the audience or anything after we are done (unless I mess up, I always remember that).

Rachel: Each song to me is like a different act in a play. Sharing that with the audience, drawing them and and holding their attention is something I live for.

Pete: Alive. Playing live is the only time I feel like I know what I'm doing. Every other aspect in my life is a constant guessing game. " How should I act now?" "What would this person think if I..." "Do I really Need that?" "Which one of these products that are exactly the same thing should I get?" And so on. On stage I'm me. I don't need to guess, I just know. I'm no longer the shy awkward guy, I beat the crap out of my guitar, let my demons fly around, and become myself.

Pat: Easily much better than playing dead.

Q. How do you describe This Scarlet Mourning's sounds?
Brent: That’s been hard for me to describe, there are definite shoegaze/dream pop elements but some of the heavier influences work their way into it as well. I think that we all have such diverse backgrounds in music that our approach has been to just let things go in the direction they naturally go in. Sometimes it’s shoegaze sometimes it’s more rock.

Rachel: To me, our sound is a mix of all the good components of ambient, shoegaze and in your face rock music.

Pete: Heavily influenced by shoegaze, with a touch of Radiohead, and a splash of Motorhead.

Pat: A mix between Cannibal Corpse and Fine Young Cannibals.

Q: Tell us about the process of recording the debut?
Brent: We had spent several months working the songs out so we all came into it with a good idea of what was going to go where. We spent one very long day at The Space in Lowell MA putting down the basic tracks with scratch vocals then took a couple weeks to live with the tracks, then we went in and fixed or replaced what we didn’t like and then added the final vocals. We had a great engineer (Brian Redmond)and used protools for the recording. I use all line 6 gear and went direct to the board, Pete used a vintage Fender amp and Don ran the bass into two channels, one direct and the other through his pedal board.

Rachel: Recording is always fun for me. I love to play around with harmony and percussion in the studio, and try to come up with ideas to enhance our sound. *

Pat: I tried to stay out of it for the most part. As much as it's a group effort, I respect that TSM is not my baby and left a lot of the decisions regarding sonic textures on Brent and Pete.

Q. What´s represents the shoegazer classic era to the band?
Brent: To me the classic era was between 88 and 94 or so. So much great music from then, MBV, Slowdive, Catherine Wheel, Swervedriver, Galaxy 500, Boo Radleys, Kitchens of Distinction, to name a few. I like the early years of a scene like that because even though people eventually force a genre on it the beginning is very organic, the bands sound different, look different. The look and sound happen naturally. We are now in a “revival” period, tons of great bands but for some shoegaze is a style now that has a look. It’s less organic and more calculated at least as far as the more mainstream bands go. On the other hand I am constantly amazed by the number of really good, diverse bands out there, and thanks to blogs like this and several awesome communities on the internet (The Shoegaze Collective, Ambient Airwaves, When the Sun Hits to name a few) I rarely listen to mainstream bands anymore.

Rachel: I recall sometimes while working on a song, I hear "Hey! That sounds like it could be a (insert shoegaze band here) song" from either myself or the guys.*

Q. Which new bands do you recommended?
Brent: It’s hard to narrow down, but off the top of my head, Screen Vinyl Image, The New Highway Hymnal, Bloody Knives, SPC ECO and pretty much everything Tom Lugo puts out on Patetico.

Rachel: Not sure about new new bands, but bands/Artists that I recommend are Plumb, Florence + The Machine and Imogen Heap.

Pete: Exit Music, The Joy Formidable

Pat: Four Point Restraints: Just an all around solid alt-rock group also based out of Boston, MA. Elements of the Pixies, Tom Waits, Radiohead, and Joy Division seem to combine into a completely original sound that should render them pretentious hipsters, yet they remain completely devoid of that downfall.

Exitmusic: Saw them open for the Joy Formidable last April(with Pete, actually) and they killed. Reminded me of a mix between Jefferson Airplane and Sigur Ros with a gothic twist. Sonically, melodically, and even aesthetically they just nailed it.


Q: Which bands you love to made a cover version?
Brent: Our track record with covers isn’t great, we have so many we would like to do so we usually can’t decide. We have toyed with the idea of covering Ceremony by Joy Division or Stars by Hum.

Rachel: Portishead and Dead Can Dance

Pete: We always try to come up with cover songs but we never decide which ones to do. In the Past we've covered The Misfits "London Dungeon" and My Bloody Valentine's Only shallow.

Pat: I've always really wanted to cover Peter Gabriel. He's always been really good about somehow combining sparse instrumentation with intricate songwriting which really leaves it open for anyone to put their own personal stamp on it. "I Have The Touch" comes to mind as one that I think TSM could pull off.

Q: What´s the plans for future....
Brent: For right now the plan is to build as much of an audience as we can, Boston is an oversaturated market so for a new original band it’s really hard to draw. Could be an EP at some point we are starting to have a good sized catalog of material.

Rachel: Future plans include would be to keep making music with This Scarlet Mourning, having it reach as many people as possible and having lots of fun while doing it!

Pete: Keep playing, keep writing, try to get our music out there. There may be an E.P. in the future, stay tuned!

Pat: Hopefully writing more great music, and playing more shows!

Q: Any parting words?
Brent: I’d like to thank you for your support of us and the other musical projects I’ve been a part of.

Rachel: It's hard for me personally to relate with the old "Dance like no one is watching Sing like no one is listening." Even though it may not be meant to be taken literally, I want to share music and dance with the world and see that everyone is watching, listening and hopefully enjoying it.

Pete: To quote Hunter S. Thompson,
"The music business is a cruel and shallow money trench, a long plastic hallway where thieves and pimps run free, and good men die like dogs. There's also a negative side."

Pat: "We think we understand the rules when we become adults, but what we really experience is a narrowing of the imagination." - David Lynch
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Thanks Brent and all This Scarlet Mourning

http://thisscarletmourning.bandcamp.com/
https://www.facebook.com/thisscarletmourning

Dopamine 50ª Edition - Another View

Dopamine 50ª Edition por Cicero J.

Dia 11/05/11 houve show do Teenage Fanclub aqui em Sampa,há tempos não saia em baladas por motivos pessoais,enfim,encontro com um irmão que há um certo tempo não nos viámos,e entre uma conversa e outra ele me diz: VOU ROLAR UM SOM NA SUA QUEBRADA E SE VOCÊ NÃO FOR...(essas reticências são os furos que dei com ele ahahahahaha)

O irmão em questão é nosso querido Plínio,que dispensa apresentações, e a balada era  a DOPAMINE, o engraçado que sempre vivi praticamente do lado e nunca tomei conhecimento.Quando entrei senti um vácuo dos anos 90 dando um tapa em mim e dizendo: PORRA!!!! POR QUE VCS ESTÃO ADORMECIDOS?

Atmosfera provocativa e escura,ruídos estourando pelas caixas sonoras,uma fauna de pessoas...pensei PUTA QUE PARIU!!! Pra que ir no centro de SP se aqui rola o que eu gosto,alem dos drinks com preços honestos?

Desde então não tenho pudor algum de dizer que o DOPAMINE  nasceu de três românticos,três sonhadores,pessoas que fazem com que todo esse resgate de outrora reviva e continue acontecendo no extremo da zona leste !!!!!!

 E o acaso,destino ou coisa que o valha fez com que outros românticos,sonhadores se encontrassem nessa atmosfera negra,suja, e os tentáculos  do amor a causa geraram outros frutos.

50° bagunça/edição/festa/evento/confraternização...escolha sua opção e venha.....

Esqueci apenas de um detalhe: COXAS sempre serão bem vindos,afinal o DOPAMINE sempre foi e sempre será a democracia que sempre foi

Uma ode a DIMITRY UZIEL/KA UZIEL/ROBSON GOMES....sonhadores e românticos que estão criando asas...........

Robsongs at Dopamine - The 50ª Edition

50ª Edição da festa mais underground do underground deste pais, a inspiração para todos os desmembramentos da junção TBTCI/Dopamine e seus criadores, é fato que as mentes por detrás do Dopamine (Dimitry e Robson, e a linda Ka) serviram de inspiração máxima para que este que vos escreve adentrar com os dois pés ao sagrado mundo da música de uma vez por todas.

A Dopamine é assim, inspiradora, exuberante, secreta, misteriosa, excitante, podre, provocativa, e te incita aos mais secretos impulsos serem expurgados, eu sou talvez o maior exemplo do que o poder do Dopamine pode fazer com uma pessoa, acha pouco?Vai se foder então, continue sendo esse ser conformado e não entre mais no TBTCI, ok? Ah você concorda, então faça um favor a si proprio, amanhã, 04/08 havera a 50ª Edição desta epopéia chamada Dopamine, e simplesmente haverá o lançamento do tão aguardado debut de Robsongs, a alma em forma de guitarra por detrás do patrimônio chamado The Concept.

Sitar Song é nome da pérola, sedutora, psicodélica, sonhadora, totalmente o oposto do trabalho do The Concept, em seu debut Robsongs cria um espectro inspirado  em suas influências mais pessoais, leia, Koolaid Electric Company, Dalai Lama Rama Fa Fa Fa, Black Angels, Brian Jonestown Massacre, VU, Spectrum, esta tudo contido na canção, porém com a selo de qualidade Robsongs.

Não perca este lançamento, integro e especialissimo onde somente na Dopamine, o lugar correto para a importância do evento.

Vida longa a Robson e suas Robsongs.

Shot by Both Sides with Free Electric State - An Interview

                                         

Free Electric State é um nome certamente desconhecido até para os mais descolados, mas o TBTCI em parceria com a Custom Made Music tem revelado ao mundo bandas daquelas de se impressionar a primeira audição. É o caso do Free Electric State, comboio pos punk com grandes influências d kraut condensando suas influências e esporrando canções esquizofrênicas e densas.

Monumental Life é o album dos caras, uma cacetada literalmente, noise tenso e com tons curtidos em cinza, distorções intermináveis em contra ponto com aquele baixo tipicamente ritmado e durissimo, tipicamente aquele lance Gang of Four, Magazine, PIL que é motivo de adoração aqui no TBTCI.

Dave Alisson o chefão da Custom Made Music mostrou a banda ao TBTCI e não houve como não se render a Free Electric State, e obvio que a entrevista era uma questão de tempo, e não demorou nada absolutamente nada.

Corra atras do seu exemplar deste Monumental Life porque é uma preciosidade sem tamanho.

***** Interview with Free Electric State *****

                                        


Q: Who are your influences?
DK: Most of the bands from the Post-Punk era and Krautrock. Bands like Joy Division, Magazine, The Cure, CAN, NEU!, Kraftwerk, etc...
SH: Motown, Post-Punk, World Beat. Also, Patti Smith and Radiohead.

Q: 5 Albums of All Time?
DK & SH:
CAN – Ege Bamyasi
Gang of Four – Entertainment
Joy Division – Closer
John Coltrane – Blue Train
Radiohead – OK. Computer

Q: How do you feel when playing live?
SH: Like its the most fun thing to do ever.

Q: How do you describe Free Electric State's sound?
DK: Psychedelic Noise Rock.

Q: Tell us about the process of recording the new album, 'Monumental Life'.
SH: It was a pleasure working with Rob Girardi, who has produced Beach House, Double Dagger and Arbouretum. He really helped us to strip away unnecessary sounds or ideas. Also, we wrote one song while in the studio, from scratch. That was very exciting to do.

DK: We spent 5 days in Baltmore tracking and 3 days of vocals. We then let Rob have his way with mixing the music. We ended up mixing the record twice to get the final result which we were quite pleased with. Rob used vintage mics and unconventional micing techniques to capture our expansive sound.

                                    

Q:Which new bands can you recommend?
DK: Shirlé and I recently moved back to Baltimore and have really been soaking up the music scene here with such great bands as Lower Dens, Beach House, Roomrunner, Dope Body, Lands and Peoples, Celebration, Arbouretum.

SH: We've also been listening to Disappears (Steve Shelly from Sonic Youth's new band), Liars and Peaking Lights.

Q: What bands would you like to do a cover of?
DK: We've often talked about covering Brian Eno's “Baby's On Fire” and also Romeo Void's “ Never Say Never”.

Q: What are your future plans?
SH: Since David and I have moved back to Baltimore and Tony and Nick are still living in North Carolina we will be focusing on trying to be a dual-city band. Writing long distance is going to be a big factor in how and what we create over the next year, that and playing shows to promote 'Monumental Life'.

Q: Any parting words?
DK & SH: We would LOVE to play in Brazil! Let's make that happen! Thanks so much for listening to our music.
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Thanks FES and Dave Alisson

https://www.facebook.com/freeelectricstate

The Sight of You with Presents For Sally

O que dizer do novissimo 7" do delicioso Presents for Sally? Eu poderia logicamente, escrever que é daqueles compactos que se tornarão prediletos, dreampop dos anjos, cantarolante, assoviante, delirante, emocionante, e mais uma cacetada de adjetivos que enalteceriam Anything Anymore e A Thousand Ways to Say Goodbye, o peso das guitarras chega a ser tão leve e pungente que qualquer maior comentário seria desnecessário, daí pensei, já que meu amigo Matt Etherton me enviou o material, pedi a ele que fizesse exclusivamente ao TBTCI um track by track para ai sim, as explicações sobre estas duas perolas do dreampop sejam melhor explicadas. Amigos Anything Anymore por Presents for Sally.

Track by Track
Anything Anymore 7" by Matt Etherton

Anything Anymore: An instrumental version of this was first demoed quite a while ago, it was mainly just improvised over a loop of the delayed guitar you hear at the very beginning which plays behind the whole track until the end.

After the rest of the instruments were added it was a few months again until we went back to it. I think it always felt like it had a lot of potential but was nearly scrapped as we were working on new things but once Anna put her vocals on it automatically seemed like it should be the first single to proceed all the new stuff.

People often ask what the lyrics are about of songs but I don’t tend to write about just one subject per song. Usually there’s a few lines here and there which mean something and the next few will be about something completely different, I don’t think I have ever written lyrics and then wrote the music for them, it’s always the other way round, music first and then words.


A Thousand Ways To Say Goodbye: We had messed around with the opening chords on this for a while just playing them over and over and when recording it struggled to get it to sound as noisy and raw as it was sounding live. In the end we ended up recording 3 or 4 guitars all playing the same thing but made sure all the levels were turned up so they were kind of competing against each other which created the sound that some were cutting out and clipping but it worked and was the closest it got to the sound I had in my head. We also shortened the breakdown in the middle which at times went on for about 10 minutes just building up with noises and sounds but I think we got it right in terms of shortening it for the single.

Once all the music was recorded I literally sung a vocal over the top live so I had it recorded and wouldn’t forget how I wanted it to go but it sounded ok so it was double tracked again in one take and that was literally what you hear on the record. It’s definitely a harder and rawer song that anything we have recorded before I think but as we have been told, it still sounds like Presents for sally which is the most important thing. It’s hard to have a sound all of your own these days so it means a lot that so many people say we have found one.

https://www.facebook.com/presentsforsally
http://soundcloud.com/presentsforsally/anything-anymore
http://soundcloud.com/presentsforsally/a-thousand-ways-to-say-goodbye

The Perfect Kiss with ShiShi - An Interview

Tom Lugo é simplesmente uma daquelas pessoas dignas de todo tipo de admiração, e serve de inspiração para qualquer pessoa que acredita em seus sonhos e em si mesmo, é fato que o TBTCI é fã declarado deste  cara fenomenal, não somente pelo trabalho a frente do patrimônio chamada Stellarscope bem como seu alter ego o Panophonic, e não contente com tudo isso, Tom resolveu se juntar musicalmente ao lado de sua esposa Jamie e nos brindaram com o ShiShi, um mix de dubstep, new wave, dreampop, darkwave e shoegazer, jogo ganho, a começar por Tom, mas o que impressiona no debut Nick of Time é Jamie, ela literalmente rouba a cena numa interpretação tensa e caótica, desde já uma das músicas do ano.

Logicamente o TBTCI em conjunto com Tom e Jamie armamos uma entrevista para melhor sabermos as intenções do casal, e que casal!!!!

***** Interview with ShiShi *****

How did shishi come to be? Quando surgiu a ideia de montar o shishi?

Tom- My goal was to create music with a different approach than what I had done before. The concept was to blend elements of dance music (dubstep, hip hop, etc), indiepop, and shoegaze sounds. Once I had all the compositions written and recorded, I approached my wife, Jamie Lugo, to see if she would be interested in singing on them. I had discussed doing a project together for some time but never came around to it until now.

I chose the name ShiShi because it symbolizes the duality of yin and yan, male and female, heaven and earth. Guardians and protectors of what is housed inside.
Jamie- what tom said

How was the process of recording the first single? Como foi o processo de gravação do primeiro single?
Tom- We had fun recording together, it was Jamie’s first time recording and she did awesome. I let her tell you more about it…

Jamie- I listened to the music and wrote about what it made me feel. Tom re-wrote the lyrics to go with the melody and taught me how to sing it in time. It took a few takes but was pretty easy actually.

What is the inspiration behind the lyrics? Qual a inspiração das letras?
Tom- Jamie wrote the lyrics;)


Quais as influências do Shishi?
Tom- MGMT, Matt and Kim, Screen Vinyl Image, The TingTings, New Order

Jamie- Jem, Dido, life experiences

What are your upcoming plans? Quais os próximos passos ?
Tom- We are working on completing our EP with hopes of releasing it in early fall. We would like to release the EP on vinyl so we’ll need the help of the fans to facilitate the process. If all goes well, we should have a full length release in early winter. Just in time for the holidays… it’ll make a great stocking stuffer…lol


Any additional information… Alguma informação adicional...
Tom- We appreciate the support we are getting, please continue to check out our facebook page. Contact us with comments, inquiries, etc. at panophonic@yahoo.com Renato, I would like to thank you again for being a friend and supporting me throughout the years! Many blessings to you all!

Jamie- Tom is in charge. I am just the talent. :-P
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Thanks Tom & Jamie

https://www.facebook.com/pages/ShiShi/257449944356585

http://pateticorecordings.bandcamp.com/track/nick-of-time

http://www.last.fm/music/SHISHI/TBA/Nick+of+time

http://www.indieDarkroom.com/Shishi

http://soundcloud.com/pateticorecordings/shishi-nick-of-time-demo

http://www.reverbnation.com/shishiband

Things Never Be The Same with The Modulated Tones

                                         
Spacemen 3 é um patrimônio das druggys sounds, nada até hoje chegou próximo da sonoridade criada por Peter "Sonic Boom" Kember e Jason "Spaceman" Pierce, mesmo em seus trabalhos após o rompimento do Spacemen 3 seja no Spectrum ou no Spiritualized, tato Kember como Pierce não atingiram a perfeição de um Perfect Prescription ou um Playing with Fire.

O Spacemen 3 tem uma legião de fervorosos fanáticos, o próprio TBTCI é um desses maniacos pela obra encharcado de blues psicótico misturado com drone, psicodelia da pesada e stone rock drogado.

Toda a introdução serve de pano de fundo para a mais nova adoração do TBTCI, o The Modulated Tones, fanáticos pela obra em vida de Kember e Pierce, Gina e Kevin ou The Modulated Tones abordaram este que vos escreve via e-mail dizendo que eram assíduos frequentadores do TBTCI e no contexto mencionaram que certamente eu iria me interessar pela banda sendo que suas influências são Spacemen 3, Spectrum, Suicide, Silver Apples, J&MC, etc, etc, etc....

Para quem me conhece e óbvio que fui ouvir na hora e chapei, chapei sem medo do The Modulated Tones, drones arrastados, barulhentos, dissonantes, druggys freaks, como reza o bom seguidor de Spacemen 3, obvio que o album de estréia Turning On, virou disco de cabeceira do TBTCI, e uma entrevista tinha que ser feita imediatamente para gritar ao mundo que o The Modulated Tones pode e deve ser sua mais nova banda favorita, não há outra saida, se é que você me entende....

                                       ***** Interview with The Modulated Tones *****

                                  


Q. When did Modulated Tones starts, tell us about the history..
Gina. The Modulated Tones came together in 2010. Kevin & I had already known each other for a very long time and had already established a band together previously. We wanted to start over, so we did and here we are. It's a simple project; we're best friends that live to stone-trip and make psychedelic music.

Kevin. We started playing around the beginning of 09. Gina started on the drums with me on guitar and vocals. We had no experience making music or any equipment so it took us a few years to get things rolling. We played over 120 shows before our first EP was written and recorded, in the shadiest corners of western Pennsylvania and Ohio. We had no way of recording any of it so a few albums worth of material will never be available. The goal is to create the ultimate psychedelic band. We want to cover all of the different styles of music that we love: psychedelia, krautrock, garage rock, dub, gospel, soul, shoegaze.

Q: Who are your influences?
Gina. Spacemen 3, The Warlocks, The Velvet Underground, Sonic Boom & Spectrum, Spiritualized, Harmonia, Jesus & Mary Chain, Singapore Sling, Suicide... I'm influenced by all the music I love.

Kevin. Anyone who interests us. Spacemen 3, The Velvet Underground, Suicide, The 13th Floor Elevators, Phil Spector, Brian Wilson, Syd Barrett, Cluster, The Jesus and Mary Chain, tremolo, repetition, lots of grass

Q. Made a list of 5 albuns of all time…
Gina.
1. Spacemen 3- Taking Drugs To Make Music To Take Drugs To
2. Spectrum- Soul Kiss (Glide Divine)
3. The Velvet Underground- Peel Slowly & See
4. Spiritualized Electric Mainline- Pure Phase
5. Harmonia- Live 1974

Kevin.
Spacemen 3 – Playing With Fire
The Velvet Underground –White Light/White Heat
Spacemen 3 –Taking Drugs to Make Music to Take Drugs To
Suicide – Suicide
Silver Apples – Contact

Q. How do you fell playing alive?
Gina. It's usually a good feeling, because I'm happy to share my vision with other people.
 

Kevin. Like I’m winning

Q. How do you describe Modulated Tones sounds?
Gina. Devoutly psychedelic.

Kevin. Like a tremolo, what isn’t there is just as important as what is. Music to empower. Repetitious spiritual vibrations; mixed with feedback and tremolo for this EP, but our sound is always changing

                                    
Q: Tell us about the process of recording the abum ?
Gina. We recorded over a period of two months. We had just begun using our studio and were both new to the process, so it was a trial and error process, and it worked out incredibly well. We both recorded our songs separately, with the exception of one. I really enjoyed playing all the different parts myself, that way I could make the song what it needed to be. It was a good time.

Kevin. We both worked pretty much by ourselves. We bought our own home studio in April and took two months to write and record about sixty songs. I picked four of mine, Gina picked two of hers, and we picked one song we worked on equally. For my portion of the record, I just laid down some drum beats and looped them, then layered two guitars, drones, feedback and whatever else I needed. I tried to get a song a day done as much as I could. We were working with a horribly small room and very limited equipment, but made it work.

Q. What´s represents the shoegazer classic era to the band?
Gina. I like to listen to some shoegaze music, but I don’t hear much of that element in our music

Kevin. The experimentation and vision.

Q. Which new bands do you recommended?
Gina. To be honest, I don't keep up with new music as much as I could. I’m always looking for good records though.

Kevin. Follakzoid, The Psychocandies, Secret Colours

                                   
Q: Which bands you love to made a cover version?
Gina. There's no way I'd start up a covers band. Covering songs I dig is another story of course.

Kevin. Songs I plan on covering; Cluster – Hollywood, The Jesus and Mary Chain – Never Understand, Spacemen 3, That’s Just Fine – Spacemen 3 - Ecstasy Symphony, The Velvet Underground – I heard her call my name.

Q: What´s the plans for future....
Gina. We are going to start playing live shows very soon. Then we will put out another EP. Right now, I'm starting to work on new songs and I have such a positive feeling about them. Kevin and I are going for it, no questions. This is what we love to do and we’re pretty relentless in our pursuit.

Kevin. I want to record as much music as possible. I think we’re going to put out two more EP’s by this year’s end, then work on an album and heavy touring next year. I want to start a couple of other bands too, maybe start a psych label. Big things for The Modulated Tones!

Q: Any parting words?
Kevin. Thanks so much for interviewing us!
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Thanks Gina & Kevin

http://themodulatedtones.bandcamp.com/

Under an Impressive Sky by Echodrone - An Interview

                  

Para iniciados, o Echodrone não é nenhuma novidade, muito pelo contrário, são cultuados e tem no curriculo uma discografia irretocável, mas o novíssimo Bon Voyage alça voos até então somente ensaiados pela banda.

Bon Voyage é daquelas obras cristalinas e etéreas que vislumbram o paraíso por completo, uma verdadeira ode com a benção de Robin Guthrie, Neil Hastead e Rachel Gosswell, o Echodrone, presta uma homenagem aos icones máximos das canções ofertadas aos deuses e ao anjos, mas não confundam com uma mera cópia, Bon Voyage é mais alias muito mais do que isso, se o APTBS atualiza J&MC e MBV, o Echodrone atualiza Cocteau e Slowdive sublimemente, engrandece a cada cristalino acorde de suas guitarras, a paz, o isolamento, a candura, todos os sentimentos fundem-se e geram uma leveza, que satisfará aos anjos mais sedentos de delays.

O TBTCI recebeu o album em vibrações de euforia, e propos a banda uma entrevista o que gerou em contrapartida uma nova euforia, condensando ambas gerou-se uma extensa e maravilhosa história de como se faz música para a alma credenciando-se para a trilha sonora do paraiso.


                                                    ***** Interview with Echodrone *****

                                       
1. When did Echodrone starts, tell us about the history...
Eugene - Echodrone started in 2005 when I put an ad up on craigslist to start a shoegaze/ambient band with like-minded folk. I had never really played in a band before, except for a brief stint with some of my high school buddies back in the 90s. Anyways, I think Brandon saw All Natural Lemon and Lime Flavors as one of my influences in the craigslist post. He was looking for a shoegaze band after playing in indie bands for a few years. He immediately e-mailed me and we hit it off from the start! We spent the next several months practicing throughout the Oakland/San Francisco area at various rehearsal rooms. Craigslist also brought us the original 2nd guitarist and drummer, who were replaced by Mark in 2007 and Meredith in 2008.

Meredith - I was in another project at the time when I fell in love with Echodrone. I invited them to play a show which ended up being practically empty, but I was so happy to see them nonetheless. I joined up after my last project fell apart when they asked me. I had to drive an hour from SF to the Oakland ghetto to practice with them once a week, but it was worth it.

Mark - I remember looking through a ton of Craigslist ads hoping to find something that would appeal to me and stumbled across a post that made me want to investigate further. I then checked out some music and instantly knew I’d found something special so I jumped on board the summer of 07 and we started writing a bunch of new material and redefining the sound. The main difference to me is the production side of it... especially the vocals! I love engineering when it’s time to do the vocals for Echodrone!

2: Who are your influences?
Eugene - I think everyone in the band comes from slightly different musical backgrounds. It might be best for all of us to go into our individual influences. I guess some of the biggest influences on my songwriting and guitar playing are Sooyoung Park (Seam/Bitch Magnet), Glenn Branca, Jim O’Rourke, Stars of the Lid, Swirlies, Steve Reich, Stockhausen Talk Talk, Arvo Part, Briano Eno, This Heat, American Analog Set, Godspeed You Black Emperor...there are a lot of other ones that I can’t think of right now :)

Mark - I pretty much listen to everything. I enjoy a good song that affects me emotionally or gets me to feel happy, sad, or in the mood to have fun. I'm always searching for new music and enjoy the classics as well! As far as influences growing up I was way into The Cars, Led Zepplin, Prince, Pink Floyd, The Police, Tortoise, Stereolab, Jesus and the Mary Chain, Echo and the Bunnymen and many others I can't think of right now. Lately I've been digging Hooray for Earth, Beach House, and Ulrich Schnauss. There are endless influences for me and I try and borrow bits and pieces from everything I feel is good listening.

Meredith - I listen to a ton of genres, but most often get inspired by stuff that sounds raw. I like my distortion dirty and I like hearing people play loose and singing without autotune.

Brandon - I’m influenced by a ton of shoegaze and post-punk bands. Some notables are The Smiths, Talking Heads, Gang of Four, Slowdive and Medicine.

3. Make a list of 5 albums of all time…
Mark
My Bloody Valentine / Loveless
Ride / Nowhere
Soul Coughing / El Oso
Ulrich Schnauss / Far Away Trains...
Engineers / Three Fact Fader
(also the records on Brandon’s top 5...this was a hard one!)

Eugene
Can / Tago Mago
Stars of the Lid / The Tired Sounds of Stars of the Lid
eam / The Problem With Me
Glenn Branca / The Ascension
Steve Reich / Different Trains, Electric Counterpoint

Meredith
Low / Things We Lost in the Fire
Wilco / A Ghost is Born
Beck / Sea Change
Radiohead / Amnesiac
Elliott Smith / Figure 8

Brandon
Slowdive – Souvlaki
Gang of Four - Entertainment
The Chameleons - Script of the Bridge
Talking Heads - Fear of Music
My Bloody Valentine - Loveless

4. How do you feel about playing live ?
Brandon - I am always too nervous to enjoy playing live as much as I’d like to. But, you get immediate feedback from the audience afterwards which i always appreciated. It would be nice to be able to play some of our newer material in a live context - it would be interesting to see how the stuff would change and how we’d be able to translate the music to a live audience and see the impact.

Meredith - It’s sort of frustrating because it never sounds as good as in the practice space to me. Nerves are higher and the sound is all weird because you are playing forward instead of in a circle. There tends to be less risk-taking and less magic. At the same time, it’s the only time I ever get to really share music with non-band members, since nothing is more awkward than sitting next to someone while you both listen to your recording. Where are you supposed to look? And then I feel sorry for the person who has to comment and say the perfect thing.

Eugene - Live shows are strange experiences for me. As a whole, Echodrone has always aimed to get huge, intricate sounds where everything integrates smoothly. It’s easy to hear this integration in a practice setting because we could completely engulf smaller rooms with our sound. Essentially, you could hear every aspect of our compositions regardless of where you were standing in our practice space.

But we lost this perspective a lot of times when we played on stage. Part of it was the separation of our instruments (I was on one side of the stage while Meredith, Brandon, and/or Mark was on the other side). And, as Meredith said, the other part of it was due to the directionality of our sound in a live setting. All of our sound was directed out toward the audience and away from us. This meant we had to trust each other completely. It also meant that we had to trust the songs themselves, since we couldn’t actually hear each other or perceive the details on stage. In essence, we had to believe that, as long as we played our own parts, the song and the integration of details were actually coming together and existing as we intended out in the audience. It was a leap of faith, for sure, and one that we took with every show.

Mark -I am the black sheep on this one... I totally love playing live and feel having an audience makes me play better and makes me strive for my best. The studio is fun too but doesn’t allow for instant gratification, I always enjoy the moments after the gig is done and the dust settles hopefully leaving our family and friends in a good state of mind. Right now Echodrone isn’t able to play live since we all live in different parts of the country, but once everyone graduates from school I bet there will be a resurgence and the gigs will be flowing again! I love playing for new audiences and experiencing new things so a tour of the world would be a dream come true.

5. How do you describe Echodrone sounds?
Mark - echo-y, reverb drenched and layered in a swirling, drug-induced dream
Meredith - epic but pretty
Brandon - a bed of delays and reverbs, with ethereal vocals laying on top...
Eugene - All the above :)

                                   

6: Tell us about the process of recording the new album ?
Brandon - We spent several months passing musical ideas back and forth online, becoming familiar with the verses and choruses if not the structures themselves. When we were able to set up enough time together, Mark Eugene and I spent a week together recording basic tracks and finalizing song structures. It was amazing how quickly the album came together, honestly. Eugene and Mark spent another week or so with overdubs and then Meredith came and recorded her vocals over 3-4 days.

Mark - We recorded it at my work/live loft in Emeryville CA where I had a lot of gear set up to track us live with us all in the same room while using headphones. The rhythm guitars and bass were recorded direct so there wouldn’t be any bleed from the amps going into the drum mics and vocals were done later. We used a click track and essentially learned how to play the songs while we were in the process of recording and like Brandon mentioned it went very quickly considering the only pre production rehearsals we had were in the form of listening to rough demos we passed back and forth via emails. We were all very surprised how well it came out considering the variables and limitations! The first five or six days were spent tracking the instruments while the last five days were primarily vocals and a few instrumental overdubs. I ended up moving out of the work/live studio so I had to mix the record in various locations, mainly Starbucks because I needed to have an internet connection to be able to use Reason 6 since the software makes you either have a dongle or sign on to their public server for access to use it. I went into a more proper studio at the end to reference everything and make sure the mixes were able to stand up on their own, and of course the rest of the band would give me feedback so it was very much a democratic process like everything we. Oh yeah...Skype was a very important tool for us!

7. What represents the shoegazer classic era to the band?
Meredith - My Bloody Valentine / Loveless to me is the perfect representation of that big, dirty, lovely mess that I have come to know and love as shoegaze. The shoegaze band I probably have the most personal connection with though is Cocteau Twins.

Eugene - I think Slowdive / Souvlaki really encompassed the classic shoegaze sound. It was such an amazing album - experimental sounds mixed with melodic sensibilities. Other bands seemed to emphasize either the experimental side or the melodic side, but Slowdive / Souvlaki was really the only classic shoegaze album that joined these two aspects together into a cohesive unit. But the coolest album, by far, was Lilys / In the Presence of Nothing. I used to play that every morning on my drive to school and I always associate it now with morning dew and the sunrise.

Brandon - 1991-1992 cover the era for me. Lush, Curve, Chapterhouse, Slowdive, MBV were all being played on my local radio station and there was so much good music that it took me 5-6 years to find out about bands like Lilys who were fantastic but not receiving quite as much notice at the time.

Mark - Definitely the early 90’s! It was a great time for music, and like Brandon I enjoyed a lot of the same bands. Swervedriver and MBV were always being played as well as a ton of other good stuff.

8. Which new bands do you recommended?
Meredith - I always jump onto trends late, but some newish bands I like -- Lower Dens, Bowerbirds, Engineers. If you haven’t heard these bands yet do yourself a favor.

Eugene - I really enjoy Solar Powered People...umm, that new Snoskred song is pretty awesome! I’m listening to a lot more ambient and experimental music lately, so if you’re interested in that, check out A Winged Victory for the Sullen, Kyle Bobby Dunn (Runge’s Last Stand is an INCREDIBLE song), Tim Hecker, and William Basinski.

Brandon - I love Drowner, Dead Leaf Echo, 99millionmilesfromthesun, Charmparticles, Daysleepers, Highspire, Resplandor, Engineers...

Mark - Engineers, Solar Powered People, Silversun Pickups, Simon Scott (love the Bunny record!), Ulrich Schnauss.

                                               

9: Which bands would you love to make a cover version of?
Meredith - I don’t know. Suggestions?

Brandon - Three songs I’ve always wanted to do shogazey covers of: “Live To Tell” by Madonna, “Sailing” by Christopher Cross, “Time” by The Alan Parsons Project

Mark - “Praying for Time” by George Michael, “No Quarter” by Led Zeppelin, “Echoes” by Pink Floyd

Eugene - “Are Friends Electric” by Gary Numan, “Hot Fun in the Summertime” by Sly and the Family Stone, “We Are What We Are” by The Other Ones, “Love System” by The .

10. What´s the plans for future....
Meredith - Evolve as a band together. That would be awesome, considering the journey so far.

Brandon - Mere stole my answer!

Mark - Continue to make great music and have a fun time doing it!

Eugene - Mark stole my answer.

11. Any parting words?
Meredith - Thanks for listening to our music!

Brandon - We appreciate the opportunity to speak with you and your readers!

Eugene - Thanks to everyone who has supported us throughout the years! We’ve hit some rough spots in the past, but our love and appreciation for you all has kept us going!

Mark - If you read this much you rock and deserve a HUGE THANKS for taking the time to learn a little about Echodrone. The band is excited to keep growing. We look at our fanbase as our good friends so those of you who have been following since the start, you know it’s been a fun ride and we look forward to the future and what it’ll bring. If you aren’t following us on Facebook it would be great to see y’all there...stop by and say hi.
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Thanks Echodrone

www.echodrone.com
www.facebook.com/echodrone
http://echodrone.bandcamp.com/album/bon-voyage

Cracked Actor & Jean Genie At Dopamine

Dopamine é Dopamine é ponto final!!!!
Quando - 21/07
Onde - Dopamine Rock City
with
Dimitry Uziel - The Boss
Rob Son - The Other Boss
Ka - The Beautiful One
E a xiitagem de praxe,,,,o flyer fala só por mesmo.....

Sueisfine with Is It Is - An Interview

                                                    

Wall of Sound continua e continuará sendo a diretriz para quem tem como icones J&MC e MBV, este é o caso dos americanos do Is It Is, ruido branco do inicio ao fim de seu debut Hollyhocks, uma ode as guitarras altas e dissonantes, vocais soterrados e aquela receita que eu e você tanto gostamos.

Para o Is It Is ela é a base de sustentação para mesclar glam clássico e jogar purpurinas em meio ao feedback das guitarras, o tom blasé cai com uma luva para as canções e as torna mais sexys e estridentes, aqui a devoção ao MBV não é o Loveless mas sim o Ins´t Anything, o que os diferencia de maciça maioria dos seguidores de Mr. Shields, logicamente que o TBTCI enaltece essa postura e não a toa o Is It Is tem tido alta rodagem na vitrola vermelha.

E o contato entre Is It Is e TBTCI era inevitável, mas dia menos dia iria acontecer, e já que aconteceu, vamos pegar a história através de James Capps o dono da barulheira sexy e estridente, e tirem as crianças da sala, a festa apenas esta começando.

***** Interview with Is It Is *****
                                   

1. When did Is It Is start, tell us about the history...
The drummer (Justin Brooks) and I (James Capps) began playing together several years ago in a band. I had just moved back from Europe and they needed an extra guitarist. We liked playing together and decided to work on some of my material. I had known our bass player (Jack Hammack) for over 10 years. Us three got together over a period of a few months and worked out the record. We decided that we wanted to have an album ready to go before we played our first show. We released the album March 1 and played our first show March 2 in St. Louis, MO. I have done original music in various bands for the past 10 years. This is my first attempt as the principal songwriter.

2. Who are your influences?
I think the biggest one would be My Bloody Valentine. The idea of loud guitars with quieter vocals. We get compared to a lot of 90's bands which I think is pretty accurate. The Beatles are an influence for everything.

3. Make a list of 5 albums of all time....
As of right now in no particular order:
David Bowie- Ziggy Stardust
My Bloody Valentine- Isn't Anything
Fleetwood Mac- Rumours
The Cure- Seventeen Seconds
T-Rex- The Slider

4. How do you feel playing live?
I love everything about playing live. The anticipation and then the act and then the release and come down afterwards. It's almost like a drug. Especially when the sound is right and you are in the middle of it. Time sort of stands still. It is one of those pure moments of existence where you think of nothing. One of the only times my brain shuts off and I just do.

5. How do you describe your sound?
Dream-Rock

6. Tell us about the process of recording.
For Hollyhocks we rehearsed the album as a single piece over and over and over again. We started recording by doing the drums. I played along with Justin on a scratch track. After all the drums were done we added the bass. I remember we did the bass really late at night. I think we got done at like 5 am. Next were the guitars. We layered many different tracks of guitar together. Different guitars and different amps. For the most part all the parts were all accounted for before recording, but there are a few moments of improvisation. After that were the vocals. I took the mixes home and did all the vocals alone on my computer. This helped a lot because singing really makes you feel self-concsious. So to be comfortable and able to do it when the moment strikes I think made for a better end result. Next was mixing which took a few weeks of listening to the songs over and over again. Luckily the guy who recorded us (Josh Thomas) knows what he is doing and knew what we were going for. We couldn't have done it without him.

                                    

7. What represents the shoegazer classic era to the band?
I'm not really sure. The big thing for me is the volume of the vocals. I cannot stand to hear music where the vocals stand above everything else. From what I understand vocals are the first thing people listen to. But for me it is the last.

8. Which new bands do you recommend?
There's a really cool band out of Chicago called Panda Riot that I like a lot. We played with this band called Captions in Santa Barbara that blew me away. It's really amazing how much great music there is out there.

9. Which bands do you love to cover?
We played a few Dinosaur Jr. songs at practice but we have yet to cover anything at an actual show. I thought it would be cool to do a cover of Prince's "Little Red Corvette". We try to keep our sets pretty short so we tend to just do our songs.

10. What's the plans for the future?
We have another album written but not recorded. I assume we will do that fairly soon. Mostly try to tour and expose as many people as we can to our music. Hopefully find a label that can help do that.

11. Any parting words?
Sue is not fine. She is damaged and insane.
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Thanks James

http://www.isitismusic.com
http://www.facebook.com/isitis
http://isitis.bandcamp.com/

Take It From The Man with Black Market Karma

Rapididamente, sem maiores delongas, Cocoon do Black Market Karma e obrigatório, siga as instruções do Cicerto e não perca tempo.

Black Market Karma - Cocoon
por - Cicero J.

Costumo dizer e certas vezes até soa repetitivo e irrelevante que os grandes acontecimentos da minha, da sua e de nossas vidas acontecem de forma natural e simples,compartilhar fatos, ocasiões e momentos com pessoas que realmente amamos não tem preço, comigo acontece sempre e nessa semana foi incontestavelmente histórica.

Amo futebol e vi meu time levantando a tão sonhada taça junto com amigos, isso é um fato casual, natural e simples da mesma forma desse  álbum que vem para acrescentar mais conteúdo no cenário musical de 2012.

Sim meus caros,um álbum com temperos devidamente ministrados pelo freak e super boa praça Supersonic-Mark Belton  temos um retrocesso sonoro altamente positivo e recomendável lá nos idos do anos 60,ok ok,vc é mais jovem? Então vocês certamente  devem ter  escutado algo do The Brian Jonestown Massacre. Também não? E, Dead Rabbits?

Certo,então faça um favor a si mesmo,caso vcs realmente se interessam por musicas verdadeiras...ouça Cocoon  novíssimo trabalho do Black Market Karma

Stan, Mike, Sam, Mat, Tom e a fofa Louisa são os freaks responsáveis por esse estupor sonoro, nos brindando com 11 faixas altamente fodásticas,destaque para a hipnótica ‘’Hold Me Down’’e a barulhenta ‘’Violet’’e a faixa que dá nome ao álbum.

Coccon do The Black Market Karma foi um grande presente para mim e fãs dos bons sons numa semana onde os pequenos gestos e acontecimentos irão ficar em nossas lembranças por vários anos...

Agora é só tirar suas próprias conclusões ouvindo,tenho certeza que os amantes dos bons sons ao final da audição estarão com um sorriso estampado no rosto.

http://www.blackmarketkarma.com/

Afterhours at Blue Room #6

O que as pessoas falam sobre a Blue Room??

"Cansou de balada com o povinho moderninho com o drink caro na mão a noite toda fazendo pose, e musiquinhas hits de 3 anos atrás que o DJzinho toca achando que a melhor coisa do mundo, de falta de musica realmente underground como nos bons e velhos anos 90? Sente falta de novidades musicais realmente de qualidade e bom gosto, então aparece hoje no Walden e deixe de ser coxinha e pare de ir em pico poser."
Marcos Rocker Mattos

"Hoje o Espaco Cultural Walden abre somente apos as 23h59 (ou depois do show do Radio Dept)!A Blue Room Afterhours vai ser muito da hora, com surpresas e a boa musica de sempre!"
Cesar Zanin & Mariana Cetra

"Blue Room é Fodástica."
Cicero J. Silva

"Aonde mais eu posso ouvir Wedding Present 2 vezes na mesma noite?!?!"
Paulo Seminara

"Caralho nunca ouvi sister ray em nenhuma dance floor."
Cesar Zanin

"Tragam suas mascaras e sejam vilões azuis.!!!"
Vagner Sousa

"que show fantástico Rê, eles (Inverness) são espetaculares, me lembrou muito Moose."
Mariana Cetra

"The Concept fez um estrago hoje aqui hein.!!!"
André Cordeiro

Hoje tem mais, Afterhours após o Radio Dept.

Andre Medeiros do Top Surprise fazendo um pocket que nem eu mesmo sei como vai ser;
Alessandra Lehmen do grande Lautmusik como convidada especial
Henrique Almeida do The Concept e Elevadores comemorando seu aniversario e se arriscando nas pick ups...

A Blue Room no Esp. Walden é assim, músicos, fãns de música, amigos, projetos, conversas, entretenimento, muito mais do que uma baladinha, Blue Room é conceito.

Taking Drugs To Make Music to Take Drugs To at Dopamine

48# Dopamine vem em charmoso e perigoso frasco de 80mg homenageando Jason Pierce e a obra prima do ano Sweet Heart, Sweet Light!!!!!

Onde - Dopamine Rock
Quando - 07/07/2012
with
Dimitry - The Boss
Rob son - The Other Boss
and
KA - The Beautiful One

PS: Presenças garantida de eu, Michele, Cicero, Marcos, Andre, Vagner, Roxy.....só aí já tem anos e anos de história....eu não perderia se fosse você.

Dreamlanding by Füxa - An Interview with Randall Nieman

                                       

Algumas bandas permanecerão eternamente com a integridade jamais abalada, bandas que sobrevivem simplesmente pelo amor a música, obras inteiras que permanecem intocadas pela grande maioria incluindo grandes conhecedores, uma destas grandiosidades atende pelo nome de Füxa, Randall Nieman é a mente por detrás dessa perola que mescla dreaming music, space waves, drones e lirismo etereo acima do bem e do mal, o Füxa jamais atingira o mainstream simplesmente pelo fato de não ceder a nada.

Formado por Randall após sua saida de outra banda altamente recomendada chamada Windy & Carl, Randall desde 1995 vem criando obras que podem e devem ser denominadas de pérolas, verdadeiras trilhas para sonhos trazendo anjos, nuvens, a galaxia, estrelas e sensações que talvez apenas o Cocteau Twins fez de forma tão sublime.

Ouvir qualquer canção de Randall é como embarcar acordado para passeios por lugares jamais pensados, e acredite esses lugares estão mais proximos do que imaginamos.

E como parte da admiração do TBTCI pela obra em vida de Randall, nada mais justo do que elevar o Füxa a vocês que merecem e precisam experimentar estas sensações conjuntamente com este que vos escreve logicamente sendo guiados por Randall e o majestoso Füxa.

Veja toda a história deste ilustre desconhecido dos bons sons de hoje e sempre.


                                                         ***** Interview with Füxa *****

  

Q. When did Fuxa starts, tell us about the history...A. I STARTED FUXA IN 1994 JUST AFTER LEAVING THE BAND WINDY AND CARL. THE FIRST OFFICIAL RECORD RELEASE FOR FUXA WAS A SPLIT 7" IN SPRING 1995.

Q: Who are your influences?
A. A SHORT LIST WOULD INCLUDE: SUICIDE, BRIAN ENO, KRAUTROCK (NEU!, CAN, FAUST), BRIAN WILSON, VELVET UNDERGROUND, THE ANIMALS, LEE HAZLEWOOD, STUFF LIKE THAT.

Q. Made a list of 5 albuns of all time…
A. HARD TO PICK 5. I LISTEN TO THESE 5 ALBUMS PROBABLY THE MOST....
1. BRIAN WILSON "SMILE"
2. NEU! 86
3. JOHN LENNON "WALLS AND BRIDGES"
4. LA DUSSELDORF "BLUE"
5. BRIAN ENO "APOLLO"

Q. How do you fell playing live?
A. WAY BETTER THAN PLAYING DEAD! HA! SORRY. LIVE SHOWS ARE GREAT. I ONLY WISH THE MONEY WAS THERE TO BE ABLE TO BRING THE AMOUNT OF PEOPLE IT TAKES TO ACTUALLY PLAY THE SONGS THE WAY I WROTE THEM.

Q. How do you describe fuxa´s sounds?
A. SPACE ROCK IS THE BEST DESCRIPTION I COULD THINK OF YEARS BACK. NOT SURE. I DO ALL KINDS OF SONGS/SOUNDS SO, PUTTING A LABEL ON IT KIND OF CHEAPENS WHAT IT ACTUALLY IS. IT IS THE SOUND OF ME AND ALL THINGS RELATING TO MY LIFE EXPERIENCES.

                                             

Q: Tell us about the process of recording the albuns?
A. I START THE SONGS HERE AT HOME AND GET THEM TO A POINT WHERE I FEEL COMFORTABLE SENDING THEM TO COLLABORATORS TO WORK ON (IF ANY). FROM THERE THE SONGS ARE SENT BACK TO ME AND I DECIDE WHAT SOUNDS THE BEST. THEN I'LL ADD WHATEVER ELSE I FEEL THE SONG NEEDS TO COMPLETE IT.

Q. Which new bands do you recommended?
A. THE MEEK ARE GREAT. MOON DUO ARE COOL. LEGENDARY CREATURES AND THE CROOKS ALSO. THERE ARE A LOT OF GREAT ACTS OUT THERE AT THE MOMENT.

Q: Which bands you love to made a cover version?
A. SUICIDE IS ALWAYS GREAT. MY FAVORITE OBVIOUSLY. IM DOING OTHER COVERS AT THE MOMENT BY BOB DYLAN AND BEN E KING JUST TO NAME A FEW. YOU'LL JUST HAVE TO WAIT AND SEE WHAT MAKES IT ON THE NEXT ALBUM.

Q: What´s the plans for future....
A. HOPEFULLY TO BE ABLE TO MAKE A LIVING DOING WHAT I LOVE, MAKE A FEW MORE RECORDS, PLAY A COUPLE OF SHOWS, FIND A GOOD WOMAN AND RETIRE IN THE WOODS.

Q: Any parting words?
A. FEEL ZE GOOD!
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Thanks Randall

https://www.facebook.com/pages/fuxa/187296468930