terça-feira, 10 de novembro de 2015

Aight with Water - An Interview


Mais um representante da cena gazer da Filadélfia. Dessa vez em tonalidades mais pesadas algo como um Swervedriver fazendo uma jam com o Nothing, pelo menos é o que se ouve nas duas músicas liberadas no bandcamp do Water e seu debute Aight.

Gut Check e Grata são dois belos cartões de visitas do que o Water nos prepara.

Fino.

***** Interview with Water *****

Q: How did Water start?
Water started sometime around the end of 2013. I had a bunch of music I was sitting on that I was writing by myself and I wanted to try and flesh out, so I asked my friend Preston Rahbari if he'd be interested in helping me demo it. Preston is an audio engineer by trade and one of the most talented musicians I know, so getting him involved changed everything. We demoed 5 or 6 tracks at his home studio, and they turned out much better than I'd hoped. Around this time, Preston offered to play drums in a full band version of Water, so we tracked live drums in our friend Jordan's basement. We brought in Roy Atadgy and my brother Tom Anthony to help write/record vocals with us, and added our friend Mitchell Neif to play bass while we worked on finishing the record.

At this stage, Water is a five piece: Tom Anthony (guitar, vocals), Roy Atadgy (guitar, vocals), Preston Rahbari (drums, vocals), Mitchell Neif (bass, bams), and myself (guitar, vocals).

Q: Who are your influences?
I think this band differs from anything else we've done before in that it started off with an idea for a solo project, turned into a collaboration between two friends, and eventually morphed into a full band. The main influences sonically come from Preston, Roy, and Tom because they were all able to add unbelievable ideas to these rough sketches I was working on and turn them into something unique. Traditionally speaking, though, we're all influenced by the "classic" shoegaze bands everyone will list in interviews like this: Slowdive, My Bloody Valentine, Ride, etc. I also think we lean towards the heavier end of things; Hum comes to mind as another big influence, at least sonically. Everyone's tastes are pretty diverse. I'd also be remiss if I didn't acknowledge the power of the leaf.

Q: 5 albums of all time
I can't speak for the rest of the band here, but off the top of my head and just sticking to "shoegaze":
1. Slowdive-Pygmalion (this entire list could just be Slowdive, honestly)
2. MBV-Loveless
3. Air Formation-Daylight Storms
4. Ride-Nowhere
5. The Verve-A Storm in Heaven

Q: How do you feel playing live?
Tricky question...at this point, Water has only played one show (August 2014 at Creep Records in Philadelphia). It was a pretty surreal feeling considering the amount of time we had already sunk into the project. We've got plans to pick things up again soon, but everyone plays in other bands and has full time jobs. I'm also living in Pittsburgh right now, which is 5 hours away from Philadelphia, so that complicates things.

Q: How do you describe Water's sound?
I have a hard time assigning words to describe sonics. We're basically running with the traditional shoegaze template (delay, reverb, a shit ton of noise, etc.) and tinkering with it here or there. Our outside influences tend to bleed into the pallet now and again, whether that's pulling us towards the poppier or heavier ends of the spectrum.

Q: Tell us about the process of recording the songs?
As I said before, this started as solo project, so at first it was just me playing guitar. Bringing Preston in changed the writing process immediately because of how strong his ear is. We started demoing almost immediately and he programmed drums along with the guitar/bass I was tracking. Roy came in and wrote some melodies, and the three of us finished demoing the record that way. Preston tracked drums in our friend's basement and we tracked everything else at his home studio.

I'd say that writing and recording the vocals was the most collaborative the process got beyond the direct relationship between Preston and I. Roy, Tom, Preston, and I all sing on the record, so we tried to find a blend of all four of our voices that made it flow as seamlessly as possible. I think it works well. The next record will be a completely different ballgame: we're going to write it in a room together and track it live, which seems like an arduous task but will be more rewarding in the long term.


Q: Which new bands do you recommend?
Well, this is where I need to shamelessly plug everyone's other projects, because at this point Water is mostly a side thing. Roy plays guitar and sings in Pirahna. Preston has been in a ton of bands over the years but at this point is mostly focused on recording/studio work and playing guitar in Last Full Measure. Tom has a million projects. Notably, he plays drums in Clique, as well as Last Full Measure. I play guitar in Latecomer. Mitch transports cars via Zen Auto Transport, so hit him up for all your domestic transporting needs, 'sayin?

There's a lot of really cool "shoegazey" kind of stuff coming out of Philly these days. Weekender is one of my favorite bands, in general. Tom used to play guitar with them, and I've got plans to collaborate with Derek on a project in the future. Nothing is from Philadelphia and obviously doing some really big things, and they always manage to keep the spotlight on the city. Their LP did a lot for the revitalization of the genre. Creepoid and Sad Actor come to mind as well. I think Creepoid's newest record is actually my early nominee for album of the year. Outside of Philadelphia, I'd say Tennis System, Ringo Deathstarr, Cloakroom, and Be Forest deserve your attention. I could go on forever. It's a wonderful time to consume this kind of music.

Q: Which bands would you like to cover?
I don't know if this band will ever ending up doing any covers, but if we did, I'd imagine it'd be something outside of the realm of shoegaze that we tried to pull in that direction. Something from Pet Sounds or Smile, maybe. "Heros and Villains" seems like a prime candidate to space the fuck out on. If Slowdive didn't reunite last year, we probably would have covered them. They've been my favorite band since a friend gave me a copy of Souvlaki in 2004.

Q: What's the plans for the future?
Preston is working diligently and painstakingly on finishing up mixing and mastering the rest of the record. Hopefully, we'll have it out by the end of the year, but he's one of the busiest guys I know and this is a passion project for him. We're starting to discuss plans for a few shows in December/January, or as soon as I can get some time away from Pittsburgh. Hopefully from there we'll start writing the next record and put some things into motion.

Q: Any parting words?
I appreciate you taking an interest in this band. Water exists so that 5 friends can play music together. Anything that comes out of it is a bonus. Thanks to anyone who's given us a listen and/or taken the time to read my rambling responses to very basic questions. You stay cool like how you be cool.
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https://aightwater.bandcamp.com/

segunda-feira, 9 de novembro de 2015

Glass Giant with Sidewave - An Interview


Nos primeiros acordes de Glass Giant dos estadunidenses do Sidewave já fica claro qual é a receita sonora, barulheira noventista transportada para os dias atuais, coloque aí na receita a fase boa do Smashing Pumpkins aliada a bandas atuais como Autolux e Nothing, eis a fórmula dos caras.

Glass Giant é daqueles típicos álbuns que ou você escuta extremamente alto, ou é melhor não começar. 

Simplesmente não há meio termo.

***** Interview with Sidewave *****


Q. When did Sidewave start? Tell us about the history...
So I met Bill back in 2008-ish in the Chicago suburbs because he had just started dating a girl (now his wife) that I went to high school with. She introduced us since she knew we had similar tastes in music. Immediately after that Bill put out a craigslist ad looking for a drummer. That’s how we found Brandon. The three of us jammed on 7 or 8 ideas in a studio that Bill was working at in Orland Park, IL. We never did much besides record demos of these songs before one by one we all moved out to California. All-in-all the project that we dubbed ‘Big Bend’ didn’t live much longer than one or two years and we had no plans to keep it going after our dispersal. Bill and Brandon were doing music in LA and I was in San Francisco doing design. I started recording a lot of demos and the two of them wanted to start working on them as a group. After a few rehearsals we were introduced to Matt and our group was complete. Since then I’ve moved to San Diego to be closer to the band, but that was still an annoying commute, so now I’m in Orange County. I just can’t stand the traffic of LA, so I try to keep my distance as much as possible!

Q: Who are your influences?
Our biggest influences are bands like Autolux, Torche, Oceansize, Hum & Smashing Pumpkins.

Q. Make a list of 5 albums of all time…
Tough question, but in no particular order: Smashing Pumpkins - Siamese Dream & Melon Collie and the Infinite Sadness, Hum - Downward is Heavenward, My Bloody Valentine - Loveless, Radiohead - OK Computer

Q. How do you feel playing live?
I used to feel a little nervous because I'm more of an introvert, so getting on stage in front of a crowd wasn't really in my comfort zone. I'm not really an in-you-face rockstar kind of guy. But as we play more shows and get more comfortable as a band, the confidence comes and you end up worrying less about how you perform and just follow your instincts. Ironically, this leads to better performances in my opinion. It's liberating in a way.

Q. How do you describe Sidewave sounds?
We like to combine airy vocals over heavy guitars and driving percussion. Usually, the first adjective I usually give people is 'spacey', but I don't think that's necessarily the best description. The main goal is to write and record things that are both beautiful and powerful. The spacey element is probably just a side effect of our influences.


Q: Tell us about the process of recording the songs?
The recording process wasn’t ideal. We didn’t have any financial backing and as four young guys living in California, we didn’t have a ton of money to throw at it. We spent 4-5 long days recording drums in our practice space with all the gear that we could borrow. We had to call in a few favors, but we’re pretty satisfied with the results. Then the guitarists all recorded our parts individually. Bill and Matt went into our practice space, and tracked their parts with Brandon manning the console. I ended up reamping all my guitars at a studio in San Diego called Back to Bassics. I had a great experience there and it was through the owner that we met Aaron Harris, who mixed the album. We were stoked to work with him because not only is he a really cool guy, he has been working with some of the best rock bands in the last decade. He was concurrently recording Puscifer’s new album while mixing ours, he plays in the band Palms and he just got back from touring with the Deftones as their drum tech.

Q. Which new bands do you recommended
I really dig this band from Atlanta called Big Jesus. They started out a little before we did, so I guess that makes them new. I recently discovered a band from Austria called Lausch that just released a really awesome album. Machines Learning is another really cool band that I enjoy listening to from San Diego.

Q: Which bands would you love to make a cover version of?
Well we already covered Air's "Playground Love" and we have already decided that we'd only do a cover if we feel that we could do it better, or completely different. We have been talking about picking out a Radiohead song to cover, but we can't seem to all agree on one right now, and obviously we'd have to do it completely different, because doing it better just isn't an option when it comes to those guys.

Q: What´s the plan for the future....
It all depends. Right now the plans are to play some out of town shows to support the album in hopes of expanding our audience. We're itching to get out of LA.

Q: Any parting words?
Sure! Stream our album for free on our bandcamp site at http://sidewave.net and if you enjoy it, buy a copy!
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Thanks

http://sidewave.net
https://www.facebook.com/Sidewave.music/

That Afternoon with The Ashtrays - An Interview


Daniel Jiménez é a mente por trás do lo-fi indie do The Ashtrays.

Conexões com os modernos e reis do indie The Drums, coloque ai inserções de YLT e pitadas da class of 86 e chegamos na sonoridade do debute homônimo lançado no ano passado.

Para dias ensolarados.

***** Interview with The Ashtrays *****


Q. When did The Ashtrays start? Tell us about the history...
the ashtrays started like a year ago, more or less, I remember I used to listen to my favorite songs and think how awesome it was to express a feeling, a mood or a story and convert it into something truly poetical and artistic, I didn't know how to play guitar at all but I was sure I'd teach myself, so I bought an used black guitar and I started to play whatever came to my mind, and all of a sudden I had 8 songs... and they became my first album, I recorded pretty much everything in my bedroom, using my iPod as a "studio"

Q: Who are your influences?
the first band that brought me into all this style of music was The Drums, I really loved them and I still do, but I used to think they were the coolest musicians in the world and that they were going to be all the music I'd ever listen to. But then (because of them) I started to listen to bands like Part Time, The Wake, Bon Voyage and every band they mentioned in their interviews, I think those bands have a lot of influence in my style nowadays

Q. Make a list of 5 albuns of all time…
1.The Drums, Summertime!
2. The Wake, Here comes everybody
3. The Smiths, Meat is murder
4. Kraftwerk, Machine man
5. Slowdive, Souvlaki

THOSE are the albums that I listen the most these days


Q. How do you feel playing live?
I feel alive, and I feel so happy, you know, as long as we sound as good as possible haha, I would like to play gigs with other bands but for now there's no bands in my town so... I guess I'll stay in my balcony for some more time

Q. How do you describe The Ashtrays sounds?
i do the kind of songs you'd want to play in the beach when you realize how awesome your life is

Q: Tell us about the process of recording the songs ?
whenever I'm going trough something I take my guitar and try to give that situation an interesting atmosphere, an atmosphere with a song that perfectly fits. So when I find something good I record it and write the lyrics, I do a few changes as the time goes by and the song is ready

Q. Which new bands do you recommended?
anything that Davida Loca is planning to do is good, soda shop too

Q: Which band would you love to made a cover version of?
40 days by slow dive

Q: What´s the plans for future....
a second album! but first another few singles... to get ready

Q: Any parting words?
check out my music, I'm sure you'll like it. thanks for reading so much haha
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sábado, 7 de novembro de 2015

The Colors You Left In My Mind with The Yesterday Indifference - An Interview


Diretamente de Fredericksburg no estado da Virgínia nos Estados Unidos, mesma cidade do seminal Skywave, porém seguindo caminhos completamente opostos vem o quarteto mezzo grunge, mezzo psicodélico mezzo college rock The Yesterday Indifference.

Ouvir o debute dos caras, The Color You Left In My Mind, que veio ao mundo em agosto agora sem saber do que se trata, certamente vai te conduzir diretamente aos 90´s, e inevitavelmente várias referências e conexões mentais serão feitas de imediato, não tem como, mas e daí, algum problema?

Obviamente que não, é só dar play e aumentar o som, preferencialmente estupidamente alto.


***** Interview with The Yesterday Indifference *****



Q. When did The Yesterday Indifference start?
A: Well The Yesterday Indifference basically started with me, Drew Lambert (Lead Guitar, Vocals, and Song Writer) and a band I had called buzz kill. We were a very grungy and awful band that never played a real show but it was at least a decent start. The Yesterday Indifference officially started when I found out that someone in my grade played drums and wasn't in a band, So I met him and his name is Ryan and I asked him if he wanted to be in a band and help me play some songs I wrote and sure enough he agreed! We wanted to have a cool and sort of deep band name and I had the idea of Shadowing Yesterday or Incognito and Ryan had come up with The Yesterday Indifference and I thought “well it’s kind of long but I like it!" Well some time went by and we never really did anything with the band until I started writing new material that was starting to show lots of promise and then my long time friend and buzz kill member, Brady, started taking up guitar again and his brother who was in a band at the time offered us a show and we took it and we played our first show with a pretty great response. Fast forward about 8 months and we are playing shows all over town but we have one problem, we don't have a bassist yet, well a friend of Brady's named Josh used to play the big stand up bass for our high schools band, so one day he got a cheap bass and came to us and impressed us with his playing and asked to be a part of the group and we let him in. That is the bare bones of how we formed.

Q: Who are your influences?
A: My main influences for our array of different sounds are: Nirvana, Oasis, The Laurels, My Bloody Valentine, The Germs, T.S.O.L, The Angry Samoans, Tame Impala, Alice In Chains, Pink Floyd, and many other bands. These bands are at least what influenced my song writing and sound development. I can’t speak for the rest of the band but these are my influences.

Q. Make a list of 5 albums of all time…
A: This is a real tough question for me but I'll give it a shot. I'll list albums that were the biggest influences on our sound and then add albums that I personally love.

1. Nirvana - In Utero/Incesticide. I love Incesticide because it's all of the best of the early rawness of Nirvana and In Utero because this is Nirvana at their finest in terms of song writing and sound experimentation. I mean Kurt Cobain's vocals are amazing on both of these albums and the live room sound of In Utero is absolutely electrifying!

2. Oasis - Definitely Maybe and (What's The Story) Morning Glory?. This 2 albums are perfect examples of a band knowing how to write incredibly catchy and absolutely amazing songs. With songs like Live Forever, Slide Away, Up In The Sky, WonderWall, Morning Glory, and Some Might Say, these songs are absolute master pieces of song writing, How can you not love these guys. I mean these albums taught me how important the vocal melodies of songs are.I spend so much time with the vocal melodies after listening to Oasis for months straight!

3. The Laurels - Plains and My Bloody Valentine - Loveless. Loveless by My Bloody Valentine is the Nirvana Never Mind of ShoeGaze and for good reasons the album is a masterpiece of sonic experimentation that sounds like a dreamy wave of droning guitars piercing your ears and following are the soft and dreamy vocals of Kevin Shields and Belinda Butcher to ease the sonic dreamscape. Now onto The Plains album by The Laurels, This album is the reincarnation of Loveless right down to the sonic experimentation of reverse reverb mixed with the monolithic vocal harmonies of Luke O'Ferral and Piers Cornelius along with the wonderful lyrics and guitar riffs that put you in a trance. I must urge you to listen to this band!

4. Tame Impala - Lonerism. I don't believe Tame Impala needs an introduction since they're taking over the world right now with their spaced out psych pop and epiphony pop that is a real treat to listen to. Kevin Parker is an amazing musician who made an absolute masterpiece with Lonerism and it takes you to the far reaches of outer space and to the inner reaches of an aching heart that I'm very familier with. If you like psychedelic music than this is an absolute listen.

5. The Angry Samoans - Back From Samoa. If you want some great old school punk rock that doesn't care and likes to be fast, loud, and shitty then gives this amazing album that lasts only 17 minutes a listen.

All of these albums I have listened to extensively and every single one of them have inspired songs of mine.

Honorable Mentions: Pink Floyd - The Wall, Alice In Chains - Self Titled album and Jar of Flies,


Q. How do you feel playing live?
A: I live for that feeling of playing live and pouring my heart and soul out in the form of music to a bunch of strangers who get enjoyment from it. I can honestly say there is no other feeling like it and If I am fortunate enough to eventually gain a bigger fanbase and be able to do this night after night for a living I would be perfectly happy for the rest of my life because I can't think of anything greater than expressing myself through music and having other people love it.

Q. How do you describe The Yesterday Indifference sounds?
: Well we are a mix of Grunge, Punk, Shoegaze and psychedelic rock but here's a more poetic description. We sound like an upbeat rock group who got lost some where between space and some dream like state that occasionally turns punk rock. Haha that sounds a lot more lame than I thought.

Q: Tell us about the process of recording the songs?
A: When it comes to writing and recording I'm the one who does almost all of it. I sit down and write a guitar part and spend hours trying to get the perfect melody, then I take it to the drums and work that out then add bass last since that's easy for me after working out the guitar part already. And I record all of the songs by myself in demo form but when we went to our friends studio we all did our parts except on the song Star Gazer that was played entirely by me. Actually the drums on Someone There (For Me) were played by our friend Michael and he looped them through out the track and it was because our drummer wasn’t available that day like he was supposed to be and I couldn’t play to the click track. Another interesting story while recording the EP is that I had done vocals for most of the songs and one night while I was recording them for another track we decided to go back and re-record the vocals for Headphone Jack since I didn’t sound like I was very energized on the original take so we re did them and decided to double track it and it sounded really good so we decided to go back and re-record all of the vocals of the tracks we had so far and double track them all as well and thank god we did because they all sounded so much better that way! I believe about 3 or 4 of Brady’s rhythm guitar tracks we done the day we decided had decided to mix the EP so we had him come in do his unrecorded parts and then went straight to mixing. I’ll elaborate a bit more on the demo recording process. After I have written the song I record the drums first then play the guitar parts and do the bass as well and finally finish off with the vocals. I use garageband to record our demos and mix all of them myself too. If you want to hear our demos go to our sound cloud page. That's about it for recording.


Q. Which new bands do you recommended
A: New bands that I really enjoy are The Laurels and Tame Impala who are both from Australia, The Laurels are Shoegaze and Tame Impala is Psychedelic pop/Epiphany pop, The Jons from Victoria, British Columbia, they are an awesome lofi soft rock band who inpired me to make a side project but I won't go into any more detail on that. I also like Mac Demarco he has the same lofi soft rock sound as The Jons.

Q: Which bands would you love to make a cover version of?
A: As previously mention we love Nirvana and we have tons of live footage of us on youtube and a couple of those performances include us doing Nirvana covers of songs like Breed and Come As You Are but I would also love to tackle some Tame Impala songs especially It's Not Meant To Be. I want to do a cover of my favorite Laurels tune called Mesozoic or even Live Forever by Oasis.

Q: What´s the plan for the future....
A: Well for the future we hope to play more shows and gain a loving fan base but right now 2 of us are in college and of course education is very important to us so we have plans to try and play once a month on either Fridays or Saturdays. We are based out of Fredericksburg and Washington DC so we typically play around there and other Virginia areas. Keep an eye out for us and keep an ear open for new music some time in the future because I'm always writing and recording.

Q: Any parting words?
A: Thank You for interviewing me I really appreciate it and I hope this was an interesting read for my first interview. Please Follow us on our Facebook, The Yesterday Indifference, and follow our band camp and soundcloud page as well. I have my sound cloud page link down here too so you can keep up with new demos of songs I release there. You can download our debut EP at our band camp page it’s free but if you want to help us out you can pay if you want. Spread the word of our band by telling your friends, your family, your dog or cat or shout our name at the top of a mountain so the whole world will know or maybe don’t haha anyways thanks again for interviewing me, Peace out!
- Drew Lambert of The Yesterday Indifference
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Thanks

https://theyesterdayindifference.bandcamp.com/releases
https://www.facebook.com/The-Yesterday-Indifference-792932584089456/

sexta-feira, 6 de novembro de 2015

Anybody Silent with Miniatures - An Interview


Essa foi uma daquelas que demoraram mais enfim saíram. 

Não é de hoje que os neo zelandeses radicados na Austrália, tornaram-se uma daquelas queridinhas do TBTCI. Sim, estamos falando do Miniatures que desde o primeiro EP homônimo de 2012 conduz rotineiramente a trilha sonora deste que vos escreve. A entrevista demorou sim, ossos do ofício, mas enfim chegamos a ela.

E em hora extremamente propícia, vide que o Miniatures esta gravando seu esperado álbum cheio e o prometo para o próximo ano. 

O que esperar? Maravilhas sônicas para embalar os sonhos dos iniciados. O Miniatures é sim, predileta aqui da casa.


***** Interview with Miniatures *****


Q. When did Miniatures start? Tell us about the history...
Miniatures began in 2010 in our hometown of Christchurch, New Zealand. We've since moved to Melbourne and the lineup has fluctuated wildly over the years!

Q: Who are your influences?
Our influences have changed a bit over the course of the band’s life though there are constants of course. I am mostly influenced by Post-Punk and 90's alternative though we love our electronic stuff as well.

Lately we've been obsessed with the new Pinkshinyultrablast and Tamaryn records and seeing what we can learn from them as we make our album.

Q. Make a list of 5 albums of all time…
The Cure - Disintegration
Siouxsie and the Banshees - A Kiss in the Dreamhouse
M83 - Before the Dawn Heals Us
Lovesliescrushing - Bloweyelashwish
Kitchens of Distinction - Strange Free World

Q. How do you feel playing live?
Stressed, as if every eye in the house is watching and scrutinising every note, every movement. I think that's perfectionism/anxiety creeping in but I suspect I'm not alone there!

Q. How do you describe Miniatures sounds?
Thick and obnoxious guitars covering every surface over punchy synthetic drums, softened with much sweeter vocals and hopefully somehow balanced out!


Q: Tell us about the process of recording the songs?
Previous releases we have recorded and produced at home, with simple gear and software. For the album, we recorded the guitars and some other elements at a compact studio with our friend Matthew Hosking (Of vhs dream). We are still self-producing, currently working through the mixing.

Q. Which new bands do you recommended
As far as Melbourne goes, there are a heap of great bands/artists around at the moment. We really like Superstar, vhs dream, Luna Ghost, Bloodhounds On My Trail.

Q: Which bands would you love to make a cover version of?
We covered two Cure tracks recently for the Roogaze show in Melbourne, Pictures of You was great and a long awaited dream cover. No idea what else we would do, too many choices! Maybe a Curve track, that would be badass.

Q: What´s the plan for the future....
We’re mixing the album at the moment, and have a single/video in the works for the next couple of months. The album will most likely be out early next year and we’re going to be quite proud of it. Plans to hit the road (interstate and/or overseas) to some extent next year are in the works too!

Q: Any parting words?
Thanks a lot for the interest/interview and keep your ears peeled for our new stuff in the coming months, it’s going to be special!
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https://www.facebook.com/miniaturesband
https://miniatures.bandcamp.com/

Vlimmer - Interview and Video Premiere


Alexander Leonard Donat definitivamente tem o espírito do TBTCI, hiperatividade em nível máximo.

Só este ano o cara já soltou no mundo, Fir Cone Children e Leonard Las Vegas e agora ataca com um projeto simplesmente, definindo em apenas uma palavra, espetacular, trata-se do Vlimmer, e seus dois EPs servindo como debutes, "I" e "II" saem oficialmente amanhã através da gravadora do cara Blackjack Illuminist.

Completamente diferente dos seus outros projetos, o Vlimmer trafega soturnamente por entre a darkwave e o shoegaze mais denso, conexões com gente do calibre de Belong e Implodes são notadas durante a audição dos EPs.

Um trabalho genial, e que coloca Alexander e a Blackjack Illuminist como destaques deste 2015.

E tem mais, para melhorar mais ainda, o TBTCI tem a honra de soltar em premiere o primeiro vídeo do Vlimmer, a poderosa, hipnótica e soturna Kanzer presente no EP "I", agonizante.

Acima.
***** Interview with Vlimmer *****



Q: When did Vlimmer start? Tell us about the history...
In my bedroom Vlimmer started in March 2013, but it wasn’t until October 2015 that I went public. When I started the whole thing, I wanted to make something different than what I did with my other bands, something more electronic, haunting, dark, futuristic. Originally, the tracks purposely turned out pretty harsh: fuzz synths to the max, an aggressive noise drone massacre with melodramatic tone switches, barely any vocals, just full blast with lots of layered sound sources, most of them playing the exact same tone at the same time. Nightmare cinemascope, if you want. In the end all this became another project called Infravoids. But if it wasn’t for these tracks Vlimmer wouldn’t exist, also, everything happened during the same sessions. After six or so full fuzz adventures I felt the urge to give space for a less aggressive atmosphere, instead I wanted to be dark playing the songs in a more subtle way. A good horror movie doesn’t necessarily need litres of blood, right? For two weeks I simultaneously recorded Infravoids and Vlimmer songs, at that moment it was one project for me, the band names didn’t exist yet. After that it appeared pretty clear to me that I had to separate the music, I finished an Infravoids album pretty quick and solely focused on Vlimmer which suddenly became a real addiction. The songs wrote themselves. Still, there was one big decision to make: When I had recorded five instrumental tracks I had to decide which singing style and which language I would use. After days of trying out if English or German would turn out better I came to conclusion that for the first time I would choose my mother tongue: German. The biggest impact in this matter came from a book I was writing at that time: “Jagmoor Cynewulf – Über die Unüberwindbarkeit des Schwebens” – a dark atmospheric narrative about a young man trying to find out why he is what he is, a kind of coming-of-age story set in 2031. As the first five songs felt like one entity which didn’t need more songs, I decided to choose the format of an EP for this and for future releases, lyric-wise I decided to base the content on the first chapter of the book. Eventually, this resulted in the megalomaniac idea of recording 18 EPs for 18 chapters. Oh I hear you, but I can tell you, I’m still fully commited to finish this project. During the end of March 2013 and the end of September 2013 I recorded the first six chapters, the first six EPs, that’s 30 songs. At that time I had no idea what to do with them, still, I put all six EPs on my mp3 player. That’s where they stayed unheard for at least one year. Release-wise I wasn’t too productive at that time. I only put out two records in two years on my label Blackjack Illuminist. Now, in early 2015 I decided to finally release a whole bunch of stuff turning this year into the year where I put out six releases, more than ever before. The funny thing is: I expected that Vlimmer out of all releases would attract the least attention among listeners. It turned out quite the opposite: suddenly there were people from all over the world showing an interested in my music, I was baffled! The limited edition hand-made box set which contains the first two EPs and gives room for four more EPs was sold out long time before the release, so I made new boxes, increased the limited edition to 20, and sold out again. Man, some copies even went to a record store in Hong Kong, I have no words for that! I will have to make up my mind about a third batch. I guess, there will have to be one. This is real fun, and I’m thankful for the people’s interest and for the support many of them give. Let’s hope they will follow me until the 18th EP.

Q: Who are your influences?
I’m not fully aware of who had an influence on Vlimmer music-wise. But I’m pretty sure the lo-fi quality of a band like Dirty Beaches originally had an impact on today’s Vlimmer sound at some time. It was probably also the loops of that very band by Alex Zhang Hungtai that had an influence. It showed me that you just need one effective steady rhythm pattern or sound that can back a whole song. Who else was an influence? Probably the American Shoegaze experimental two piece Belong with their nostalgic dark sound full of fuzz which genuinely combines guitars and keyboards to a thick layered sound cloud. It is really powerful, yet never aggressive, the voices are buried deep in the mix, the drum machine remains pretty unemotional. “Come Here” of their latest album is probably my favourite Shoegaze tune ever.


Q. How would you describe Vlimmer’s sounds?
When I released the first Vlimmer song on Soundcloud people from dark music genres made me realize that I happened to enter the circle of Darkwave, Coldwave, Goth etc. without noticing it – and admittedly, without exactly knowing what some of these tags really meant. I mean, sure, I had an idea, and Shoegaze wouldn’t exist without Darkwave. Thing is, I never had any aspirations, never tried to belong to a certain style or group. I just wanted to create dark dense music with repetitive rhythm patterns and futuristic synths as mentioned before. As a Shoegazer I think I, subconsciously, may have tried to create a more minimal version of the genre. Well, I don’t know. It just happened. Does the term DarKraut actually exist? Still, I wouldn’t pin down Vlimmer to just one or two genres. The occasional violins are like a garage rock version of a disaster film score or Sigur Rós track, there are hints of Black Metal, Dream Pop, Post-Punk and more. I am open to all kind of genre mixes as long as it remains dark, and I hope the listeners are open, too, and will follow me until the end of the Vlimmer series. In 2016 I will release the next four EPs, none of them will sound alike.

Q: Tell us about the process of recording the songs.
Vlimmer songs are mainly the result of night time activity and working with synths which are connected to a whole bunch of effect pedals. As I like monotonous beats and repetitive motifs I’m always looking for a good loop to work on, it’s the base on which I put layers of synth, guitar and violin. Repetition causes a kind of threatening atmosphere, and this was exactly what I wanted to achieve. So what I do is basically, if not always, the following: first creating a cool loop, recording it for about 5 – 7 minutes and then add the before mentioned instruments. If the loop contains any percussion or drum elements which drown in the sound I slightly add real drums at the end to give it a little punch. Additionally, I cut a lot of frequencies of the vocals to make the voice real thin, making it almost disappear in the mix. Finally, reverb and delay have always been good friends of me.

Q. Which new bands do you recommended?
I recently enjoyed James Welburn’s debut “Hold”. A haunting set of dark heavy guitar/synth drones, Dark Ambient with a Black Metal touch, pushed a little further by the accompanying drums. There are no vocals, just this claustrophobic energy.


Q: Which bands would you love to make a cover version of?
I will probably never make a cover version of another band with Vlimmer, I think. Life’s too short to recreate things that have already been created.

Q: What´s the plan for the future....
In 2016 I’m going to release the next four EPs: “lll”, “llll”, “lllll” and “llllll”. As they are all already recorded I will have to focus on 2017’s EPs already. After the 18th EP Vlimmer will disband. I got some years left, I guess!

Q: Any parting words?
Don’t believe anything you see on the internet. Question things before you spread them. Be critical. – Thanks for your constant support, Renato.
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Thanks

https://blackjackilluministrecords.bandcamp.com/album/l
https://blackjackilluministrecords.bandcamp.com/album/ll
https://www.facebook.com/Vlimmer-408529912672868/

quinta-feira, 5 de novembro de 2015

Pictures / New Friends with Panda Panda - An Interview


A descrição dada pelos noruegueses do Panda Panda acerca de sua própria sonoridade é a melhor maneira de exemplifica-los, "músicas pop em um universo caótico".

Feito a apresentação sonora pelos próprios chega a ser desnecessário maiores esclarecimentos, salvo que a carreira deles esta apenas no início, e se formos avaliar pelo cartão de visitas Pictures/New Friends, vem coisa fina, e muito fina pela frente.

***** Interview with Panda Panda *****


Q. How did Panda Panda start?
Håkon wrote some songs in his bedroom, and after a while began to play them with his roommates Herman and Jonathan, to the discontent of our neighbours… Then Oddbjørn and Ragnhild joined the band. And we lived happily ever after!!

Q: Who are your influences?
These days we listen a lot to Dungen, Radiohead, Kurt Vile and Beach House. Also the new Sufjan Stevens record is amazing!

Q. Make a list of 5 albums of all time…
We tried to agree on five albums, but our taste in music is very different. Since we are five people in the band we decided to each of us choose one record;

Ragnhild: Nick Drake – Pink Moon
Jonathan: The Pixies – Doolittle
Herman: Cocorosie – Grey Oceans
Oddbjørn: Bon Iver – Bon Iver
Håkon: Radiohead – In Rainbows

Q. How does it feel to play live?
We LOVE to play live!

Q. How would you describe the Panda Panda sound?
Popsongs in a chaotic universe.


Q: Tell us about the process of recording your songs?
All of our tracks are recorded the five of us together in a basement in Trondheim. We usually spend a lot of time tracking additional guitars, percussion and synthesizers. We think it’s important to take our time exploring different pedal chains, and synth patches in order to get the sound we want. For the song “new friends” we tracked a few guitars through an old radio cabinet belonging to Håkons grandmother. The crazy sounds in the second verse on “Pictures” are played by feedback wiz Eirik Havnes.

Q. Which new bands do you recommend?
Antler(https://www.facebook.com/listentoantler),
Gold Celeste(https://www.facebook.com/goldcelesteband), Girl(https://www.facebook.com/listentogirl),
Lowly(https://www.facebook.com/lowlyband)

Q: Which band would you love to make a cover version of?
It would be cool to make a cover version of Helicopter Quartet by Karlheinz Stockhausen. https://www.youtube.com/watch?v=13D1YY_BvWU

Q: What are your plans for the future?
Make tons of new songs, play a splitgig in Trondheim with our friends from Ludvig Moon and release our first EP.

Q: Any parting words?
Thanks!!
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Thanks

https://soundcloud.com/pandapandamusikk
https://www.facebook.com/pandapandamusic/

Loosies with Drug Train - An Interview


Condensando pós punk, shoegaze e pitadas de trip hop em tonalidades cinzentas, os canadenses do Drug Train debutaram ano passado com o poderoso EP Loosies que exemplifica perfeitamente o que tentei escrever.

Os caras preparam seu álbum cheio, mais um monte de coisas que você vai se entreter por completo, é só adentrar no mundo do Drug Train na entrevista abaixo.

Ah, aproveite pegue um drink, ou algo mais forte e boa viagem.

***** Interview with Drug Train *****

Q. When did Drug Train start? Tell us about the history...
It started back in 2011 with a slightly different line-up. Just the regular thingie, theres not much of a story there. At this point we found our groove and we're just four really close friends from Montreal who enjoy spending time together making music amongst other things. We would be hanging together anyway. We always do. Club Social thing.

Q: Who are your influences?
We all listen to a lot of different music but it's safe to say that we meet around pop music. By that I'm referencing to most genres and different periods in time. We're honestly more influenced by situations, people, and the little things we care about. The trigger tends to be more the tools that we use and the sounds we make with them, as well as our daily moods.

Q. Make a list of 5 albums of all time…
There's four of us, but here's a few things that we all enjoy enough to consider "all timers":
New Order, Sam Cooke, Inner City, Pet Shop Boys, Marjo, Depeche Mode, Rudimentary Peni, Tina Turner, Nico, Bad Brains, Fugazi, scott walker...

Q. How do you feel playing live?
Its definitly not our main thing. One could say we're somewhat needy and dont want to settle for a half ass version of what we do on records. Under the right circumstances, if the stars align we'll play and its usually pretty fun. Its nice to see people and all and we realize a lot of people are into that. Also, we're kind of really undisciplined at rehearsing and stuff and theres a lot of hockey going on so the timing's tough. That being said we'd love to do a *bit more soon and are planning to. Most of our music is free tho so fair enough right ?


Q. How do you describe Drug Train sounds?
 We usually don't. But hey it is what it is. Electronic pop, lazy hazy dance music, vedge wave, pretty stuff?

Q: Tell us about the process of recording the songs?
We always work on batches of songs at the same time. It's usually us recording tons of demos and then listening to them all the time... for months... adding little thingies to them, taking turns. We always end up finishing a few of them at a time. Since we don't practice, we do spend a lot of time on the writing, recording and mixing processes. We like to sound reaaaaally good.

Q. Which new bands do you recommended?
Our favorite montreal homies are chevalier avant garde and duchess says. Lots of female rappers on our soundcloud page "likes". This week, I listened exclusively to Sleaford Mods. I can't be messed with :) We also strongly suggest to listen to all the other cool cats on Beko Disques, there are some gems there, trust me, I'm a successful working woman.

Q: Which bands would you love to make a cover version of?
We're "working" on a cover album actually. We'll cover the shit out of anything, friend.

Q: What´s the plan for the future....
We're about halfway through our first full length album, which will be released next year on Beko Disques. More free EPs, covers versions of classic french canadian pop songs 'cause we love the people.

Q: Any parting words?
Smash patriarchy \ go habs go
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Thanks

https://www.facebook.com/Drug-Train-110616529013218/
https://soundcloud.com/whatisdrugtrain

quarta-feira, 4 de novembro de 2015

Eyes Exhale with TenderSurgeon - An Interview


Seguindo a risca o modus operanti do TBTCI, chega a vez de adentrar a esta páginas o novato quarteto de New Jersey, TenderSurgeon.

São apenas duas canções disponíveis até o momento no bandcamp deles, mas ambas já servem como um belíssimo cartão de visitas, completamente imerso numa atmosfera envolvente e hipnótica, Believe Me e Eyes Exhale se envolvem com duas das sonoridades mais perfeitas que já existiram, a atmosfera 4AD e os ruídos sonhadores da Creation permeiam por completo o TenderSurgeon.

Se faz mais do que necessário eles nos brindarem com novos preciosidades. É viciante.


***** Interview with TenderSurgeon *****


Q. When did TenderSurgeon start? Tell us about the history...
TenderSurgeon originally started with Rodrigo (guitarist) and Marx (drummer). They had written a few songs, but were looking for a female singer. Months later, Rodrigo answered Tiff's (singer) musician ad wanting to join a band. The three met a few weeks later and that was the beginning. Justin joined the band a month after our first rehearsal.

Q: Who are your influences?
We're influenced by a lot of things. It changes from time to time based on what we're listening to at that moment, but we can say that 4AD bands played a major role in the development of our sound. Also the obvious MBV and Slowdive influence and maybe Curve as well? Also music from the 90's is an influence for us.

Q. Make a list of 5 albums of all time:
Wow that's a tough question. If we had to chose it'd be:
Slowdive - Souvlaki
MBV - Loveless/say anything
Sonic Youth - Daydream Nation
Royksopp - Melody A.M
Moscow Olympics - Cut the World

Q. How do you feel playing live?
We have not made our live debut yet. We are still in the early stages of creating songs, rehearsing, and recording. We are aiming to debut live Spring 2016.

Q. How do you describe TenderSurgeon sounds?
reverby, swirly, ethereal


Q: Tell us about the process of recording the songs ?
So far...Rodrigo (one of our guitarists) will give us an idea of a song by layering some guitar tracks. Marx (our drummer) will then input a drum/rhythm outline. Tiff, the vocalist writes a vocal melody/lyrics over it. Justin adds embellishments to enrich a song. We are currently finalizing a permanent bassist for our band. Marx also does the mixing for our songs. We all collaborate and have numerous ideas. It's pretty democratic in our songwriting approach.

Q. Which new bands do you recommend?
There's way too much good music coming out these days so it shouldn't be hard to find exciting bands. We think Leave the planet and Quell deserve a listen.

Q: Which band would you love to made a cover version of?
Our first cover will be A Flock of Seagulls "I Ran"

Q: What´s the plans for future....
We plan on recording 5-6 songs, two cover songs, lots of rehearsing, and then debuting live.

Q: Any parting words?
We would absolutely love to come to Brazil. Thank you so much.
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Thanks

https://tendersurgeon.bandcamp.com
https://www.facebook.com/tendersurgeon/

Time Will Burn Again with Pin Ups



Eu raramente escrevo aqui nas páginas do TBTCI, resenhas, ou relatos, na verdade o enfoque é outro, mas a ocasião pede e exige algumas palavras.....

É sabido, e não é de hoje, que o Pin Ups aqui no TBTCI é basicamente algo intocável, digno de idolatria máxima, tanto sonora como comportamentalmente os caras simplesmente marcaram uma geração inteira e certamente as que vieram depois, principalmente a nova geração de guitar bands que simplesmente explode e ferve em todo o país.

Muito se deve a Zé Antônio Algodoal, Luiz Gustavo, Marquinhos e Alê, que formaram a fase digamos assim áurea da banda, depois Luiz saiu, outras mudanças de formação ocorreram, Flávio e Elaine entraram, e ainda tiveram folego pra soltar uma trilogia de discos altamente recomendáveis.


E agora dia 14 de novembro acontecerá o que talvez, eu digo talvez, porque não gostaria de acreditar nesta hipótese, mas o Zé já me frisou que sim, este sera o ultimo show de uma história de fúria e mudança de comportamento, o Pin Ups representa uma verdadeira ruptura com aquilo que era produzido nos 80´s em termos de rock nacional, e estilhaçou todo e qualquer tímpano com o clássico e fundamental Time Will Burn, depois vieram, o altamente shoegaze, Gash, na sequência o inflamável e perigoso Scrabby, por fim a trilogia que citei, com Jodie Foster, Lee Marvin e Bruce Lee,

Para muitos que não estavam lá, lá leia-se virada dos 80´s para os 90´s e os inferninhos da época, Retro, Der Temple, etc, etc, etc, tem a rara, veja bem, rara oportunidade de presenciar o que era o Pin Ups em cima dos palcos, óbvio que vão vir dizer que não é igual e blá blá blá, mas saiba de uma coisa, eu vi pelo menos uns 30 shows das mais variadas maneiras, formatos e todos sem exceção geraram algo que atualmente não se vê muito por aí, verdade, perigo, diversão, é verdade tudo era na realidade uma grande diversão. E é assim que tem que ser, por isso que no submundo dos bons sons estamos presenciando tanta banda boa aqui no nosso país, só falta alguma coisa pra que isso exploda, e vai saber, se isso não pode ser exatamente esse show de despedida dos mestres e responsáveis por essa porra toda, quem poderá afirmar?



A única coisa que eu sei, é que estarei lá pela enésima vez, e com o sorriso de ponta a ponta, esperando o Pin Ups subir no palco do Sesc Pompéia, e vejam, acompanhados de gente do calibre de Rodrigo Carneiro, Rodrigo Gozo e Adriano Cintra.

Simplesmente imperdível!! Nos vemos por lá...

Jagmoor Cynewulf with Leonard Las Vegas - An Interview


Alexander Leonard Donat, voz, guitarras e teclados se juntou com David Kandert - bateria, voz e samples e formaram o Leonard Las Vegas.

Alexander você já conhece, além de tocar a gravadora Blackjack Illuminist o cara ainda tem toca o Fir Cone Children e o novíssimo e espetacular Vlimmer, mas aqui sob a alcunha de Leonard Las Vegas, Alexander e David mostram seus lados mais degustáveis. Um mix certeiro de pós punk e indie rock sem em nenhum momento desandar para algo brega.

Jagmoor Cynewulf lançado em setembro, consegue equilibrar de forma elegante e ao mesmo tempo lo fi o que parecia ser completamente impossível, imagine um meio termo entre The Fall, Placebo e Radiohead, pois o Leonard Las Vegas conseguiu equilibrar esta equação sonora de forma magistral.

Mais um ponto altamente positivo para o hiperativo Alexander.

***** Interview with Leonard Las Vegas *****



Q. When did Leonard Las Vegas start? Tell us about the history...
Leonard Las Vegas was my first project with me being the sole song creating force, the only member at all. Everything started in 2006 as a one man project in my student flat in Greifswald, a town at the Baltic Sea, full of students, elderly people and … well, yeah, mostly students and elderly people. It was a roommate of my girlfriend who suddenly had this Ozone Midi keyboard with which you could also record music by easily plugging it into your laptop. Once I saw it I was totally thrilled and bought one myself. The first songs were my attempt of creating Shoegaze songs without the guitar – because I simply didn’t have one yet. So it was all keyboard sounds, artificial drums and singing through the cheapest microphone which I could get from the local electronics store. The first EP was called “Wuthering Heights” (yeah, you can see I studied English literature at that time), it had 7 songs and I only sold it to like 6 people at the gigs of my noiserock/hardcore band Jet Pilot where I was screaming my lungs out. It was a nice contrast to properly sing with a change. In the beginning LLV was just a side project, but that would change soon. If I remember correctly I spent half of my time as a student recording music and teaching myself how to mix. The family living one story under my room even thought I would be a full time musician. Whatever, my experimental electronic indie sound changed when my parents gave me a guitar and a bass for my birthday. Or was it Christmas? What I do know is that I recorded so many songs in not even a year that I had to release two records at the same time in 2007. A mini album with the title “Die Sphären Drehen Sich” which still included lots of keyboards but had more structured songs with proper verses and choruses than my first EP which, by the way, I never mentioned before in an interview! The other release would become my first proper album, an album about 13 different perspectives on the end of the world, most of them of apocalyptic nature, yet some are humorous or romantic: “Naked Feet On Highway Darkness” – it had no keyboards at all, which was a real challenge for me. I got to admit, I am still very proud about the songs I recorded and about the way I produced it. I never learned to play the guitar but it isn’t important unless you want to play live which I didn’t intend to do at that time. For me it just was an open field full of song writing possibilities. Record, record, record, that was all I wanted and needed, almost like an addiction. It was when I moved to Würzburg, Bavaria, when I felt the urge to find a backing band to perform my music live. And it didn’t take too long until I had four fellas for two guitars, bass and the drums, and a girl for the violin. Sadly, she only played one gig with us – the first – because it was simply not possible to travel to our shows with six people in one car. After one more gig my label back then, Record 1fourFIVE, sent us on a ten days tour across Germany including a show in Amsterdam. That was in 2009. We travelled in a night liner, man! It was big, crazy, unforgettable. Unfortunately, half of the gigs weren’t well attended, still, it was the rock star dream everyone who plays in a band would dream of at one time. It was 2009At the same time my second proper album was released – if you don’t count in the dark ambient excursion “LLVpinx.” which I released in 2008. “Lightspeed Your Body, We’re Going Downtown” was still guitar-centered, but I got back to the use of keyboards and wasn’t afraid of including a song which consisted solely of electronic elements besides the vocals. “Lightspeed” is mostly a night time record, a very colourful one. Lyric-wise I was heavily influenced by a two months stay in the USA. A lot of things there were just amazing, yet ridiculously crazy. I ate a lot of junk food which resulted in gaining more weight than ever before, ha ha – but, in Europe I got back to normal. Oh, please don’t think the album is about food, it just crossed my mind. Today, I still like most of the songs but think it wasn’t as direct as the first album, also I’m not satisfied with the mix. Maybe it’s only me, but I have a better feeling about my albums when the songs are recorded in a shorter period of time – maybe not more than three months. If it takes one year or more to collect songs for an album it appears confusing to me. Luckily, I never made that ‘mistake’ again. On the contrary, in 2009, twelve days before my final Latin exam at the University of Würzburg I decided to even increase the pressure and record one song a day, every day for what I decided should be my next album. I started recording the album’s opener “Where to go?” on the first day, saved it on my computer, shut it down, studied for the Latin exam and decided not to listen to the song again until I would finish the last song. On the second day I recorded “Checkout & Goodbye”, which is the second song on the album. This went on until I had 12 songs. The 12th song was recorded right before the exam – which I would pass, I should add – it wasn’t with flying colours, though. Then I listened to what I had recorded: It was unbelievable, it fucking made sense! I didn’t even have to change the song order of the tracklist. From start to finish there it was, the best thing I had ever recorded: “Jagmoor Cynewulf”. Now, you will ask why the record wasn’t released until almost six years later. I honestly don’t know for sure, it was the combination of a lot of things. Maybe it was all the shows we played that time. Maybe I felt I could make this album even better. Maybe I got more and more unsure whether my mixing abilities would suffice? Maybe it was because Record 1fourFIVE decided not to go on with their musical aspirations, so I tried to find a new one? I grew desperate with the years and the album began to become a burden. I even recorded two more Leonard Las Vegas albums in between. One is called “Floak” and clearly expresses my love for heavily distorted Shoegaze guitars, for a long time I loved it more than any other LLV release, still it didn’t fully fit into the discography, it was like a bastard son. The other album is pretty dark, it has yet to be released. We even played two songs from it live – one is called “Stop Playing The Piano”, a live favourite of the audience -, but I’m not sure it will ever be released. Maybe under a different moniker? “Stop Playing The Piano” was also the first video in which Leonard Las Vegas officially weren’t a one man band any more. My drummer named David became a full member, not just a live addition. By that time, it was 2011, we had parted with the other band members and played as a duo including samples that we really needed because it simply wasn’t possible to play these songs with only one guitar. With David on board Leonard Las Vegas had become more of a real band. I decided to make him play the drums on the new album, so we recorded them at the end of the album process. Weird, huh? Usually you start with the drums, but … yeah, whatever. Now the album would be ready for the release, no? No! After the recordings had taken place I still hoped I would find a label, but as we played less and less shows it would become more and more difficult to gain attention. No label signs a band that barely plays live. In Spring 2015 I finally decided to release it on my own label Blackjack Illuminist which I have had since 2007 but never used to go beyond selling hand-made sleeves with CD-rs at gigs, besides the before mentioned “Lightspeed” which had a proper store release. Now, I went full attack, I even made a dream come true and had “Jagmoor Cynewulf” pressed on vinyl. I invested that much money, I will never get it back, but it’s all worth it if you love what you do. When a promotional agency got into contact with me - last minute, man! - I suddenly had professional help. Leonard Las Vegas songs were played on the radio, in fact, 10 of the 12 songs of the album had been played at least once until the end of October 2015. I was so relieved when the work on “Jagmoor” was finally done and I didn’t need to think about it any longer. No more mixing. No more looking for a label. DIY to the max. Even more, it has become my work ethic with all the one man bands.


Q: Who are your influences?
On Leonard Las Vegas records I can hear a very British influence: My Bloody Valentine, My Vitriol, Hood, Bloc Party, The Eighties Matchbox B-Line Disaster, Radiohead, Aphex Twin, British Sea Power, Amusement Parks On Fire, Aereogramme, Oceansize, Biffy Clyro, Flying Saucer Attack, The Cooper Temple Clause … Also, there is a definite American influence: Arcade Fire, The National, Liars, No Age, Jimmy Eat World, Trail of Dead, Deerhunter …

Q. How would you describe Leonard Las Vegas’ sounds?
I often tell people that LLV is a Shoegaze band, which is only a small part of the truth, given the fact that this band never really had the famous buried vocals and Kevin Shield-ish guitars, well, it has, only on one of five albums, though: “Floak”. It probably is just a Dream pop sound with a definite Indie pop/rock influence and atmospheric Shoegaze-based or Postrock-ish guitars - modern psychedelics squeezed into songs which are pretty poppy. So I wasn’t really surprised when the radio stations played that many different songs from “Jagmoor Cynewulf”. And while I never thought about the audience while writing songs before, this album I couldn’t help but wonder if the “Jagmoor” songs could be played on the radio. I was pre-occupied, yes. In fact, it was an honest attempt to write a pop album with the tools of a Shoegazer, a mostly verse-chorus-album with unorthodox arrangements, though. I’m very satisfied with how it turned out, maybe I won’t ever be able to get so close to the point where pop and my personal taste meet. Still, I’m telling you: for now I’m done with pop tunes in the context of Leonard Las Vegas. Maybe that’s a reason why I’m focusing on so many other projects at the moment: Feverdreamt, Fir Cone Children, Vlimmer, to name my most important bands. Bands which are new. Bands which couldn’t cause any expectation with the listener. After all, I have to admit: having this album ready for release has turned out to be an exhausting experience. If you include the audience into your thoughts it’s getting tiresome. But hey, that’s something every band has to face after they have released at least one album. I just want to keep it fresh and intuitive. Sounds like an uncertain future? Quite.


Q: Tell us about the process of recording the songs?
No LLV song was created in a rehearsal room, ever. Every single song was written in my bedroom. Mostly it starts with an idea in my head which I record playing the guitar or a keyboard, seldom it is a bass line. It has proven to work out just fine to focus on this one instrument and finish its part until the end of the song. When I say ‘writing’ I mean directly recording the things I can hear in my head after I recorded the initial part. It’s a bit like gluing one part after another. If that sounds like a complicated and enduring process I have to prove you wrong, I work pretty fast and effective that way. After recording one instrument I switch to the next, usually in this order: guitar or keyboard, then bass, then drums while the vocals are sung somewhere in between – basically it’s the complete opposite of conventional recording methods. In the early years I wrote many songs in the way of just jamming on whatever instrument and focusing on the parts that turned out to be good. Now, I’m just listening to the song in my head. I still happen to jam and improvise, but only with other projects like Feverdreamt.

Q. Which new bands do you recommended?
Right now, I’m completely baffled by Liturgy. They started as a non-traditional Black Metal band and just released their third album “The Ark Work” which is batshit crazy, pure megalomania. There is no single growl as singer/guitarist Hunter Hunt-Hendrix decided to sing all parts, often in a monotone way which comes close to Hip Hop in at least one song. Hip Hop? Yeah, I don’t know why it works but it sure does. In addition, I generally don’t know what’s happening with these weird bells which are jingling on top of the guitars but, damn, it’s awesome! I ordered their two other albums and can’t wait to listen to them.

Q: Which bands would you love to make a cover version of?
I haven’t made a cover of any really famous band yet. When I’m asked to remix songs I never remix them but cover them my way. Frankly, in general covering is mostly too difficult for me, I prefer doing my own stuff.

Q: What are the pans for the future?
After almost nine years I think I need a break from this band. Did I mention I also wrote a book for “Jagmoor Cynewulf”, a 130 page narrative? See, I pushed it real far.

Q: Any parting words?
Qathlo’ je Qapla’, Renato! (This is Klingon, ha ha! Look it up!)
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Thanks

https://blackjackilluministrecords.bandcamp.com/album/jagmoor-cynewulf
https://www.facebook.com/leonardlasvegas

terça-feira, 3 de novembro de 2015

Signing a Deal with Behaviors - An Interview


Quando se começa a ouvir Signing a Deal novo single dos nova iorquinos do Behaviors imediatamente dá pra sentir o frescor de uma dreampop pegajoso e elegante.

Tanto o lado A, o já citado Signing a Deal como o lado B, Don´t Fight It possuem aquela inegável sofisticação de quem sabe exatamente o que esta fazendo e para onde quer chegar. Os caras do Behaviors tem um apelo pop absurdo e poderia muito bem estar completamente estourado tocando em qualquer lugar.

Segundo os caras vem muita coisa pela frente, só nos resta aguardar os próximos capítulos.

***** Interview with Behaviors *****


Q. When did Behaviors start? Tell us about the history...
Behaviors began in the winter of 2013. Frans Mernick recorded a track for my band at that time and we dug each other's styles and made plans to write some music together.

It took a couple of months to actually get into the studio, but the first track we wrote was "Can't be Found" which will be on our debut record. It was pretty clear to me, that we vibed really well and that's very important when creating.

We worked on a lot of demos and fleshed out a lot of ideas that had accumulated on iPhones and camera rolls I had lying around from recording 16 second phrases.
We soon realised we needed a full band for this project and recruited my old bandmates, Jake & Dan D to solidify Behaviors. So much of this band relies upon a thumping bass and rhythm section and having them in the mix is a no-brainer.

Q: Who are your influences?
I love effect pedals and guitarists who can use them in interesting ways. For that reason;
Jonny Greenwood of Radiohead is my favourite.
Omar Rodriguez Lopez (at the drive-in/Mars Volta)
Jeff Buckley, his voice and melody are insane to me.

Q. Make a list of 5 albums of all time…
1) Ok Computer- Radiohead
2) Grace- Jeff Buckley
3) Bright Like Neon Love- Cut Copy
4) The Blue Album- Weezer
5) Relationship of Command- At the Drive-in

Q. How do you feel playing live?
I love performing. There are a lot of variants that could happen which always makes it exciting for me. Seeing the crowd energises me and even when gear breaks it really challenges you to push yourself to figure out new ways of playing the part/song on the fly.


Q. How do you describe Behaviors sounds?
There is a dream like quality to the music. A lot of delay and reverbs creating an underwater vibe mixed with sweeping synth/guitar tones. Put on some headphones, crank it to 10 and get swept away.

Q: Tell us about the process of recording the songs?
The majority of tracks consisted on the expansion of 16 second guitar loops that i had made on a looping pedal before getting into the studio with Frans to begin demoing. We'd only work on tracks that we could write a vocal melody to, otherwise we'd scrap it. We would lay down a basic beat, then the bass/guitars and vocals. Once the songs were at that happy place for us, we went to another studio to track live drums to replace the programmed drums we had.

We had a little mobile studio (Apogee Duet & Logic) and went wherever we could to record when Frans' studio was booked out. One of the highlights was the recording of "Don't Fight It". The demos of the bass line and verse guitar chords were used in the final mix. We tried re-recording them but there was a feeling we couldn't recapture.

Q. Which new bands do you recommended
I dig High Wasted from NY and this guy making interesting electronic music, Baltra.

Q: Which bands would you love to make a cover version of?
Handsome Boy Modeling School. But release a video of us recreating the romantic game show montage dressed up as the contestants like on their record.

Q: What´s the plan for the future....
Our latest single, "Signing a Deal" came out last Friday. We'll be releasing a couple more singles and Music Videos as apart of our debut release and we'll continue to write and release music we are super happy with and play shows all over.

Q: Any parting words?
Keep an eye out for us and spread our name. We'd love to come play in Brazil. Thank you!
www.soundcloud.com/behaviorsmusic
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Thanks

Pusuudelleen with Tyynyt - An Interview


Algumas coisas acontecem sem maiores explicações e confesso que nessa trajetória ao submundo dos bons sons aqui no TBTCI muitas destas inexplicáveis conexões tornam-se cada vez mais naturais.

Imagine você, uma banda ainda em formação, sem nenhuma apresentação em cima dos palcos, mas com uma inegável qualidade, uma exuberante sonoridade que foi atestada quando Meden um dos poucos mais poderosos e viciantes registros dos finlandeses do Tyynyt entrou em altíssima rotação na versão radiofônica destas páginas, as reações de espanto e devoção foram imediatas, também puderá, ma o que o Tyynyt tem assim de tão especial? Percepção e talento para criar preciosidades que expandem o shoegaze ou dreampop, é apenas música, e música para a alma.

Se faz necessário mais do que de imediato mais material da talvez revelação deste 2015.

***** Interview with Tyynyt *****


When did Tyynyt start? Tell us about the history
Well, Tyynyt started accidentally, really. I was listening Wojciech’s (my old band) song LRJA and realized I wasn't happy with that version. So I decided to record a new one and make it a little bit darker and more "shoegazy". I had no plans to start a new band but in a little while I found myself uploading new tracks to SoundCloud and promoting TYYNYT on Twitter. What started as a one man’s experimental home made demo project has finally grown to a full band with a record deal anddebut album.

Who are your influences?
The Beatles, Sonic Youth, Sparklehorse, The Strokes, MBV. Just to name a few.

Make a list of 5 albums of all time
The Beatles: Revolver
Blondie: Eat to the Beat
Sonic Youth: Daydream Nation
The Flaming Lips: The Soft Bulletin
Lost In Translation (Soundtrack)

How do you feel playing live?
To be honest I don’t know because we haven’t done it yet - as a band. We still need to find two things: a place to rehearse and a guitar/keyboard player to complete our line-up. I promise to answer that question after our first live show! :)

How do you describe Tyynyt sounds?
ASMR(ish) style vocals immersed into the wall of sound style guitars. Soft but loud with some fuzzy garage flavour.


Tell us about the process of recording the songs
When I signed a deal with Solina Records (in September 2014) I had 3-4 songs and a couple of new ideas. In November (2014) I hurt my leg and couldn’t record or mix for a two months. When my leg was feeling better I listened every Tyynyt song I had done and instantly flushed three down the toilet. So, I needed at least three more to finish the album. In spring 2015 I recorded Meden, Onhan aina and Ystävät hämärän jälkeen. I also updated the first tracks Jaeae and Neon Mango to make them match the sound and vibe of the new tracks. So yes, it was a pretty long process, since I also played every instrument and mixed the whole album.

Which new bands do you recommended?
Dom, Thud, Fancy Werewolves, Vuoret, Wolf Alice

Which band would you love to made a cover version of?
Liekki (finnish band) song Ja kaunein kuu loistaa from their debut album Magio (2001). It’s so beautiful.

What´s the plans for future?
First we need to find that place to rehearse and then we have plans to do a lot of gigs.

Any parting words?
Peace and love - and listen more shoegaze.
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Thanks

https://soundcloud.com/tyynyt

segunda-feira, 2 de novembro de 2015

More Drugs Blue Sky with Blonderr - An Interview

Uma dica preciosa originada do comparsa do submundo dos sons sons, Mr Pedro Damian através de seu Shoegazer Alive foi os italianos do Blonderr e seu viciante álbum Corporate Standards.

Algo como um Medicine encharcado de kraut e psicodelismo atual, Corporate Standards é ruidoso, estridente, pegajoso e ácido, dando pra sentir escorrendo o sabor amargo do elixir.

A única saída é dar play e escutar com fones extremamente alto.

***** Interview with Blonderr *****


Q. When did Blonderr start? tell us about the history...
It all started in the summer of 2013. I had a band with a friend of mine, we were playing as a duo without much action. I met Andrea, long time friends but apart for a while, and we decided to play some garage for the fun of it and talked with Mauro, who was (and still is) playing with another band, Godwatt, a heavy stoner rock monster. After a couple of rehearsals the sound was taking shape so we accelerated things a bit and started playing live. We met Filippo Strang of MiaCameretta Records on a gig we were sharing and started a collaboration with him at his studio, VDSS. After 4 months we had our first 45’’ out.

Q: Who are your influences?
When we started we were three and all the music we liked combined into are sound. There were three separated sides, with Mauro on heavy and psychedelic, Andrea on shoegaze and complex songwriting, me basically on punk rock and post punk.

Q. Make a list of 5 albuns of all time…
The hardest question possible. I change top fives a thousand times a year.
A temporary one:
- Shot Forth Self Living (Medicine)
- G.I. (Germs)
- Jane From Occupied Europe (Swell Maps)
- Suicide (Suicide)
- Quique (Seefeel)

Q. How do you feel playing live?
We all agree it’s the best thing possible, the one thing we focus most attention on.

We are trying to refine the sound from the beginning, hoping to play live most of future days until death.

Q. How do you describe Blonderr sounds?
I really wouldn’t know how to describe it because all the people we met and heard us live had different opinions. From harsh shoegaze to noise pop to plain punk. So I can’t tell exactly.

I think it’s basically punk rock in the sound. The vocal parts come from thousands different listenings.


Q: Tell us about the process of recording the songs ?
We take recordings seriously but not that much. The most important part is trying to make a song sound as real and natural and primitive possible. With various results. The first EP (Radio, out on MiaCameretta Records) was recorded live in less than 3 hours. I did the vocal afterwards, the same day.

We wanted it to come out raw and uncut, with all the nuances and and the edges.

For the first record (Corporate Standards) we spent some more time in the studio. But also with the record, we tried to leave it as natural as possible, so not much post production on the instruments, a lot of not-so-perfect ‘first takes’ and various white noises. Two songs needed new arrangements and some refinement, but most of the record was not modified in post phase.

Q. Which new bands do you recommended?
Some bands impressed us and stayed on our record players. Girls Names, Drenge, Broncho, Tyvek, Boogarins. Also bands we have known or played with like Panda Kid, La Casa Al Mare, Flying Vaginas, At The Weekends.

Personally I found Protomartyr to be ahead of all the rest. I hadn’t heard a band so ‘true’ in a while.

Q: Which band would you love to made a cover version of?
A 47 minutes long version of Can’s Future Days.

Q: What are your plans for the future?
We’re not making any plan for the near future, apart from playing as much as we can.

But we have a couple of new songs. So maybe we could experiment a bit.

Q: Any parting words?
I’m not so good at this, I’ll leave it blank.

We would like to thank you for your interest and for the opportunity to talk about our band.
*Lorenzo / Blonderr
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Thanks

https://soundcloud.com/blonderrband/sets/corporate-standards
https://www.facebook.com/blonderr