sexta-feira, 19 de janeiro de 2018

Silo Halo, "ST" - Track by Track


Enfim, 19 de Janeiro de 2018 chegou, o motivo? Bem, cada pessoa pode ter o seu pessoal, mas para o TBTCI, a data representa a chegada do terceiro trabalho do, predileto da casa, Silo Halo.

O álbum, que leva o nome da banda em seu título sucede "Blackout Transmission" de 2014, e se é que podemos assim dizer, contempla o amadurecimento sonoro de seus criadores, Greg e Chris. 

Amadurecimento, no sentido de ambos permitirem-se aventurarem-se por outros terremos, colocando o shoegaze apenas como mais um elemento na intrínseca massa sonora que "Silo Halo", o álbum, evoca.

De momentos apoteoticamente épicos, como no single "Casa Alta", passando por alguns nichos sonoros do pós punk, explico, ecos da clássica neozelandesa Flying Nun até o mais puro indie rock, quando indie era um termo de respeito.

Um trabalho complexo em sua essência que precisa ser degustado paulatinamente, sem pressa, caso contrário, não soará tão sublime como ele o é.

O TBTCI dá uma força a todos, deixando seus criadores explicarem em detalhes, o que "Silo Halo" é exatamente.

Mergulhe sem medo.

***** Silo Halo, "ST" - Track by Track" *****
by Silo Halo


For Needed Air:
Cris: The lyrics stem from somewhat of a stream-of-consciousness developed in the Fall of 2015 when ruminating on some societal pressures here in the United States such as: gentrification and displacement within cities; police brutality in light of the Black Lives Matter movement; and the need to keep a forward (politically) progressive momentum despite seemingly daunting odds. Musically, the structure and composition sprang from an improvised piece of music recorded during a Silo Halo session at Empress of Sound (DC) in the spring of 2014. Throughout 2015 and 2016, the entire song was re-recorded at both Empress of Sound and Twin Dragon Audio (my studio in Los Angeles). “For Needed Air” represents a new way of song creation (and iteration) bi-coastally for Silo Halo. Interestingly, I listened to an early mix of “Poolside Pictures” on repeat when writing out and phrasing the lyrics formally. “Poolside Pictures” represents another song that musically speaking sprang from an improvisational piece of music with Greg.

Poolside Pictures:
Greg: In part it's looking at the cycle of aggressive development: swoop into a neighborhood, displace some residents, flip their former homes, and wash hands of the consequences, leaving the people who bear the most burden to pick up after them. It's a way of whistling past the graveyard. Another angle of it has more to do with the shadiness of cultural exploitation, partly inspired by an old song by Filth called “Lust for Glory,” which talks about underground bands “posing for the postcards,” greasing the wheels of these predatory business ventures. It’s saying that if you’re a punk, be proud of that, and don’t forget that people in positions of power still don't like you, and will only offer your work for consumption as long as it's bolstering their silly enterprises. There are all these ostensibly underground artists who are happy to take part in the more vulgar mechanisms of hyper-capitalism, and others who just operate on a smaller scale that imitates the vile elements of mainstream societies. I was also just thinking a little about how impressionism ended up as postcard and calendar art, and how unfortunate that is.

Casa Alta:
Chris: The lyrics tell the story of a young immigrant couple in the early 1900’s that leave their struggles living in the United States for Mexico seeking a better life and more ‘control’ regarding their ability to earn a living. Their interpersonal stress, hopes, and dreams are explored through their relationship and family during this massive transition and commitment to change. The matriarch in the story strives to provide her children a better life in the face of much uncertainty. Musically, the basic chords and sections were composed in Los Angeles in 2015. The song became fully formed and structured in the spring of 2016 at Empress of Sound with all of the instrumentation being recorded during this session. I finalized and recorded lyrics in late 2016 at Twin Dragon Audio (LA).

Whistle Past The Graveyard:Greg: I had a dream that I was standing by the St Louis arch, and my friend told me I was at the wrong hospital. She said that personal pride would get in the way of repairing damaged relationships.

Won’t Decay:
Chris: One of a four songs on Side B that were recorded at Omega Studios (Bad Brains, Prince) in 2014. This song was developed during some Silo Halo sessions at Empress of Sound in the Spring of 2014. Thematically – this song is about digging deep and prevailing over broad life stress (being laid off, rising rent, etc) and getting wiser through the process.

Yellow Walls:
Greg: It happened in West Texas, somewhere around El Paso, when my other band Teething Veils was between our Marfa and Tucson shows. There are boundaries taking shape; taking the right medicine, putting one foot in front of the other.

Resolute:
Chris: I wanted to revisit some music that I brought to Silo Halo in 2009 that was later pitched up to best suit Christin’s great lyrics/vocals to become “Wonderful Gift” off our 2012 release “Night and the City”. With “Resolute”, the music returns to its original key and we recorded this at Omega Studios in 2014. The new lyrics were written in second half of 2017 and address themes of self-determination and forging ahead past situations that are overly controlling and stressful. Inspired by a composite of work and family experiences – this song serves as an active reminder to “course correct” towards a healthier head-space and situation. Life is too short to remain in unhealthy scenarios. The French band Dead Horse One was on heavy rotation when finalizing the lyrics and I credit their music to inspiring the vocal harmonies that appear.

If You Don’t Leave Me Alone:
Greg: It's about being an object of unwanted obsession, and looking for relief.

Weekend:
Greg: It’s a romantic song of a confused state. I sat in my grandmother's old rocking chair with a glass of water, and wrote it all down to mark the time and place, as to not have to revisit it.

Out of Your Fugue Again:
Chris: This song is the other re-visitation of a classic Silo Halo song that frequently appeared in live performances. The live presentation of the song evolved over time to include different instrumentation elements. This recording captures some of these shifts during a session at Omega Studios in 2014 and additional sessions at Twin Dragon Audio (LA) in 2015. The evolving instrumentation gave way to an opportunity to infuse new lyrics and collaborate with longtime friend Pamela Long on new lyrical passages and melodies. Inspired by David Bowie’s “John, I’m Only Dancing (Again)” released on 2016’s The Gouster, this song bears a similar reworking of title that acknowledges the new musical interpretation and lyrics as “Out of Your Fugue Again
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Thanks

https://www.facebook.com/silohalo/
https://silohalo.bandcamp.com/album/silo-halo
http://www.etxerecords.com/silo-halo/

I'm Disappointed In You with Vicious Blossom - An Interview


"I´m Disappointed In You" é o debute do quarteto da Pensilvânia, Vicious Blossom

O disco é daquelas gratas e saborosas surpresas, que vai literalmente sugando para uma completa imersão no suave e hipnótico dream gaze da banda. Logicamente que conexões com MBV e Slowdive são absolutamente notadas, mas não somente, acompanha-se também uma tendência a inserção de elementos ambient, os conectando diretamente com o Boards of Canada e outros expoentes, mas tudo isso concebido de forma peculiar.

Um belíssimo cartão de visitas criou o Vicious Blossom, e agora, o sabor de querer é inevitável, que isso aconteça  rapidamente.

***** Interview with Vicious Blossom *****


Q. When did Vicious Blossom begin? Tell us about the history...
Vicious Blossom began in the fall of 2015. We didn't have a name yet. Hollace Kimmet and I bought a bunch of music equipment and began to write songs and record them.

Q: Who are your influences?
We all have quite a range of influences. I really like R.E.M., My Bloody Valentine, Aphex Twin, Ween, Black Moth Super Rainbow, Medicine, Helen, cLOUDDEAD, Magnetic Fields, Spacemen 3, Husker Du, Pink Floyd, and so many other artists. I know Hollace really like Swirlies, Deftones, Botch, Sonic Youth, and Blue Smiley! The way the album is constructed with short, instrumental songs after each song is heavily influenced by My Bloody Valentine and Boards Of Canada.

Q. Make a list of 5 albums of all time…
My Bloody Valentine - Tremelo
Black Moth Super Rainbow - Dandelion Gum
Ween - Pure Guava
Liz Phair - Exile In Guyville
R.E.M. - Automatic For The People

Q. How do you feel playing live?
It is like an outer body experience at times. I get this rush of euphoria like never before. I feel like I am truly myself. When I look up and see a crowd of people moving and singing along within the colored lights, I feel like everything is in its place. Our shows are much heavier than what you hear on "I'm Disappointed In You". There is still a lot of drone and dreamy guitars and vocals, but there is also a lot more distortion, heavy bass and drums, and we play a little faster. We have a lot of energy when we play. I feel like it's an outlet for a lot of repressed thoughts and emotions. We also try to have unique visual art at our shows. Our first show, we had nude female models in BDSM masks holding flowers. During the last song, they passed the flowers out to the audience and them poured fake blood over each others bodies.

Q. How do you describe Vicious Blossom sounds?
Dream punk, which I consider to be a crossbreed between punk and dream pop. I've had people say the hear Boards of Canada, Black Moth Super Rainbow, and Beach House in our music. Someone said our live shows remind them of the Butthole Surfers, which is cool.


Q: Tell us about the process of recording the songs ?
Almost everything was recorded on a Tascam 8 track. A few things were ran through Noah's interface. I wrote the guitar tracks and lyrics, Hollace did the bass and drums, Noah did the synthesizers, and Maya sang back up vocals and did the vocals for "Amour". Noah and I produced the album, and Noah mixed and mastered it. It took almost 2 years to finish. I was going through a hard time during the process so it took awhile. All the lyrics in the album relate to what I went through during that time. One of my favorite things about recording was buying my Vocoder pedal. With shoegaze and dream pop, there's a lot of drony guitar and vocals, and the vocoder is a combination of guitar and vocals, so I thought it worked out well and was something new.

Q. Which new bands do you recommend?
I am really into Helen. A project that Liz Harris of Grouper is in. They were a huge influence on the E.P. They have such a unique and lovely sound. I consider that to be dream punk. I love "Flyying Colours". I can't get enough of their new album. "Panophonic" is really cool. We are playing two shows with them in February to support their new record, which is fantastic. I also like Stargazer Lillies, Static Daydream, Morelings, Teen Suicide, and many others. There is a local band "Sleepy Limbs" that I admire. 2 of the members are recording our first full length album in February. They are lovely people that I am grateful to have in my life.

Q: Which band would you love to made a cover version of?
I really want to cover "Don't Laugh (I Love You) - by Ween.

Q: What are your plans for the future?
There is quite a few. Playing more shows is something we are doing and are always looking to do. I am planning on releasing the E.P. on vinyl, We are also recording our first album at The Kaleidoscope in February and we also plan on releasing a 2nd E.P. I also want to make some shirts soon.

Q: Any parting words?
To all who have listened to my music, bought my music, and loved my music, you mean so much to me. Thank you dearly!
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Thanks

https://viciousblossom.bandcamp.com/releases
https://www.facebook.com/viciousblossom/

quinta-feira, 18 de janeiro de 2018

Poisoning the Mead with Lotus Whispers - An Interview


Imagine-se em um intenso inverno, onde o frio permeia toda e qualquer sensação, adicione uma intensa e exacerbada aura de melancolia e isolamento, teletransporte-se para montanhas distantes, onde o sinal de vida é raro e tudo ao redor torna-se escasso.

Talvez, a música de Dan London, a mente por trás do Lotus Whispers, seja a mais perfeita síntese servindo como pano de fundo para a suposição acima.

"Poisoning The Mead", debute do cara, transmite em cada um de suas canções uma hipnótica e doentia necessidade de distanciamento. Sonoramente o Lotus Whispers conecta-se, por vezes, com o Lycia, mas a grande conexão é com a depressão.

Intenso e perigoso, o Lotus Whispers definitivamente não é recomendado para momentos onde sua auto estima estiver a níveis baixíssimos, mas aventure-se se tiver coragem.



***** Interview with Lotus Whispers *****


Q. When did Lotus Whispers begin? Tell us about the history...
Lotus Whispers began when I was writing a second dreampop album for my main project Brightly Painted Corpses. Eventually I felt it was just too far from any of the sounds I've done before and decided to make a whole new project.

Q: Who are your influences?
It's much less of who my influences are but more so what they are. Depression and just isolation are what fuel my ideas, and from there I just keep writing until I feel I've released all the emotions built up.

Q. Make a list of 5 albums of all time…
Bell Witch - Mirror Reaper
Deathspell Omega - Paracletus
The Chariot - One Wing
Lycia - Cold
Xasthur - Telepathic with the Deceased

Q. How do you feel playing live?
Not really a big fan. I don't feel it would properly capture the sound of Lotus Whispers. I'm big on reverb and I want it to remain dreamlike and hypnotic, which is something I don't feel a live show would capture. It would be a whole new sound.

Q. How do you describe Lotus Whispers sounds?
Bleak like the coldest of winters yet still ethereal. Sometimes soothing like the sound of the falling of rain.

Q: Tell us about the process of recording the songs?
My ideas are usually laid out my piano first, then convert the melodies to guitars and add a bunch of effect pedals. Reverb all over the place and then you have a Lotus Whispers song.

Q. Which new bands do you recommend?
Ether is pretty new. They're from my area, which is really cool. Asunojokei is also another band I've been listening to quite often.

Q: Which band would you love to made a cover version of?
I've always wanted to cover a Sunn O))) song. I just never really decided which or when I'd have the time to do it.

Q: What are your plans for the future?
As of right now I would like to write another album but I'm getting tied up with Brightly Painted Corpses. I'm sure there will be more to come for Lotus Whispers. Quite possibly even a different sound yet still remaining true to its roots.

Q: Any parting words?
Snowman.
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Thanks

Maps with Billow - An Interview


Um toque de leveza, suavidade e candura aterrizam no TBTCI, diretamente da República Checa.

"Maps" é o debute do quarteto, Billow, e exala uma aura de paz e tranquilidade que tanto faz bem para o corpo e para a alma.

Hipnoticamente o álbum vai penetrando entranhas adentro e e inevitável, ser sugado pela atmosfera criada pelo Billow.

O Billow cria música para tranquilizar momentos caóticos.


***** Interview with Billow *****


Q. When did Billow start? Tell us about the history...
Jakub: We were sixteen when we first started making music together in our hometown. That was 8 years ago. We wrote about 40 songs but barely played live and eventually broke up because we just kept on rehearsing the same material over and over again and sort of went crazy. Then Lenka and I started a lo-fi folk band Strangers in the City, we moved to Prague, released two albums, played a lot of gigs. At the same time I started jamming with Vojta (guitar, synths) and Ondra (drums) again. We played for 2 years but it seemed that it was going nowhere, we had no good songs, no vision, Lenka didn’t believe in it either. But then, I believe it was early 2016, it somehow „clicked“, finally we finished our first song ever (Galaxie) and really started to believe that after all these years, we might be able to finish a record…

Q: Who are your influences?
Jakub: I like all kinds of music, but if I should name one „influential“ genre, it would be folk. I like late 60s/early 70s, Neil Young, Tim Buckley, Joni Mitchell, Beatles, Jackson C. Frank, Dave Bixby. But my favorite era is 90s/00s, Elliott Smith, Guided by Voices, Damien Jurado, Songs: Ohia, José Gonzalez, Iron and Wine… Strong melodies and nice raw production.

Vojta: It’s a combination of folk, synthpop, ambient sounds and DIY ethic that works for me. I like sinking into sounds as well as I enjoy raw folk songs. Philip Glass, Warren Ellis, The War on Drugs, Elliott Smith, Bon Iver, John Frusciante, Sóley, The National, New Dog – these might be the most influential for me at this point.

Lenka: It's hard to say because I never think of music I listen to as my potential influences. You won't hear me saying - hey this is the music I wanna make - while listening to something. I'd rather say I'm influenced by certain moments, nature, people, books etc. Recently I've been analyzing melodies and lyrics more than listening to the song as a whole. It's like with books – you get to the point where you can't be only the receiver but you want to understand it deeply.

Q. Make a list of 5 albums of all time…
Jakub: John Frusciante – The Empyrean/Niandra LaDes
Smashing Pumpkins – Mellon Collie and the Infinite Sadness
The National – Alligator
Red House Painters – Red House Painters (Rollercoaster)
Sufjan Stevens – Carrie and Lowell
Vojta: Elliott Smith – Either/Or
Philip Glass – Glassworks
Mark Lanegan – Bubblegum
Sóley – We Sink
John Frusciante – To Record Only Water for Ten Days

Lenka: It changes every year, month… and I always suffer when it comes to rating music (or anything else). Now it would be 40 Watt Sun – Wider Than the Sky, New Dog – Classic Ballroom Dances, Carissa’s Wierd – Songs About Leaving… I’m sorry, can’t decide about the rest.

Q. How do you feel playing live?
Actually pretty good. We struggled with our live sound for a few years, even just a year ago it sounded quite terrible. It took us a long time to realize that we were pointlessly loud, Lenka’s voice buried under our guitars… it just didn’t make any sense. We are still louder than on our record, but now we’re definitely more satisfied.

Q. How do you describe Billow sounds?
Dreamy, slow, mellow, sombre…


Q: Tell us about the process of recording the songs ?
It was complicated because we recorded it all by ourselves and we didn’t have much knowledge nor the best equimpent. Vojta was our „producer“ and he was also mixing the record. It was our intention to record it this DIY way, though. Our studio is just a computer and one microphone so we were able to record it anywhere where it was a bit quiet. We used flats in Warsaw, Prague… and we finished the whole thing at Vojta’s mountain cottage.

Q. Which new bands do you recommend?
Alex G, Hand Habits, Chris Cohen, Frankie Cosmos, Litku Klemetti, Sampha, Soccer Mommy, Cymbals Eat Guitars, Katie Dey, Valley Maker, Fazerdaze… then (especially if you're into bedroom lo-fi pop) many artists from Slovakian cassette label Z Tapes, e.g. Laptop Funeral, Govier, Max Gowan, Bedbug. And there are also plenty of pretty good Czech bands: Acute Dose, Cold Cold Nights, Pacino, Moin Moin, Kalle, Manon Meurt, Naive Music…

Q: Which band would you love to made a cover version of?
When we get stuck in our rehearsal room we usually end up playing weird metal versions of some ridiculous songs, like Sweet Home Alabama. Otherwise we’re not much into covers, so it would be something bizarre, like Rammstein. But when we played with Strangers in the City, we used to cover Modest Mouse, Guided by Voices, Bonnie „Prince“ Billy etc.

Q: What are your plans for the future?
We would like to play as many gigs as possible, but we also love writing songs and recording. In November we had only one gig, so most of the weekends we spent recording and already have 7-8 new songs we actually like. if we don’t have many gigs next year, we will probably have enough time to finish another album. And we're also starting a small cassette label Bughead Records.

Q: Any parting words?
Thanks for the interview!
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Thanks

https://billow-out.bandcamp.com
https://www.facebook.com/billow.out/

quarta-feira, 17 de janeiro de 2018

Awaken the Quietus with Quali - An Interview


"Awaken the Quietus", segundo álbum do Quali, quarteto de San Diego, é um convite ao relaxamento mental através do fuzz e distorções.

Conectando-se sonoramente a gente como a heróis do shoegaze americano, leia-se, Lilys e Swirlies, o Quali, revitaliza um certo shoegaze com jeitão de college rock americano, equilibrando-se entre a nostalgia e a modernidade.

Uma coisa é certa, com o Quali, uma verdadeira parede de barulheiras, sonhos e melancolia te espera.


***** Interview with Quali *****

Q. When did Quali start? Tell us about the history...
Quali started officially in 2012 when Dima, our second guitarist, moved to LA while I was living there. Dima and I have always had good chemistry working together in the past, and when he moved to LA, he helped Quali take shape and become more of a realized project than just the ideas and feelings I had been working on for years prior. The beginnings of Quali really started forming back in 2009, when my previous project, a folk punk band that was my first experience writing music, playing guitar, and singing, ended. After that, I started writing my own personal music, trying to find ways to express how I felt, taking a lot of different, eclectic directions. I was playing drums in a band called Colony while I was working on ideas of my own with my girlfriend at the time. Josue and Sound, both members of Colony, filled up the rhythm section for Quali (known as Qualia at the time). During this time, Dima was working at Clear Lake Recording Studios in North Hollywood, which is where we started working on “The Familiar and The Other.” We would work late at night recording all the parts ourselves, not really knowing what we were doing. It was a great learning experience. My time living in LA was more or less my schooling for working towards understanding how to formulate and translate the feelings and concepts stuck in my head.

I moved back to San Diego in 2013, and that's when Glen and Tyler joined the band on drums and bass. We started playing around San Diego a lot at this time while finishing up mixing TFATO. When we released that album in 2015, we started making connections with bands throughout California that dug it, and it felt amazing to start having a sort of validation amongst our peers. After that, the band had some setbacks when Dima and Tyler left to follow other pursuits. Without a full band, Glen and I decided to just start writing and working on the next album. Josue moved back to San Diego in 2016, rejoined the band on bass, and the three of us began working on recording “Awaken the Quietus,” making trips up to LA to record with Dima. As we wrapped up that second album, Dima moved back to San Diego and rejoined the band, and Sean replaced Josue on bass, forming our current lineup. We released “Awaken the Quietus” in September and are trying to keep the momentum up going forward.

Q: Who are your influences?
The things that influence me most are random images and thoughts in my head. Sometimes I see an image or aesthetic in my head that I need to replicate through songwriting and building textures of sounds. I also draw a lot of inspiration from films. I like trying to have a cinematic quality when it comes to Quali. Science fiction plays a huge influence on us. As for band influences, I would say we are influenced from all over the musical spectrum, but some major influences for Quali would be: Autolux, Blonde Redhead, Beach Boys, Broadcast, Cold Body Radiation, D'angelo, Elliott Smith, Flying Lotus, J Dilla, Jay Electronica, Kanye, King Crimson, Marvin Gaye, My Bloody Valentine, Nadja, Nine Inch Nails, Outkast, Pink Floyd, Radiohead, Slint, Slowdive, Smashing Pumpkins, Swervedriver, Swirlies, True Widow.

Q. Make a list of 5 albums of all time…
This is really hard, but I guess if I was stranded on an island and could only pick 5, these would be them (in no particular order):

1) Voodoo by D'angelo
2) Dark Side of The Moon by Pink Floyd
3) Loveless by My Bloody Valentine
4) Kid A by Radiohead
5) What's Going On by Marvin Gaye or Doolittle by Pixies(sorry had to throw another on)

This was my knee jerk reaction, but the more I think of it, the more and more I want to add to this list.

Q. How do you feel playing live?
I really love playing live. I know a lot of musicians feel differently, but to me, there is nothing better than expressing yourself completely on stage. Just bleeding in front of everyone there with your amp right behind you, shooting all its sound through you. We like to make the live experience as personal and candid as possible. I think that it’s cool to try to sound as tight and close to a polished recording when you play live, but I personally love the slop and grit in a set that makes you seem real because no one is perfect. The imperfections can be the most beautiful sometimes.

Q. How do you describe Quali sounds?
It's sort of this grim, bleak collage of dreams falling into each other back and forth until it all lines up for this one moment of bliss. I don't know, maybe we're just this ‘90s underground worship band. I'm not much for describing our sound to others. The idea for our sound from the beginning of Quali being a full band was to have a very tight rhythm section that played in the pocket a lot of the time and then just have all sorts of riffs and washes of guitars that could flow around the rhythms. The mood is kind of the most important part of our sound to me. Having a sort of fleeting happiness feeling and vice versa. I love structuring songs in a Three Act Structure like Kubrick. I try not to think about a song’s length and structure too much.


Q: Tell us about the process of recording the songs ?
For “Awaken the Quietus,” we went back to Clear Lake, but this time was a little different than when we worked on “The Familiar and The Other.” At the time, Dima wasn't in Quali but was still all in on helping us record. Glen did the drums, and Josue did the bass for this album. We went into recording ATQ a lot more comfortable, our tones were more dialed in, and our songs were more cohesive than TFATO. I think besides having a better grasp overall with what we were doing in the studio, the biggest change in the album was how I recorded the vocals. Instead of belting out the words and melodies, I sang very soft into the mic. I wanted the vocals to have this cold, claustrophobic feeling to them—like you were out in space alone, left with your thoughts reverberating in your helmet. We also have started to mess with synthesizers. There's a couple little synth things we did on the last two songs of ATQ that I really like. We are working towards incorporating more synth in the future. With this album, Dima did an insane job engineering and mixing it. Everything just lined up sonically to me, and that was before we got it mastered. Any doubt I had in this album completely vanished once the masters came in.

Q. Which new bands do you recommend?
Big Black Delta, Black Marble, Boy Harsher, Cold Body Radiation, Conan Mockasin, Cigarettes After Sex, Drab Majesty, Dràpe, Gold Celeste, King Krule, Isaiah Rashad, Mild High Club, Nxworries, Westside Gunn, Vince Staples

Q: Which band would you love to make a cover version of?
This is a tough one, but I think I want to do a cover of “Love My Way” by The Psychedelic furs. Also, “Don't Talk” by The Beach Boys. Both really amazing songs that I think would be fun to do a more present noisy take on. The first ever demo recording of Quali, was a cover of "I can't take my eyes off of you" by Frankie Valli. I recorded it in my parents garage with the help of Josue and Tyler. I played all the instruments and then we programmed drums for it. I remember the three of us hanging a bunch of my blankets in my closet to try to make a better recording environment for vocals. I need to find that recording. It could be worth looking at again.

Q: What are your plans for the future?
We hope to go on tour in the middle of 2018, probably up the west coast. We are all aching to play all over the place, so hopefully we can kick into gear with that. Also, we are currently working on our third album. This one is really special to me. I originally was working on different material to be our third album while we were working on ATQ, but during that time I went through a pretty intense breakup. Once that happened, the floodgates opened for all new feelings and ideas that I couldn't stop writing about. I was thinking of maybe making it a solo singer-songwriter type album, but everyone in the band liked playing it, and it only makes sense for it to be a Quali record. We hope to release it by the end of 2018, then start recording the fourth album.


Q: Any parting words?
YOU have feelings and ideas that you need to let out in some capacity so DO IT.
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Thanks

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

terça-feira, 16 de janeiro de 2018

Responsible People with Droopies - An Interview

Um toque de Flaming Lips nos velhos tempos, outro de experimentalismos dissonantes, leia-se Arto Lindsay ou Brad Laner e seu Medicine, e a síntese você encontra em "Responsible People", segundo álbum do trio de freaks sônicos, Droopies.

Tem psicodelismo, tem shoegaze, tem garageira sessentista, tudo no mais perfeito ambiente lo fi, sem soar forçado, ou, proposital, simplesmente os caras são assim, e assim o disco desce redondo numa tacada só, e quando se pisca os olhos acabou e imediatamente o play deve ser dado novamente, porque o Droopies é o tipo de banda que vai viciando gradativamente, sem a menor chance de voltar atrás.

Faça o seguinte, pegue sua bebida predileta e escute alto, em todos os sentidos....o bem estar é garantido.

***** Interview with Droopies *****


Q. When did Droopies begin? Tell us about the history...
The 3 of us had been in bands together since high school but then separating and reforming under some different premises. Zack and I decided to take ourselves way back to the drawing board, starting completely from scratch in 2014. We ended up spending a year on the first album before John joined on bass.

Q. Make a list of 5 albums of all time…
Brad Laner - Natural Selections
Arto Lindsay - Cuidado Madame
Cylob - Quantum Looneyverse
Freddie Gibbs & Madlib- Pinata
Ecstasy Of St. Theresa - Susurrate

Q. How do you feel playing live?
Love it! We've developed some new tricks and I feel really excited about it because we're able to do songs from the new album that I thought would be impossible as a three piece. It's a lot of work to keep track of all technical aspects and the equipment, but it's always a rush to hear it, especially if we get a decent sound system with a smart person running the soundboard.

Q. How do you describe Droopies sounds?
We try to focus on writing good parts, and capturing good performances on the main instruments, which is why I also get to craft sounds for the extra layers. I think we generally get remarks about fuzzy guitar sounds, which I do like, but there's even parts in there now that take on synthetic textures.

Q. Tell us about the process of recording the songs?
I'll have a demo of the song fleshed out fairly well as far as the main guitar parts and vocals will go. Then we take it as a band to figure out how it'll work. For this last album we were living in from separate parts of the country to meet up and work on it, and then I take it home to overdub parts to the drums and bass. Often I'll realize new ideas as even I'm rehearsing overdubs, so the songs will take on different directions right up until they are completed.

Q. Which new bands do you recommend?
Basmati
Pinkwash
Witch Bomb
COQ

Q. What are your plans for the future?
Playing shows while we're writing and working on the 3rd album!

Q. Any parting words?
Thanks for reaching out to us!
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Thanks

https://droopies.bandcamp.com/releases
https://www.facebook.com/droopies/

segunda-feira, 15 de janeiro de 2018

In Silence with Agura Matra - An Interview


O indonésio Ben Rammsier é o criador do do projeto dark lo-fi ambient, ou algo assim, não necessariamente nesta ordem, Agura Matra.

Desde Abril do ano passado, o cara vem soltando regularmente seus trabalhos, dois álbuns, e alguns EPs, sendo o último, "In Silence" o mais recente desta saga, que passeia por entre terrenos nebulosos, sem soar piegas, um dark ambient, sem cair em um clichê típico do gênero, graças a inserções de elementos de trip hop e dream pop.

Noites estreladas e escuras tornam-se perfeitas sob a trilha sonora do Agura Matra.

Hipnótico resume.

***** Interview with Agura Matra *****



Q. When did Agura Matra start? Tell us about the history..
A. I used to play in a local metal band in mid 2000s. When it got dissolved in 2011, I turned to electronic and formed Rammsier with my wife Marilyn on vocals. We released a demo and an EP in 2015 to a warm response, but we got too busy to continue so I formed Agura Matra as a solo project to keep me on track, and started recording the materials that was originally written for Rammsier with more lofi, 80s goth feelings and released it as Agura Matra. Things continued to be great so it's my main project now.

Q: Who are your influences?
A:The Beatles, Black Sabbath, The Cure. Then some underground band like Burzum introduced me to darker ambient atmospheric styles. Ambient black metal Paysage d'Hiver took me deeper on this style, and even deeper to darkest side of artistic sounds with Stalaggh. Also symphonic and gothic metal bands like the early albums of Nightwish, Theatre of Tragedy and Tristania.

I like to listens to electronic and industrial artists like Kraftwerk, The Prodigy, Rammstein, also the later electronic dominated albums of The Gathering. Many different styles influenced me. I even like some tracks from Grand Tourimo by The Cardigans.

Q. Make a list of 5 albuns of all time…
A. Hard to choose, so I can only offer five albums I can quickly think of that have influences on me in no particular order.

1. The Cure - Pornography
2. Burzum - Hvis Lyset Tar Os
3. Black Sabbath - Black Sabbath
4. Paysage D'hiver - Kerker ( to name only one album from this band )
5. The Gathering - Home

Q. How do you feel playing live?
A. It always brings the same thrills to me as the first time I did it. Being able to really 'do' your song live and share it to everyone on the venue. To be able to release the energy whether negative or positive and throw it to be neutralized by the energies of the crowd.


Q. How do you describe Agura Matra sounds?
A. Whatever sounds I can think of and produce, like repetitive melodies, analog screams, wails and mumbles or some gothic rock sounds, then drown them deep into atmosphere and lo-fi artifacts. And then there's my subtle, soft spoken, sometimes tired, out of breath vocals.

Q: Tell us about the process of recording the songs?
A. At the beginning I always think of it as four track songs. From there I could start to hum main melody first, or vocal melody, or main bass lines. then decide wether the song have a reff or not, or will the drums be present. Then the atmosphere will follow.

In the case of ambient songs like on album 'Riverland', I just put anything that sounds good to me.

Q. Which new bands do you recommend?
A. Oh, you should check Russian darkwave outfit Lilith My Mother that have great sounds with more hardness ebm feeling to the music and vocals.  Polish electropop Convulsia Darklove is also great, like a mix between Eurythmics and The Banshees.  Also there's this talented guy Joel Dreaver with a lot of interesting sounds and potentials. You should check out his bandcamp page.

Q: Which band would you love to made a cover version of?
A. Oh, a lot of it. The Cure, Rammstein, Black Sabbath.. Possibly any bands that I like.

Q: What are your plans for the future?
A. My sounds will continue to evolved. I lately included some analog sounds on later albums. I will continue to do so, and maybe even go further to do all analog tracks full of analog screeches and screams. Sort of gothic, cold, minimal wave or whatever they call it now.

Q: Any parting words?
A. Thank you for listening to my music. Stay heavy.
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Thanks

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

domingo, 14 de janeiro de 2018

Spectres with Lost Children - An Interview



Avery Brooks é a mente por trás do projeto Lost Children.

Darkwave disfarçada de synthpop, ou vice versa, o ponto é que "Spectres" novo trabalho que sucede o dançante "Our Fallen Cities", mixa hits para pistas escuras e esfumaçadas e devaneios cinzentos. Uma pérola da nova safra do pós punk.

Darkwave épica, especialmente recomendada para notívagos e criaturas da noite.

***** Interview with Lost Children *****



Q. When did Lost Children begin? Tell us about the history...
Lost Children is my solo project. I started it in early 2007, after I had moved to a new place in Brooklyn, while playing synths in other bands. The material I was writing at the time bridged my older electronic music and the bands I was playing in. I recorded the “Fantoccini” EP in 2007, and followed up with “Our Fallen Cities” in 2010. After the LP was released, my friends Christo Buffam (guitar/bass) and Shlomi Lavie (drums/electronics) joined, and we started to play the material live, while also brainstorming and rehearsing ideas for a follow up. However in 2014 Christo passed away very suddenly. I briefly tried a different lineup, but lost my motivation to continue the live group at that time. Recording continued though, and I finally finished “Spectres,” which was released on October 31st (2017), and which I dedicate to Christo.

Q: Who are your influences?
While writing the first album I was really into the dystopian synth-heavy music of the very late 70s, early 80s. Fad Gadget, John Foxx, Gary Numan / Tubeway Army. I love that era because these UK outsider kids were all discovering synthesizers, which were only recently affordable, and then flipping out creatively, while simultaneously pulling in themes from dark sci-fi novels. I feel like I had a similar reaction in the 90s when I got my first synth and sampler, even more than ten years after those bands; it was a feeling of wonder and freedom. If i’m ever bored with writing or production I try to go back and remember that time and that feeling. That and of course always endless inspiration from Bowie, and Peter Murphy.

Q. Make a list of 5 albums of all time…
This is a really tough question, but here are some favorites.

Sneaker Pimps - Splinter
Fields of the Nephilim - Elizium
Sisters of Mercy - Floodland
Clan of Xymox - Medusa
Depeche Mode - Violator

Q. How do you feel playing live?
It’s exciting to see the audience reaction to the music, but even so, i’m much more comfortable in the studio than on stage.

Q. How do you describe Lost Children sounds?
Would it be dodging the question to say it’s music made to suit my own tastes? Lost Children is music plucked somewhere from the continuum between atmospheric darkwave and synthpop.


Q: Tell us about the process of recording the songs?
The music always comes first for me, and that informs the entire writing and recording process, way before any lyrics are written or album concept is defined. Most of the work is solitary, with late nights of recording on my own, since the synth recording and programming is all possible at my home studio. I’ll always have friends fill in though, for instruments I don’t cover myself or if I have someone in mind for a particular part. For the new album “Spectres,” I asked some of my friends and bandmates from other groups (Kurt Feldman / Ice Choir and Asher Lack / Ravens & Chimes) to cover guitar and my friends Maria Usbeck and Shione Yukawa to contribute some additional vocals.

Q. Which new music do you recommend?
The new Drab Majesty album “the Demonstration” was gorgeous, as was “the Assassination of Julius Caesar” by Ulver. Also Red Mecca, She Past Away, and Marnie.

Q: Which band would you love to make a cover version of?
Planning to cover something by Clan of Xymox soon!

Q: What are your plans for the future?
Early next year there will be several music videos released, which were both collaborations with my friends at Emulsion Pictures, and a new EP later in 2018.

Q: Any parting words?
Thanks for having me! I hope you enjoy the new album.
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Thanks

http://music.lost-children.com
https://www.facebook.com/lostchildrenband

sexta-feira, 12 de janeiro de 2018

Reality of It with Sicayda - An Interview

Pic by @bluangmany 


Uma ode de melancolia  permeia a música do novato quarteto de Toronto, Canadá, Sicayda. É só iniciar a audição da demos dos caras, disponibilizada gratuitamente na página dos deles no bandcamp.

O que engradece a sonoridade, ainda que crua do Sicayda, é a profunda imersão desta melancolia associada a uma massa dissonante, mas sempre melódica.

Referências e conexões com Radiohead, The Cure e Dinosaur Jr vão evidenciando-se conforme as cinco demos vão se perfilando.

Uma coisa é certa, a qualidade do Sicayda esta estampada em cada espasmo melancólico, em cada ambientação, uma banda para ficar de olhos e ouvidos atentos.

***** Interview with Sicayda *****


Q. When did Sicayda begin? Tell us about the history...
I suppose “Sicayda” starts with story of our sound, which started about 10 years ago with Guitarists/Singers Kevin and Marcos. We’d been friends for about a decade and started making music together around the age 15/16. Our main singer/guitarist Kevin was only really playing guitar for about a year and Marcos had been playing for several years. Marcos introduced Kevin to rock music in general and through more alternative bands like Radiohead, we got into more and more experimental rock such as Sonic Youth, Dinosaur Jr, The Cure – that was really the most significant shift in our tastes because it was probably the most experimental rock we’d been exposed to that influenced us sonically. With Sonic Youth we also found alternate tunings and grew fond of making our own because we’d grown tired of standard tuning. A little while after that we both seriously got into shoegaze. It’s the classic story: MBV, Slowdive, Ride, Cocteau Twins, etc. – but it was not only those bands that compelled us to play music. For us, we had a slight qualm about shoegaze and its heavily saturated production quality. We always loved the clear and precise production of Radiohead, Sonic Youth, and The Cure, but loved the fat and booming leads of Dinosaur Jr., Pink Floyd, Catherine Wheel, and so on. The one thing these bands usually hand in common was their creativity, atmosphere, emotional range, and clarity, so our sound naturally started to build around those ideals. We wanted a punchy, tone-driven sound that kept the ambience and hazy wall of sound that shoegaze offered, but with clearer, more interesting vocal numbers and instrumentals that we were capable of reproducing on stage. After playing a few shows as our former band Colour Zero, a friend of ours said, “I don’t know what genre you guys are but it sounds like it would be… ‘tones’.” We really liked that, so amongst ourselves we’ve taken to call ourselves tone rock.

Eventually Colour Zero’s rhythm section went their separate ways, and we went on an extended hiatus and we weren’t entirely sure where we were going. But we kept practicing our old songs and finally came to a more mature idea of where we wanted to go with our music. With another big push, we met our future members Ian and Zach. We met Ian this past June and he automatically blew us away with his playing. He threw together one of the most amazing sounding “auditions” we’d ever heard and we were both visibly impressed. We’d never heard a shitty $200 drum set sound that good. After that, in early July we got a message from Zach for an audition. At the time Zach had several projects going as well and he initially only offered us his recording services. Luckily for us he decided to it wouldn’t hurt to audition for the band, so he trekked from Burlington the same day he messaged us. For our audition with Zach and Ian we asked them to learn a song we had made years ago called “Only Worried”. We sent him a bare bones tab of the song and we didn’t expect him to know the entire thing; we just wanted to see if he was serious or not. To our surprise both Zach and Ian learned the song very well. Both of them became more situated into the band and we have grown closer as the musical chemistry in the band has started to flow effortlessly. Zach himself recorded our demo. We’ve done a good number of shows, made a fair amount of cash compared to any time in our musical history, printed shirts with our very own band art by friend of the band and we all feel ecstatic about all the progress we’ve made in such a short period of time.

Q: Who are your influences?
It spans a few decades but a good mock up would be:

The Cure, Sonic Youth, Dinosaur Jr, Radiohead, My Bloody Valentine, Slowdive, Cocteau Twins, Faunts, Catherine Wheel, Pink Floyd, Black Sabbath, The Chameleons, Incubus, Silversun Pickups, Pink Floyd, Stone Temple Pilots, The Smiths, Tripping Daisy, and Smashing Pumpkins

Q. Make a list of 5 albums of all time…
Asking for just 5 is cruel, haha. Most of us alone can’t even pick 10, but since we must…

1. Wish – The Cure
2. Blue Bell Knoll – Cocteau Twins
3. Loveless – My Bloody Valentine
4. Black Sabbath – Paranoid
5. U2 – War

Q. How do you feel playing live?
As the years have gone by we’ve gotten used to it but usually we have a reasonable amount of nerves because we want to play our best. A friend and former band member put it in very interesting terms: “If you’re nervous, it shows you care.” I felt like that helped a lot for the last show we played opening for some big bands in our scene. And of course, when the music starts, it quickly washes those nerves away, too.


Q. How do you describe Sicayda sounds?
It’s a tone-driven, ambient, yet saturated sound, with the guitar layers creating a tug-of-war that forms a very bright wall of sound with light (and at times powerful) melodic vocals. Ian and Zach provide a solid, articulate, and punchy backbone for this “bright wall”. Our themes tend to have a flavour of bittersweet youthful melancholy.

Q: Tell us about the process of recording the songs?
Kevin and Marcos do the primary song writing. Typically, one of them crafts a song’s rhythm guitar and sometimes vocals, and then pass it on to the other for feedback. Once the song becomes more solid, the second guitar/vocal parts are made. After that we work on the rhythm section with Ian and Zach.

Actually recording our demo was a marathon. Zach tracked drums, guitars, and vocals with the band in the span of 17 hours over 2 days. Special care was taken to preserve the sense of space in the instruments - the drums were recorded using figure-of-eight microphones in place of traditional overheads, which were left set up for guitar tracking and used as room mics. Our rehearsal space is acoustically very lively, basically being a concrete coffin of a garage, and we think that feeling is captured by the recordings.

Q. Which new bands do you recommend?
In the short span of time playing shows as Sicayda, we’ve met some amazing local talent situated around Toronto. Check out: Low Kites, Tonemirror, Milhouse, and The Dead Projectionists. Back in September we opened for a Boston-based psychedelic math rock band called Bat House which got us looking at the math rock genre in a totally new way. At the same show we met Tonemirror, who have also contributed to this blog, and are all-round great guys to work with.

Q: Which band would you love to make a cover version of?
We probably owe Sonic Youth an entire tribute album, haha. Marcos would love to cover The Cure’s more complicated songs like “Open.” Zach would love to give some Baroness the Sicayda treatment.

Q: What are your plans for the future?
For now we will continue playing and trying feverishly to gain more exposure; keep working hard in and out of music ensuring all avenues are covered to support the band. We'll be writing another batch of material in the next few weeks, and recording another set of demo songs this winter. We're also setting our sights on bigger shows and possibly festivals. We’d love to release our first LP through a label if possible and get to the point where we are recognized in the niche and continue to grow and see where that takes us.

Q: Any parting words?
First we are super grateful to be on the blog, especially considering the amount of material we have released so far. We’re happy to see that we have fans out there in the world. We invite anyone to give us a message/email, listen to the music we’ve released so far and keep following us as we go on this journey and we promise to continue making good music for those who want to experience a fresh take on what are often tired sounds; passing our passion and our feelings through music.
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Thanks

https://sicayda.bandcamp.com/
https://www.facebook.com/Sicaydaband/

quinta-feira, 11 de janeiro de 2018

Saf with Bur - An Interview


Sabe aquele tesão em ouvir algo que já nos primeiros momentos te suga pra dentro, seja o som, suave, caótico, denso, viajante, o negócio é a sensação de arregalar os olhos e pensar intimamente, "caralho isso é foda demais!". 

Esses momentos descritos acima, acontecem ainda nos dias de hoje, acreditem ou não, e  comigo, vira e mexe acontece, e nos primeiros momentos de "Noise", música de abertura de "Saf" primeiro álbum do Bur, quarteto de Chicago, eu fiquei meio olhando pra tela do computador, desconfiado, o som é um white noise instrumental arrastado de pouco menos de dois minutos, até aí ok, mas aí meus caros, quando começou "Help Yourself", meus olhos ficaram esbugalhados, aquilo gerou um frissom desgraçado em mim, e a sequência foi mais catártica ainda, "Rumination" é pra sair do chão e dançar, pular, se jogar sem medo de ser feliz, como nos velhos tempos da adolescência.

Um esporro, assim é "Saf", com doses generosas de fuzz, barulheira incessante, conexões com Medicine, Swirlies, J&MC, Nirvana, Flaming Lips, fase inicial, ou seja, barulho, barulho, barulho, daqueles bons pra cacete, mas que sempre desaceleram e dão aquela sensação de leveza, aquela coisa de pairar no ar sem sair do chão.

Uma coisa eu digo, Bur é foda, é a melhor nova banda da atualidade, e foda-se. 

***** Interview with Bur *****


Q. When did Bur begin? Tell us about the history...
A: I started bur i think November or December of 2015. My buddy Eric and i had been playing music together just doing covers of songs at his house for a while so i asked him to play guitar then we found Justin our drummer and we’ve bounced around with bass players but that’s pretty much how it started.

Q: Who are your influences?
A: My favorite band ever is nirvana who i got into when i was in the 8th grade or so so they’re a big influence. I really like Elliott Smith and the beatles and of course my bloody valentine and velvet underground. Pixies were a big influence when we first started out also a local band called Liqs influenced us a lot

Q. Make a list of 5 albuns of all time…
A: 1. psychocandy-Jesus and Mary chain
2. Either/or-Elliott Smith
3. White light/white heat- velvet underground
4. In utero-nirvana
5. Magical mystery tour -beatles

Q. How do you feel playing live?
A: Playing live is alright. I kind of see it as a necessary evil to having any sort of success with music. If i could I’d just keep recording albums. It’s not that i hate playing live but i find more excitement writing a song and recording it well than performing it well.


Q. How do you describe Bur sounds?
A: We’re just a pop band with loud noises going on. We don’t do anything too special. That’s another reason why playing live doesn’t go so well for us because we just make noises and i can’t imagine it’s too pleasurable for a lot of audiences. Hopefully some people like it. But i just write basic pop songs and we play them loud so they sound cooler than they are

Q: Tell us about the process of recording the songs ?
A: I’ll just write the song and record it at our little studio we have whenever i can. We share the place with our best friends that play in a band called Daysee so whenever they aren’t recording we are

Q. Which new bands do you recommend?
A: daysee, gal gun, hair, Wayne’s shoelace, lazy legs, pussyfoot, funereal

Q: Which band would you love to made a cover version of?
A: Oasis because we are rockstars

Q: What are your plans for the future?
A: Hoping to make this album something nice and just keep playing shows and having fun

Q: Any parting words?
A: if you are near Chicago IL come see us:-)
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Thanks

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

quarta-feira, 10 de janeiro de 2018

New Feelings with Useless Cities - An Interview


Com tonalidades épicas, os ingleses do Useless Cities construiram em sua breve carreira até agora, apenas um ano, dois EPs simplesmente magistrais, "Stay" de 2016 e talvez a obra prima deles até o momento, "New Feelings" lançado em Março do ano passado, sem contar o novo single "Eyesore", que é ainda mais climática e contemplativa, mas é exatamente no segundo EP que a banda esbanja sua essência. "You There" é algo de sublime, tão linda que chega a doer, talvez o ponto alto do EP.

O Useless Cities passeia numa linha imaginária onde encontram-se ecos de Interpol e The Cranberries, no início, tudo envolto numa atmosfera quase shoegaze.

O Useless Cities, deveria estar tocando em toda e qualquer rádio, incessantemente, tocando em todos festivais importantes do mundo, porque esse é o lugar deles, no topo. 

Indie rock épico em letras maiúsculas.

***** Interview with Useless Cities *****


Q. When did Useless Cities begin? Tell us about the history...
Useless Cities began like all great modern relationships - on the Internet. Tom advertised for musicians and Conny replied. They spent a few months songwriting before finally recruiting Sebs and Clare to fill out the sound.

Once the band had completed the line up (in January 2016) everything moved quickly. We played our first gig 8 weeks later and then booked studio time for our first EP. After we sent out CDs we were pleasantly surprised by the response to our music and haven’t looked back since.

To date we have now released two EPs and 1 single, picking up the indie shoegaze moniker along the way.

Q: Who are your influences?
We each have different tastes, although mainly within the indie scene. Generally we like moody indie bands like Arcade Fire, Interpol, The National, Mogwai.

Tom is the tastemaker in the band (although he’d hate me saying that), and tends to know a lot of obscure bands.

Conny is into some of the more modern indie bands, like Beach House, Temper Trap. She is also love Depeche Mode, especially after seeing them live.

Sebs is into a bit more energetic indie.

Clare loves The Cranberries and is always chuffed with any comparisons.

Q. Make a list of 5 albums of all time…
The Cranberries - No Need To Argue
Depeche Mode - Violator
Daughter - If You Leave
Beach House - Teen Dream
Temper Trap - Conditions

Q. How do you feel playing live?
Playing live (along with recording in the studio) is our favourite.

It’s always great to get a reaction from the audience. Playing live gives us energy and leaves us feeling fulfilled.

Q. How do you describe Useless Cities sounds?
It’s definitely indie with a lot of reverb. This has been called shoegazey or miserable indie. It was recently called “Cerebral Indie” which isn’t a bad thing.


Q: Tell us about the process of recording the songs ?
Last time we recorded with Paul Tipler who is an old hand at these things. We recorded 3 tracks over 4 days. Day One was bass and drums, day two keys and guitar. We then had one day dedicated to vocals and one day dedicated to mixing and mastering. We recorded the drums with the rest of us playing live, then overdubbed each instrument.

With Paul we didn’t “drop in” like we usually do to improve on previous playing, we just played the whole song over and over. I think it was to preserve the energy. It was a lot of work, but we were really pleased with the sound.

The whole band stayed for the full recording session, even when we weren’t needed. It was just great to learn about the different techniques involved and show a bit of support for the others. We tried out an E-Bow on one of the tracks but ended up replacing it with synths.

We are hoping to record another 3 before the Summer. Our songwriting is quite prolific so it can be a bit frustrating only having a few of them recorded.

Q. Which new bands do you recommend?
We’ve played with a few cool bands over the last couple of years. There are a couple of ones that stick out. There’s a band called Bugeye who are doing really well at the moment and releasing some great tracks. We also had Fortnight in Florida play at our launch party in March, they are a bit like Hot Chip. There is also a London band called Moonlands who are doing some interesting music too.

Q: Which band would you love to made a cover version of?
ABBA would be a good one as they have great instrumentation and work well as an indie cover (see Super Trouper by a band called Camera Obscura). Their baselines are always ridiculous.

Q: What are your plans for the future?
We have two more singles recorded and ready for release in the first half of 2018 which we recorded with Paul Tipler (he has produced some of our fave bands, including work with Slowdive, Placebo and Idlewild). 2018 should also see some interesting videos to go along with the singles.

Q: Any parting words?
We might look and sound a bit gloomy, but we are having the best time recording and playing. Come and have a chat after shows or email us to talk about music (it’s always a pleasure!).

Also - we are always on the look out for new gigs so get in touch.
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Thanks

https://uselesscities.co.uk/
https://uselesscities.bandcamp.com
https://www.facebook.com/Uselesscities/

terça-feira, 9 de janeiro de 2018

Ossuaire with La Peste - An Interview


Para quem acompanha o submundo dos bons sons, o nome Cranes Records, gravadora francesa, é nome a ser respeitado, e, porque não, cultuado, afinal a gravadora é casa de gente como The December Sound, The History of Colour TV, The Dead Mantra, White Night Ghosts, só pra citar alguns, e é, justamente do cast da Cranes, que o TBTCI apresenta o duo francês, La Peste.

Esqueça rótulos, ou junto todos os possíveis, e você terá alguma noção do que o caldeirão raivoso dos franceses é capaz de experimentar. Aliás, experimentar, é o exercício a ser feito durante a audição do(s) trabalho(s) dos caras, afinal, singles, versões e atenção, principalmente ao último trabalho, o insanamente doentio, "Ossuaire", lançado em Dezembro do já distante 2017.

Algo como um nowavegazer, ou ainda talvez, um psychnoisedarkpunk, como eu disse lá no início, esqueça rótulos, a música do La Peste é intensa em todas as esfera, sem a menor necessidade de ser categorizada.

Escute alto.

***** Interview with La Peste *****


Q. When did La Peste begin? Tell us about the story
Lizard : We’ve been playing together for almost four years now. I have a band with some friends called Blue Mountain Expansion, and at that time we recorded some accoustic demos with Arnaud in his parent’s attic. By then we started to hang out regularly.

Then, I went on a 6 month trip in Canada during witch Arnaud and I echanged a lot. When I came back we recorded a 3 tracks demo in Arnaud’s attic, it became our first EP as La Peste. It was with a drum machine, in a very lo-fi way, still his parrent’s attic. This place is important for us...

After the publishing of this first act, we faced a lot of demand in terms of "live sessions". We hired a drummer for a while, then started to have a real drum machine and a bass player... And now here we are, both of us playing guitar with a drum machine and a synth to guide us through the darkness.

Q: What are your influences?
Arnaud : Too many things… But to name a few : all the Cranes Records rooster, a lot of movies and animes' scores, some Video Games' OST such as Shadow Of The Colossus. Autumn leaves through our windows… Human beings in the street… Beer and wine. Boris Vian and Romain Gary. The Internet. Frustration. Pain. Our friend Frédéric's penis. Too many things to name.

Q. Make a list of 5 albuns of all time…
Lizard :
- Deerhunter / Halcyon Digest
- Brian Jonestown Massacre / Spacegirl and Other Favorites
- Bowery Electric / Beat
- My Bloody Valentine / Loveless
- History Of Colour TV / Something Like Eternity

Arnaud :
- Babyshambles / Up the Shambles
- Rowland S. Howard / Teenage Snuff Films
- The Strokes / Is This It
- Some Cranes Records Stuff
- the same

Both : It’s not an easy question, here are our two lists.

Q. How do you feel playing live?
Lizard : We both love to play live. It is the best way to express what we want to channel in our songs even if we are not technical as musicians. Technicaly speaking it is rather the opposite, and one can feel it.

When we started to play live, we did not had a lot of live experience, nevertheless we just wanted to play live. We tried things that we did not always mastered, but we tried them. We are always spontanious and wild, because it is the way we are. We are happy idiots.


Q. How do you describe La Peste sounds?
Arnaud : Sad pop songs, tailorded by an handless barber. Distorsion and love, sadness and vain hopes. Live, we are loud and wild, it is the only way to make it through the show for us. It is about survival.

Q: Tell us about the process of recording the songs ?
It was the third time tried to record an album, and considering that, it was a difficult session. Any way, we did it in my parent’s attic, during a week in july 2016… It was warm under the rooftop, but Tony, our friend and ingeneer, managed to catalyse the best of us during this session.

Just after that the bass player left the band and we kind of dropped down the idea of a release…

But Ragnar and Denis of Cranes records managed to kick our asses, and pushed us to into releasing these recordings. We gave the tracks to Jaike from The History Of Colour TV (R.I.P.) and he mixed those in a beautiful way. Jaike had a very gentle and friendly approach, he really helped us into being proud of these tracks. And here it is, Ossuaire.

Q. Which new bands do you recommend?
Both : We are still stucked into the Wavves X Cloud Nothings release from 2015, it is such a master piece. It is almost two years old, but still relevant.

In terms of new bands, we don’t know. Our friend Roboy from Le Mans does a great job, he might release an EP due to January 2018.

Q: Which band would you love to made a cover version of?
Both : We Already did two cover version of tunes by other artists, one of « Velvet in Furs » of the Velvet Underground, and one by our local artist Jean Luc Le Tenia, whom passed away in 2011 , called « l’Âme du Mans ».

Recently we talked about doing other covers, we will figure out from whom… May be Blink 182 ?

Q: What are your plans for the future?
Both : Right now we have to support our release on stage, doing gigs in France and so on. We are trying new things on stage such as a bass synth, we have to figure the right way to use it during shows and sesssions… And we need to take time to write new songs anyway… Nevertheless we want to play gigs as much as possible !

Q: Any parting words?
Both : Bite.
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Thanks

https://lapesteestunepute.bandcamp.com
https://www.facebook.com/pg/lapesteenestune

segunda-feira, 8 de janeiro de 2018

Star Trail with Slow Glows - An Interview


Quando a fórmula do shoegaze foge do meio comum e começa a passear por outras esferas e espaços, a viagem certamente acaba por se tornar mais intensa do que o que já é.

Com essa máxima, o trio de Cincinnati, Slow Glows, traz em seu debute, "Star Trail", lançado em Outubro passado, um delicioso mix do que é o clássico gaze, mas adicionando a esta formula doses de um certo pop inocente, leia-se Blondie, ou ainda, um espectro psicodélico emaranhando as fritações típicas do estilo em odes épicas.

Entre inocência, viagens e delírios, o Slow Glows acertou em cheio o coração do TBTCI.

***** Interview with Slow Glows *****


Q: When did Slow Glows start? Tell us about your history.
RT: I wanted a safe zone to better myself at the drums and to support other women. I posted something along the lines of “Female drummer seeking other femme musicians…” and the first person to answer my post was Kelli. We jammed in my basement and immediately discovered our almost identical taste in music. It was a perfect fit. Liz joined soon after on bass and was so strong in the foundation of our statement. Our lineup has recently changed to include Ian, who is an incredible bass player. Slow Glows has gone through all of the right changes in a relatively short period of time - a little over a year - to continue to explore our abilities as musicians and also develop our ever-changing genre..

Q: What are your influences?
KR: I think I was able to catch the tail-end of a lot of nineties bands being played on the radio when I was young. Oasis and Radiohead were always my favorites. As a teen I loved Britpop and classic alternative. Soon enough I also found shoegaze bands. They seemed to be made up of quiet people making loud sounds, and I feel like I identified with them more than any music I’d heard before. I’d grown up playing classical piano, so playing guitar was something I’d never considered pursuing before but I suddenly really wanted to do it. I bought my first acoustic guitar in 2013 and began teaching myself some chords, and eventually bought my first electric, my telecaster, in the fall of 2015. My first band was called Peace Attack, like the Sonic Youth song. None of us were 21 at the time and still lived a little too far from the city, so our options were and resources were more limited than where I am now, but we did put out an album of my earliest songs that I’m proud of. That band gave me the experience to bring the best I could offer to Slow Glows.

Q: What are 5 of your favorite albums of all time?
Collectively, and in no particular order, the three of us all love…

1. Radiohead – OK Computer
2. My Bloody Valentine – Loveless
3. Sonic Youth – Daydream Nation
4. 13th Floor Elevators – Easter Everywhere
5. The Velvet Underground – VU & Nico

Q: How do you feel playing live?
KR: Cincinnati is a difficult crowd to impress as a new band, I feel like, because there are always a surplus of bands playing shows all over town on any given night of the week. Garage punk is what’s super popular right now, it seems, and what we do is a little different. I feel like our music would be better received on the west coast or in Europe but we’ve been doing pretty well for ourselves here so far. When I play live I have to remove myself from everything in a way – because there’s a lot going on, I have to sing and physically play at the same time and remember what effects go on and off and change throughout each song – so yeah, I have to kind of zone out for it to work. It feels like I’m multitasking, to a superhuman extent. I don’t do much on stage. I usually close my eyes a bit so that the only sense I have to focus on is what’s happening from an auditory standpoint. That’s the only way I can make it happen and be happy with how I sound.

Q: How do you describe Slow Glows sounds?
KR: We’ve been described as shoegaze everywhere we’ve played so far, and that’s a term that has generated a lot of endearment in the music world recently, I feel like, because of all the nostalgia for nineties shoegaze bands reuniting over the past few years with new music and tours. Those bands weren’t very celebrated in their heyday but the internet has made it all a hot topic now. We’ve been called dream pop too. And it does feel authentic because yes, that’s what we are influenced by, but to me, shoegaze is really just a defined chapter in what is, in a broader sense, psychedelic rock.


Q: Tell us about the process of recording the songs?
RT: Songs come together very quickly. “October” was written literally an hour before we played it out at Ladyfest Cincinnati. Most times Kelli comes up with a chord progression, I write a beat to it, Ian comes in soon after and writes around Kelli’s melody. The lyrics come later and are sometimes improvv’d which keeps things interesting…

KR: Yeah, when I write songs I have a tendency to really focus on the melodic structure, kind of like what I enjoy about sixties bands because it’s not a bad thing for songs to be really memorable and really catchy. But I like to throw on a lot of reverb and tremolo effects so that they’re given a shimmering, surreal element. They’re probably best described as being really subdued, abstract pop songs.

Q: Which new bands do you recommend?
IG: I really like Cheatahs, their album Mythologies is a one of the best recent psych rock albums out there. My favorite band from our local scene here in Cincinnati is Sungaze.

KR: There’s a lot of great local and regional talent here, but one of my favorite recent finds is the band Purple Heart Parade from Europe. They have this one song called “The Room” that’s pretty magical.

RT: I’ve been absolutely lovin’ on Bozmo’s “Leather Umbrella” which came out in 2014 but needs way more credit where it’s due. You should also check out Twen and Sad Baxter from Nashville, Soften, Lung, and Freedom Nicole Moore from Cincinnati, and The Savage Blush from Colorado.

Q: Which band would you love to make a cover version of?
IG: I’ve really been wanting to put together a My Bloody Valentine tribute show for some time. Kelli and Rachel had even expressed interest in taking part in one before I had joined Slow Glows, so maybe we will put something together at some point in the future!

RT: I have always wanted to cover The Nerves’ (or Blondie’s) “Hangin’ on the Telephone.” I also love Cleaners from Venus’ “Only a Shadow.”

Q: What are your plans for the future?
IG: We are hoping to record and release an album sometime next year, so we’ve all been looking forward to and working very hard on that. Touring is something we have yet to do and are hoping to start planning some small ones soon. However anything large likely won’t happen until after our album is released.

RT: We want to tour. If you’ll have us we will try to have you!

Q: Any parting words?
KR: We’re in the process of putting together a 7” vinyl release of our songs “Sodapop” and “December.” I’m really excited about this because it’s the first physical release I’ll have put out and it really legitimizes our efforts in a way. Those are two songs I’m very proud of and that mean a lot to me so I feel very fortunate in the fact I’ll be able to offer them to people in a format that’s more personal than digital streaming. So, keep an eye out for those in spring of next year.

RT: We are commonly referred to as “Snow-Globes” and that is wrong. We are SLOW GLOWS !!!
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Thanks

https://slowglows.bandcamp.com/releases
https://www.facebook.com/slowglows/

domingo, 7 de janeiro de 2018

We're All Yours with Nine:Forty:PM - An Interview


Uma explosão de melancolia envolta a uma massa de distorções intensa, uma síntese entre o pós punk e o shoegaze, assim é "We´re All Yours" primeiro EP do quarteto de Portland, Nine:Forty:PM.

Unificando The Cure e Dinosaur Jr., o Nine:Forty:PM atinge certeiramente, corações e mentes sem a menor dó, principalmente na intensa "I Hate Falling In Love", algo como "The Wagon" e "Pictures of You" mixadas nos mesmos acordes.

Nunca J. Mascis e Bob Smith fizeram tanto sentido juntos desde o cover de "Just Like Heaven".... o Nine:Forty:PM é intensamente viciante.

***** Interview with Nine:Forty:PM *****


Q. When did Nine:Forty:PM start? Tell us about the history...
A. We met through an ad on Craigslist in October of 2016. Jason had placed an ad titled "MAKE AMERICA SHOEGAZE AGAIN" that had the Loveless album cover as it's main picture. After our initial rehearsal it was just drums and guitar for a while and we worked on songs in an unheated loading dock for a few months before Lisette started writing with us regularly. We moved to a more comfortable practice space and over the next few months we kept working on material while going through six bassists before we found Dusty. After finally getting a solid line up we began polishing the songs for our recently released EP, "We're All Yours" and playing shows around Portland, Oregon.

Q: Who are your influences?
MBV, Dinosaur Jr., Slowdive, Explosions In The Sky, The Cure, M83, Sonic Youth, This Will Destroy You

Q. Make a list of 5 albums of all time…
A. Ok, this is really hard but here goes:

My Bloody Valentine -Loveless
Dinosaur Jr. -You're Living All Over Me
Interpol -Turn On The Bright Lights
The Cure -Disintegration
Slowdive -Souvlaki

Q. How do you feel playing live?
A. Loud, Engulfed in sound, Feels like surfing a giant wave of sound.

Q. How do you describe Nine:Forty:PM sounds?
A. Wall of sound, heavy, guitar driven, melodic. Pillowy reverb, bombastic waves of fuzz. We incorporate elements of shoegaze, post rock and noise with pop melodies. We work a lot with quiet to loud dynamics. High volume and power is a also a huge part of our sound.


Q: Tell us about the process of recording the songs
A. We wrote most of these songs during one of the coldest winters Portland has seen in a long time and that came out in the material in certain ways. The writing process was pretty collective and democratic. Someone would come in with a riff or melody and we'd jam on that and make phone recordings. Then we'd listen back later and figure out what worked and what needed to be changed. Some of the songs were written around specific drum beats. We just kept working on songs until they sounded exactly the way we wanted them. By the time we went to the studio to record we had them all worked out so the only issue was getting the sound we wanted. We were really concerned with getting a huge drum sound and just making sure everything was loud. We're really happy with the way it came out.

Q. Which new bands do you recommend?
A. Wildhoney, Wander, Tender Age, The Mighty Missoula, Jaguwar, Visiting Diplomats, Tashaki Miyaki, You May Die In The Desert, Cloakroom, Palm Haze, Ringo Deathstarr, Floating Room, Gliss, Pity Sex, Deathlist.

Q: Which band would you love to made a cover version of?
A. Slowdive. We also did a cover of "Plainsong" by The Cure at a few of our shows. It would be fun to do an entire Cure show for Halloween.

Q: What are your plans for the future?
A. Our drummer, Sam, moved away for school so we're looking for a new drummer right now. We just want to continue making music. We set pretty modest goals for ourselves. We made our EP and played some shows, that was a goal we set. We've talked about doing some small tours so we'd like to do that next. From there, just keep writing new material and evolving our sound and play whenever we can.

Q: Any parting words?
A. Thanks for listening!
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Thanks

https://www.facebook.com/ninefortypm/
https://ninefortypm.bandcamp.com/releases