quinta-feira, 26 de maio de 2016

Hello, We Are Not Enemies with Novanta - An Interview

Em 17 de junho virá ao mundo o segundo álbum de Manfredi Lamartina ou se você preferir, Novanta.

Após uma belíssima estreia, "Best-Selling Dreams", Manfredi apresentará a todos "Helo, We Are Not Enemies", o qual o TBTCI tem se deliciado em altas doses.

"Hello, We Are Not Enemies" soa mais denso e soturno que seu antecessor, mas sempre com uma certa esperança pairando no decorrer de suas sete canções. Destaques imediatos para "Mike" com conexões claras ao Slowdive e também para Tell a Story, uma belíssimo exercício de auto contemplação sonora.

Aproveitando todo este momento do Novanta, o TBTCI conversou com Manfredi sobre a concepção de "Hello, We Are Not Enemies" especialmente para vocês.

Salva a data, 17 de junho, o Novanta vai te encantar.

***** Interview with Novanta *****

Q. Hello Manfredi, first congratulations on the new album, it's really brilliant, what is your analysis after conclusion of album? Are you happy with the result?
Well, thanks, I’m glad you like this album. I’m happy with the result, thanks to the help of these ultra-talented artists: Raniero Federico Neri (from the Italian indie rock band Albedo), Claudio Cataldi, Ian Bonnar (aka In Every Dream A Nightmare Waits), Giuseppe Musto (aka Il Ragazzo Del Novantanove), Giampiero Riggo (aka Haas) and Fabrizio De Felice (aka Bialogard).

Q. How was the process of creating Hello We´re Not Enemies?
A very long process, as usual. I started working last year, while I was in Iceland (what a wonderful country, indeed). I recorded some very rough tracks with an iPad. Back to Italy, I worked very hard on the arrangements, with the precious help of the guests of this album. If you like this album, you should tell them, because their contribution has been very important.

Q. What are the main differences between Hello We´re Not Enemies and Best-selling dreams?
“Best-Selling Dreams” is a very dark album, “Hello We’re Not Enemies” is the opposite in a certain way. It’s a thin, little ray of light. The core idea of the album is the importance of empathy in a period where human relationships are often based on aggression and on a division between “us” and “them”. So hey, we’re not enemies.

Q. What were the influences for creating the new album?
One of my favourite album ever is “In A Safe Place” by The Album Leaf: this record has been a huge influence on “Hello We’re Not Enemies”, as well as Slowdive’s “Souvlaki” (I recorded a Slowdive cover for a tribute album released by Seashell Records last year) and the “Gomorrah” tv series soundtrack by Mokadelic.

Q. What are your plans for 2016?
I’m planning a little tour that starts this fall. And then I’m going to write new songs for another album.


quarta-feira, 25 de maio de 2016

Innocence with Magic Mountain - An Interview

Uma colisão em tonalidades cinzentas e tons sombrios entre Nowhere/Heroes/Closer é o que se encontra no segundo EP dos ingleses do Magic Mountain, intitulado Innocence, acresça a este híbrido uma doce e suave flauta por vezes flutuando entre a densa massa desesperadora criada no EP.

James Percy, Ashley Smart e Sarah Smart souberam como filtrar e chegar a poção matadora na junção de ecos berlinenses unidos ao desespero pós punk e as viagens gazers.

Um EP completamente acima.

***** Interview with Magic Mountain ******

Q - When did Magic Mountain start? Tell us about the history...
James: Ash and I have been mates since we met at University in Bristol and we had a band back then called This Dumb Desire - Ash played drums and my younger brother played guitar, while I took main vocals. It was a cool band but it burnt out in the end and we both pursued different musical ventures, occasionally meeting up for a jamming session.

Magic Mountain came about when me and Ashley had a bit of a late night jam in October 2011. I had just bought a Kaossilator and we wanted to try it out. It was our first time using a drum machine - and the sound really clicked with Ash's guitar sound - the regimented beats meant Ash could make the wildest noise with his guitar. We decided there and then to start a band and we started writing songs. But the real breakthrough came with Velvet - Ash asked Sarah to do a guest flute on that track and it sounded amazing - it took the sound too a different dimension. We asked Sarah to officially join the band.

The name for Magic Mountain comes from one of my most beloved books: Thomas Mann's "The Magic Mountain". It's a strange tale of a young man searching for meaning and love in a sanatorium high up in the Swiss Alps. There's something of the dreaminess of that novel in our sound.

Q - Who are your influences?
Ash: It’s a real mix. From My Bloody Valentine to Joy Division, David Bowie to Nirvana. There are many more musicians and bands in there too but we are usually drawn to music that has heart, has a melody or hook and can move you.

Q - Make a list of 5 albums of all time…
Ash: Wow, that’s hard and grossly unfair ;-) I don’t know if I could ever limit myself to just 5 albums! I will exclude Elvis Presley albums as I am a massive fan and there would no room for anything else.
The Beatles – Sgt Pepper’s Lonely Hearts Club Band (mono version)
Joy Division – Closer
Nirvana – In Utero
My Bloody Valentine – Loveless
David Bowie – “Heroes”

James: Ok this is more like my favourite album list – which changes a lot – OK today’s list:
Joy Division – Unknown Pleasures
David Bowie – The Rise and Fall of Ziggy Stardust and the Spiders from Mars
Cocteau Twins - Treasure
Radiohead – The Bends
The Stooges - Funhouse

Q - How do you feel playing live?
James: I love playing live and putting across our music to an audience at first hand – sometimes we can get a really powerful sound – and it’s great when the audience gets into it.

Ash: I feel nervous excitement, always

Sarah: Yeah there's always the fear something could go awfully wrong on stage (and it sometimes has!) or that we won't achieve the sound we're aiming for because it will end up being poorly mixed. You're a bit in the lap of the gods when it comes to the sound engineers. It's great to be able to share our music live though and enjoy seeing the audience's reaction.

Q - How do you describe Magic Mountain sounds?
Ash: Post-punk meets Shoegaze with a hint of Darkwave thrown in!

Sarah: I find it hard to define so I usually say it's best for people to hear it for themselves

James: I’d say it’s intense and uplifting.

Q - Tell us about the process of recording the songs?
Ash: Usually we will have recorded a basic demo of the song at home to use as a reference. We try to be as prepared as possible before going into the studio so as not to waste time (or money!). It is a great help working with a recording engineer such as Justin Saban at Latent Lemon Studio who understands what you want to achieve, gives impartial advice and doesn’t try to take over.

As we use a drum machine we save a lot of time and can get stuck straight into laying down a rough guide track and then move on to guitar and keyboard tracks. James does his bass first and then I put down two rhythm guitar tracks to thicken things up and then add the more textured stuff such as shimmer reverbs. Sarah’s very good at nailing her synthesizer or flute parts often in one take; she’s also good at coming up with subtle variations on the fly which can really make a track take off. The vocals are the final thing that James and Sarah work on and sometimes we experiment with different vocal effects and even delivery style – they can all make a big difference to the feel of a song. James is known as ‘3 take Percy’ as by the third take he’s got his vocal spot on. He’ll do another couple after wards but it’s usually the third cut we return to.

After that, the track is mixed which can sometimes take a while as we all have slightly differing opinions on what the finished song should sound like but we usually find the middle ground in the end. Justin is very patient with us!

Q - Which new bands do you recommend?
James: I seem to be getting into a lot of female fronted bands lately - Chvrches are good, especially their first album. I saw Daughter live other day and they had a subtle intensity.

Ash: There’s so many now, the internet has opened up the whole world to new music of all genres and sub genres. I quite like Panda Riot even if they’re a bit of a My Bloody Valentine clone. Schonwald are very interesting, they’re a Coldwave duo from Europe and have some truly icy sounds. Then there’s Eaguls and Preoccupations who are both worth checking out.

Q - Which band would you love to make a cover version of?
Ash: Either ‘I’m waiting for my man’ by The Velvet Underground or ‘Ceremony’ by Joy Division. I think we could do them justice.

James: Yes, I agree Ceremony would be great – or something off Low - Always Crashing in the Same Car could work well.

Sarah: I had an idea of doing a cover of a 90s hit “What is Love by Haddaway”. I think it would be really interesting to give a dance tune a Magic Mountain twist!

Q - What are your plans for the future?
Ash: More recording hopefully and a bit of gigging if we can fit it in around parenting commitments! I’d definitely like us to get some more material recorded; we’ve quite a few songs hanging around.

James: Yeah it would be good do some gigs to promote our EP - depending on where and when.

Q - Any parting words?
Ash: Thanks for taking an interest in our music.

James: Yes, thank you so much, we really appreciate it.


Noire Psyché with Saigon Blue Rain - An Interview

Seria simples rotular o duo francês Saigon Blue Rain de gótico, ou etéreo, sim, talvez a definição gótica ou etérea os caracterizaria dentre outros inúmeros expoentes do gênero, mas ouvindo o que o  duo Ophelia SBR e Franck SBR criou no mais recente álbum deles, "Noire Psyché" com extrema atenção, as simples rotulações serviram apenas como guias para um universo de belezura e candura em muitas passagens, já em outras, melancolia e desespero contrapõem um trabalho de enormes sutilezas e variações.

Ecos da dark wave existem, é claro, muito de cold wave também, porém aquela aura dos áureos tempos da 4AD se sobrepõem dos 80´s para os nossos tempos, tornando o álbum intenso e eloquente.

Um grandioso álbum de uma das melhores bandas dos sons soturnos da atualidade.

***** Interview with Saigon Blue Rain ******

Q. When did Saigon Blue Rain start? Tell us about the history...
Ophelia : Hello, so Franck and I (founding members of the band) like to say that Saigon Blue Rain is a gothic band with hints of color and light in a global dark universe. We started the project at the end of 2012 quite unexpectedly after we composed and wrote a song to the memory of my grandparents who died a few days before. We thought that it was a good cold wave/dream pop track, so we composed a few other things in the wake and that's how our first EP Stupid Bitch Reject was born. Later, our sound turned more ethereal, we've been more precise about what we wanted to create, then we released our first album What I Don't See at the end of 2014. We've done a few gigs to introduce our universe and promote our work. And now, here we are with our second album Noire Psyché recently out in March 2016.

Q. Who are your influences?
Franck : Our influences resides in the 80's music scenes with bands like Depeche Mode, the Cure or Cocteau Twins but are not limited to it. We appreciate lots of music, from folk-rock, hip-hop and jazz to electro, 70's prog and black metal. All of them define the music we make, consciously or unscounsciously.

Q. Make a list of 5 albums of all time…
Franck : Here's a list that comes in my mind at that instant, but if you ask me the question tomorrow I'd give you probably another names.

El-P : I'll sleep when you're dead
Poison The Well : Versions
Aucan : Black Rainbows
Anathema : Eternity
Led Zeppelin : Houses Of The Holy

Ophelia : you know that it's quiet impossible to make such a list, there are so much brilliant albums, but if I had to choose right now, I would say :
Depeche Mode : Playing the angel
Alcest : Ecailles de lune
Anathema : Alternative 4
Nine inch Nails : The downward spiral
Katatonia : Dead end kings

Q. How do you feel playing live?
Ophelia : Our albums need to be played live to exist and it's important for us to feel the osmose with our audience. An invitation to the dream, that's what we want to offer each time we are on stage. If people who came to listen to us has had the feeling to drop out of reality, then they caught the meaning of our musical universe.

Q. How do you descride Saigon Blue Rain Sound ?
Ophelia : We like saying that Saigon Blue Rain is a gothic band with hints of colors and light in a global dark universe. Drawing its personality from subjects such as esotericism, flight of time, forces of Nature or still destructive passions, our music invites the listener through its compositions, to a journey in places where the rational fades in front of the musing and the self abnegation.

Q. Tell us about the process of recording the songs ?
Franck : The process of recording is closely linked to the process of composing. We record everything from the beginning, and we keep, as far as possible, the first takes which are usually most expressive and, obviously, spontaneous. It is a really exciting part of the process, where you begin to see the final shape of the songs.

Q. Which new bands do you recomend ?
Franck : As we are ourselves a new band, it's hard for us to recommend any new band.

Q. Which band would you love to make a cover version of?
Franck : We've already covered « Goodbye Horses » by Q-Lazzarus. We were talking about covering some french band, but nothing's certain yet.

Q. What are your plans for the future ?
Franck : Touring the more we can to promote « Noire Psyché » and finding partners such as labels and booking agencies.

Q. Any parting words ?
We'd like to thank all the people that have been supporting us since the beginning, especially the South American people that send us lots of encouraging messages. We hope to play there soon !


Glossed with Rose Sèlavy - An Interview

Ah o pop perfeito, tão difícil e complicado de se atingir o resultado de uma pureza singular sem desandar para algo suspeito.

E em Glossed, EP de estreia dos estadunidenses do Rose Sèlavy, esse resultado foi atingido de forma sublime. Três puras preciosidades do jangle pop com altas doses de referências oitentistas.

Agenda, Content e Maverick, as três canções de Glossed, se unem e complementam de forma ímpar e única.

Certamente, o Rose Sèlavy pode ser sua banda predileta em minutos. Deliciosamente relaxante.

***** Interview with Rose Sèlavy *****

Q. When did Rose Sèlavy start? Tell us about the history...
1.) Rose Sélavy started after a band that Robert and Steven were in ended and another band that Art and Steven were in went on hiatus.

Q: Who are your influences?
2.) We are heavily influenced by 80's pop music and 90's shoegaze.

Q. Make a list of 5 albuns of all time…
3.) Ride - Nowhere
The Cure - Head on the Door
The Smiths - The Queen is Dead
Nirvana - In Utero
My Bloody Valentine - Loveless

Q. How do you feel playing live?
4.) Performing live is equal parts satisfying and stressful.

Q. How do you describe Rose Sèlavy sounds?
5.) Ultimately, we think of ourselves as an indie pop band. Even though one side of our music is very jangly and clean and the other side is heavy and washed out, it's all pop music to us.

Q: Tell us about the process of recording the songs ?
6.) We are currently working on our first full length record with our good friend at Estuary Studios here in Austin, TX. Usually the songs start as rough acoustic sketches which we then take apart to find a few different melodies. In the studio, Art knocks out his drum parts really easily and then Robert and Steven meticulously work on guitar and vocals. The process is usually pretty organic.

Q. Which new bands do you recommend?
7.) Lately, we have been really into The Spook School, Wildhoney, Summer Salt, Cloak Room, and Young Girls.

Q: Which band would you love to made a cover version of?
8.) Actually, we have worked on a lot of covers in our short tenure as a band. Currently in our set is a cover of "I Wanna be Adored" - The Stone Roses and "In Between Days" - The Cure.

Q: What are your plans for the future?
9.) There are some really cool things planned for the future. We are tirelessly working on the full length and we are hoping it will be out by mid/late summer. After that we are planning an east coast tour in the fall. We will also be working on curating ATX Popfest which is an event we started with our really good friends at Austin Town Hall.

Q: Any parting words?
10.) Be on the lookout for the new record coming out very soon.


terça-feira, 24 de maio de 2016

Blood Dancer with Crown Larks - An Interview

Ok, vamos fazer o seguinte, caso você espere algo sonhador ou talvez, digamos, de fácil absorção, fica aqui o aviso, o que esta por vir, certamente, não é recomendado a ouvidos não iniciados, ou calejados.

Não que soe, presunçoso ou arrogante, longe disso, o fato é que a música do Crown Larks, freaks de Chicago, ultrapassa qualquer rotulação ou classificação. 

A partir do momento que é dado play, por exemplo, em "Blood Dancer", ultimo trabalho deles, fico explicitado, que estamos diante de uma subversão sonora. Pense em "Funhouse", "Autobahn", ou qualquer álbum do Faust, e por aí vai, todavia, veja bem, são apenas referências ok.

Prepare-se porque o Crown Larks pode te levar a lugares que você jamais imaginou existir.

***** Interview with Crown Larks *****

Q. When did Crown Larks start? tell us about the history...
Lorraine: We started jamming and coming up with ideas that made their way into the band in the summer of 2012 and were playing shows regularly by 2013. For three years, the band’s had a solid core trio of me (keys/vocals/sax/flute), Jack (guitar/vocals/keys), and Bill (drums) with a lot of different friends and collaborators coming through, playing everything from trumpet to synth to piano. Matt joined last year on bass and has been the most stable fourth member we’ve had, kind of enabled us to do a lot of things we couldn’t before.

Jack: Part of what’s been fun about this band is that a lot of the songs are written in an open-ended way, with room for different musicians to jump in as long as they can follow cues. The newer stuff is way more structured and rhythm-focused now that we have a dedicated bass player, so that’s changing, but we still want to keep some of that spontaneous energy of the jam space. And we’ve been touring a ton from the get-go, so that influences it too.

Q: Who are your influences?
Jack: The music’s all over the place because our influences are. Originally, before I found so many new bands through touring, it was a mix of old favorites. So we wanna have the visceral energy of a band like The Stooges or Big Black mixed with the brutal minimalism of Oneida or CAVE, the unpredictability and adventurousness of free jazz and the personal, eccentric vibe of someone like David Bowie or Neil Young. Other influences, not all of which you can hear probably, would be Faust, Suicide, Dark Magus-era electric Miles Davis, Albert Ayler, Roland Kirk, poppier stuff like New Order or Deerhunter. The way early King Crimson or Pink Floyd swings between pop songs and freakout jams… noise and experimental stuff like Black Dice, crazy shit happening in basements everywhere…

Lorraine: Yeah, which is really the main influence now – I mean, the new music we’re encountering on tour all the time, and at home. So some of those would be Guerilla Toss, Horse Lords, Toupee, Cloud Becomes Your Hand, Guardian Alien, Health&Beauty, Matchess, Goodwill Smith, CAVE, BAMBARA, Yonatan Gat.

Jack: And we’ve discovered a lot of stuff on the west coast tour we’re on now… bands I really dig like Slow Rose, Media Jeweler, Temple Echoes, Sunn Trio, Empty Guest, Spencer Owen, Galaxy Research, Mugen Huso. But then again, some of the influences that keep us wanting to play music at all, you can’t necessarily hear in our own music, whether Jimmy Cliff or John Fahey or Isaac Hayes or Mobb Deep or Vladimir Horowitz.

Q. Make a list of 5 albums of all time…
Jack: Tonight’s the Night (Neil Young), The Black Saint and the Sinner Lady (Charles Mingus), Low (David Bowie), Entertainment (Gang of Four), Paranoid (Black Sabbath), Hot Buttered Soul (Isaac Hayes). That’s more just a list of 5 of the top 100 that come to mind but yeah. It’s also 6.

Lorraine: Hmm, how about Forever Changes (Love), In a Silent Way (Miles Davis), Spirit of Eden (Talk Talk), Shape of Punk to Come (Refused), Night Beat (Sam Cooke).

Q. How do you feel playing live?
Jack: The environment plays a big role, I feel like the goal live is to conjure up this magic for people, but you’re channeling what’s already there too. A sweaty, packed, tiny basement in Albuquerque is different than a big festival stage. But always, the idea is to have something raw, visceral, unpredictable in the mix while at the same time being tight and hard-hitting. So to me, that puts you in this trance-like state… you’re alert, but not so alert that you can’t hear the music happening independently of your hands. If I think too much about what I’m doing, I play like shit.

Lorraine: Yeah, trying to be fully present… it’s an ego thing because you’re on stage with people staring at you, but you don’t want to be detached at all. That’s why the best shows often happen when you’re playing on the floor and can’t hear shit, just because everyone’s so plugged in.

Q. How do you describe Crown Larks sounds?
Jack: I try not to! Usually I just tell people to listen to the record. Like I don’t know how I’d describe the albums I listed above really. To me, it’s kind of experimental noise rock with a lot of that minimalist krautrock vibe thrown in and some harsher spazzy punk or no wave inflection. A lot of the time we get compared to jazz just because we have horns, but anyone who listens to jazz knows our music isn’t really jazz at all haha. The songs are pretty strictly structured, have a lot of vocals, repetitive and even mechanical grooves. But some of the energy and vibe is there.

Lorraine: The live show now is a lot more focused on lots of rhythms happening at once, very driving with a lot of changes, but hopefully not in that showoff prog kind of sense… yeah, they’re still structured songs with vocals, you can follow what’s happening without having to count or something. Hopefully people can jam it whether they just sit back and let it flow or whether they decide to dig deeper into the technical side.

Q: Tell us about the process of recording the songs ?
Lorraine: We try to live-track as much as we can and keep the live band energy and spontaneity, leave some “mistakes” in and everything, not pro-tools the shit out of it… then again, we just finished a second LP, and it was way more intensely produced and mixed than Blood Dancer. Jack and I got a lot more into that aspect. It’s still basically the sound of our band playing live though, not too clean and polished.

Jack: Often we’ll jam in the basement for hours, listen back, find some good stuff we want to develop further, go from there… lyrics get written, stuff gets structured over time. This time, things developed further in the studio since I took more time in the production phase, so some songs are now played live like they are on the record, as opposed to how they were when we went in, if that makes sense.

Q. Which new bands do you recommended?
(We just put the answer to this in the “influences” question above)

Q: Which band would you love to made a cover version of?
Jack: I’d wanna do something not very obvious to people who know our current sound. Maybe New Order or Television, something sparse and rhythmic or really dancey, maybe LP #3 will be more like that.

Q: What are your plans for the future?
Lorraine: Keep doing it! We’ve got this new record we’re looking to have released, more tours coming up, new spark plugs in the van, it’s good to go. We’re finishing up a long tour right now, driving through Montana back east as I write this. We’ve got our homecoming show with Besnard Lakes, then a couple east coast tours this summer and hopefully it just keeps flowing.


Hope For Disappointment with Thula Borah - An Interview

Uma excêntrica combinação entre Pixies, Smashing Pumkpinks, Radiohead e Mogwai com fortes doses de melancolia e claro barulho. Doses cavalares de experimentações, mudanças de andamentos, quebras rítmicas contínuas, esse é o quarteto de Glasglow Thula Borah.

Os caras já estão na quarto álbum, "Hope For Disappointment" é do ano passado, e pode ser perfeitamente sua iniciação para o peculiar mundo sonoro do Thula Borah, onde todas as grandes qualidades de suas referências foram filtradas e expurgadas na mesma intensidade.

Grande banda.

***** Interview with Thula Borah *****

Q. When did Thula Borah start? Tell us about the history...
We started in late 2009. I had trouble putting a band together to play the songs I had been demoing so our bass player Matt actually learned the instrument just to give me a platform to play them. We initially started jamming with a drum machine before getting a friend in to help with the drums. As our first gig approached it became obvious to us that we needed another guitarist in the band to round out the sound.

Q: Who are your influences?
Our key influences would be the likes of 90s alternative rock like Nirvana, Smashing Pumpkins, Tool, Low, Red House Painters and Radiohead alongside post-rock acts like Mogwai, Isis and Sigur Ros. Although just about anything and everything we like from not only music but the likes of literature and film can influence our writing.

Q. Make a list of 5 albums of all time…
In no particular order:
Tool – Aenema
Smashing Pumpkins – Siamese Dream
Radiohead – OK Computer
Mogwai – Come On Die Young
Isis – Oceanic

Q. How do you feel playing live?
I used to feel really nervous but now normally I feel a sort of ‘autopilot’ or a slightly out of body experience that is hard to explain but many artists have explained better, such as Iggy Pop on the sampled interview at the start of the aforementioned Mogwai album ‘Come On Die Young’. It is best if you don’t feel anything, that way the music and lyrics just flow from muscle memory and you can let the experience wash over you.

Q. How do you describe Thula Borah sounds?
I would say our sound is best described as a mixture of alternative-rock and post-rock, drawing influence from the likes of 90s guitar bands such as Smashing Pumpkins, Nirvana, REM and Radiohead merged with the dynamics and ambience of Mogwai, Sigur Ros and Isis but with some subtle slowcore influences of Low and Red House Painters too.

Q: Tell us about the process of recording the songs ?
Generally, we did a couple of takes playing together to get the drums down and from there we just layered the tracks up, usually finishing with the vocals. We were working with Andy Miller who has worked with a lot of Scotland’s best bands and he was always on hand to make helpful or unorthodox suggestions to get the best out of us.

Q. Which new bands do you recommend?
If you like us, then I would recommend a new Scottish band called Halo Tora, in that they are similar to us in being a dynamic alternative rock band. Also, Future Dysopian Movies were one of the best new bands we have played with for a while.

Q: Which band would you love to made a cover version of?
The bands I’d like to cover most are Red House Painters and Isis. We have played around with covering some of their songs in rehearsal but have never taken it as far to cover any other bands’ music live.

Q: What are your plans for the future?
We are going into the studio next month to record a new EP which will be out later this year and we will be embarking on our biggest UK tour yet to promote it.

Q: Any parting words?
Just thank you very much for your support and look out for our next release later this year.

(All questions answered by Thula Borah guitarist and vocalist Lloyd Fay)


segunda-feira, 23 de maio de 2016

Wake Me Up When Its Over with The Planets Collide - An Interview

Stephen Dunham é o responsável pelos delírios psicodélicos do The Planets Collide.

Após um EP e um single o cara retorna agora com mais uma especiaria finíssima intitulada"Wake Me Up When Its Over". Ao melhor estilo neo psicodélico leia-se, o 2nd álbum do Telescopes ou o Methodrone do BJM, ou qualquer coisa do Spacemen 3, a canção gera espasmos ácidos em roupagem shoegaze ou quase isso, ou talvez tudo isso ao contrário.

Escute com fones de ouvido e preferencialmente alto, em todos os sentidos, que certamente você vai captar a essência.

***** Interview with The Planets Collide *****

Q. Hello Stephen, first congratulations on the new single, it's really brilliant, what is your analysis after conclusion of it, are you happy with the result?
Well it's been a week since I got the master version back so I just had another listen and it's still sounding pretty good to me. I have a tendancy to like something I do one week and then dislike it the next, so will see how things go. All round it probably turned out better than I expected and on the whole I'm pretty pleased with the results.

Q. How was the process of creating Wake Me Up When It´s Over?
The process was a little different this time round, I recorded the track at home. Basically I started off with the main guitar riff and it progressed from there, adding layers of organ and acoustic guitar, yet still trying to keep the track as minimal as possible. I really wanted to make it easier to play live when the time comes. Once I finished tracking everything and was happy with the results I sent off all the separate tracks to my friend Ben Simms of Violet Swells for mixing and to put the tracks through tape separately. We have worked together for years on music so he has a pretty good knowledge of how I want the final mixes to turn out. Once that was done it was ready for Mastering and to be released.

Q. What are the main differences between Wake Me Up When It´s Over and last releases?
I think the main difference between this and the other releases is that it was recorded at home, on my own instruments with no timeframe to get it finished, Leaving me with plenty of time to re-do takes until I was satisfied. I've been working on building my home studio for the last couple of years, Its kind of lo-fi but I think that added to the new single more than anything else. Another major difference is my music has turned more towards a guitar driven 'Real band' kind of sound as opposed to the more Electronic/Dance vibe of the past. However those elements are still there. I broke my wrist about 6 months ago and couldn't play anything for about 3 months. The first thing I started playing again was guitar, Since then I've been leaning more towards that as the primary instrument for The Planets Collide.

Q. What were the influences for creating the new single?
Stuff like My Bloody Valentines 'Isnt Anything' and the track 'Wasted' By the Brian Jonestown Massacre among so much more. I was trying to kind of sum up that feeling of being really drunk and having the spins, that kind of music always gave me that impression. Ive also been listening to Ambient House stuff like The Orb and have been trying to add a little bit of that vibe to my music as well.

Q. What are your plans for 2016?
Next step is a new EP. I have quite a few tracks written for it already. I am presently trying to piece together what tracks will fit the best. I've also got a couple of new electronic projects that I'm working on with some friends, which will be cool! Other than that I'm hoping to finally get this project playing live soon as well.

Thanks for taking the time to read this and I hope you like the new Track!


Tame with Purs - An Interview

Seguindo a máxima do TBTCI, "Uma Viagem ao Submundo dos Bons Sons", aterrizamos em Londres para acompanhar os primeiros passos e o nascimento do Purs.

Tame, primeira música deles disponibilizada ao mundo, é um doce shoegaze remetendo ao Lush e outras clássica da Scene.

Deliciosamente sexy e viciante, Tame é um ótimo aperitivo e cartão de visitas para o que o Purs poderá nos ofertar em um futuro não muito distante.

Para acompanhar de olhos e ouvidos atentos, que venha muito mais.

***** Interview with Purs *****

Q. When did Purs start? Tell us about the history...
PURS started as a recording project in July 2015 and has developed into a full band with Serra Petale - vocals/guitar, Andy Becker - guitar, Chris Prosho - guitar/synth, Marie-Anne Cavache-Bass and Mattias Bhatt - Drums. Andy met Serra and Mattias playing bass for their other band Kid Wave before leaving to study at the Royal Conservatoire in The Hague.

Q: Who are your influences?
We listen to a lot of different music, though you could say we’re influenced by bands like MBV, Cocteau Twins, The Smiths, Lush and P.J Harvey.

Q. Make a list of 5 albuns of all time…
5 albums of all time
Loveless - My Bloody Valentine
Siamese Dream - The Smashing Pumpkins
Monster - R.E.M
Rid of Me - P.J Harvey
Experimental Jet Set Trash No Star - Sonic Youth

Q. How do you feel playing live?
We haven’t played a live show together yet, so far we’ve been busy recording and rehearsing. We’re aiming to get out playing live later this year.

Q. How do you describe Purs sounds?
Big, sexy guitar music with swagger.

Q: Tell us about the process of recording the songs ?
So far we’ve recorded everything ourselves either in our bedrooms or at various studios in London and The Netherlands. It’s been quite chaotic. We’re looking forward to getting into the studio and working as a full band in the very near future.

Q. Which new bands do you recommend?
TVAM, Algiers, Thee MPV’s, Minor Victories and Palace Winter.

Q: Which band would you love to made a cover version of?
I would personally love to do a cover of ‘Luna Park’ by The Pet Shop Boys but I can’t speak for the band as a whole on that one ;)

Q: What are your plans for the future?
We want to record an album and then do a tour, ee’d love to play some shows in Brazil!

Q: Any parting words?
‘Live long and prosper’.


Fear Is The New Self​-​Awareness with The Spouds - An Interview

Diretamente de Varsóvia, Polônia, o quinteto, The Spouds, apresenta um urgente e pesado mix de pós punk mesclado com um certo pós hardcore shoegaze, ou algo mais ou menos assim. O ponto é que, em seu último trabalho, o ruidoso, "Fear Is The New Self-Awareness"ouve-se ecos de Fugazi, Swirlies e Joy Division simultaneamente ou se alternando entre a urgência das dez chineladas despejadas bem no meio dos tímpanos.

Melancolia, desilusão, auto reflexão, caos, tudo preparado com altas doses de berros e barulhos.

Bem vindo aos fins dos tempos, o The Spouds te saúda. 

***** Interview with The Spouds *****

Q. When did The Spouds start? Tell us about the history…
Mateusz (guitar): That’s a funny story. We’ve met Kuba way back in middle school, but we were induced to play together later, by our mutual friend. He was a keyboarder that listened to bands like Lordi. As you can imagine he didn’t stay in the band for long. After many rehearsals and changes in lineup our squad stabilized after Grzesiek (bass) and Tomek joined in. Later Tomek left the band and Lodi is drumming for us for a very long time now. I hope it is going to stay this way.

Paweł (guitar): Mateusz asked me if I wanted to play in The Spouds, cause he wanted to thicken the sound. And well, this what I do today — I thicken the sound. I remember that I attended their rehearsal sometime in 2008. Kuba’s vocals made a good impression on me, and besides that Mateusz had a very interesting style of playing the guitar and composing tracks. I thought that this band has a lot of potential.

Grzesiek: I remember (it was maybe my 3rd rehearsal with them) that when Paweł came to play he almost immediately made a most polite comment toward me: “Hmm, maybe you would like to try playing that with a pick? At the time it was a true revelation to me, as I just switched to playing bass. I quickly dumped the finger-style technique to never really try it again, and I really don’t trust bassists that overuse it.

Q Who are your influences?
Paweł: Kurt Cobain

Mateusz: Marx, Adorno, bell hooks, Wallerstein, Balibar, Kowalik, Brzozowski, Welzer, Virginia Woolf, Albert Camus, Simone De Bevauoir, Żołądkowa Gorzka (polish herbal vodka), hc-punk scene, improvisational scene, Brecht, Strzępka, Demirski, Koltès, friends (of all genders), my complexes, work and leiseure. And that is only a small cut out of it all.

Grzesiek: Now that you say it, bell hooks seems to be relevant to me, at lest musically. Things she had to say about pop music are golden. I could add some guys that seem to be content with what they achieved musically and are pretty much quite happy. Guys I kinda look up to: Steve Albini, Fat Mike or Bill Stevenson. Quiet guys after 50 that generally make more good than harm.

Q. Make a list of 5 albums of all time…
Mateusz: I listen to way too much music to be able to compile such a list. This is my top 5 from last month:
1. Evvoles - Mosses
2. Protomartyr - the agent intellect
3. diiv - Is the Is Are
4. Camp Coala - demo
5. Kamil Szuszkiewicz - Robot Czarek

3. All-time favourites? Done it already. How ’bout list of records that just came to my mind?
1. Duster - Contemporary Movement (2000)
2. Nortt – Ligfærd (2005)
3. The Hunches – Exit Dreams (2008)
4. Swirlies – They Spent Their Wild Youthful Days In The Glittering World Of The Salons (1995)
5. Salvia Palth - Melanchole (2013)

Grzesiek: Well, I hate this kind of stuff, and it is not a recommendation or something, but today at work I listened to:
Toro y Moi - Anything in return
2) Diary of Laura Palmer - Never fall asleep (https://diaryoflaurapalmer.bandcamp.com/releases)
3) [peru] - Ktoś z nich (https://perulbn.bandcamp.com)
4) Wipers - Is This Real?

Q. How do you feel playing live?
P: We play together for some time, so we get to know what to expect from each other. I lately started to do more of a stupid stuff on stage, just for fun. Stuff like banging my head on the wall, or pushing the crowd. Some big guy lifted me up against the celling and upside down. I continued playing till a plug fell off my guitar. Generally it is fun to break the concept of the “scene”. To do something to take somebody out of their comfort zone of being a “listener during a concert”. To engage someone, or piss him off in different manner than by simply talking between songs.

G: Well I try to be in a moment and stay confident. We hardly never mess things up during shows and those are almost exclusively technical issues. We learned how to cover up for each other. We almost exclusively play new, unrecorded material during shows so it is cool to see other people’s reactions to those fresh songs. I guess we like to confuse.

M: I feel good. So long as we do shows and somebody attends it — it’s cool. Last year we broke our record of times we played live.

Q. How do you describe The Spouds sounds?
M: Post-punk / hardcore for sad people. Soundtrack for lack of hope ,and leaves falling form the trees, drinking with your own reflection in the mirror when you’re ugly.

P:. Post-hardcore Radiohead/sounds that don’t meet each other/“If I were to be happy, I would write no songs”. Last time we played with a band that had those big, expensive stacks of amps. And it got me thinking about Gang of Four, because they also played on shitty solid state amps. They thought they sounded more cold and sad that way.

G: This band is not exactly following any particular genre. Some of our songs surely sound like it, but the sound of the band is mostly built on lack of lead/rhythm guitar division and being noisy. Bass sometimes acts as a link between guitars and vocals, and rarely overdubs other instruments 1 to 1. It only adds chaos.

Q. Tell us about the process of recording the songs
P: We’ve recorded 3 albums and we always try to make it better or different, than the last one. For sure we are not a studio band, that would try to make achieve some kind of extra quality using the sound of the band. I do think that sound we are after has to reflect what we sound on stage, so I don’t think there is much more sense in talking about technicalities of our recording process.

G: Sure, I agree. I just want to add some things about our mindset. I recorded our last album as if I played it live on concert. I was totally relaxed and tried to add this kinda sloppy flavor to it. Maybe my performance wasn’t perfect, but I can easily listen to this album without hearing flaws or fuck ups all over. So my little word of advise is to perform as naturally as you can in studio environment.

Q. Which new bands do you recommend?
P: I was at a show of Girl Band. I’m a fan now, but they are kinda recognized, aren’t they? Besides that, I do not listen to lot of new bands, but rather some random bands from bandcamp.

Q. Which band would you love to made a cover version of?
M: None. Once we’ve done a cover of The Cure and it sounded so bad. We are really scared that we could harm someone some more, so we will never do another cover.

G: Yeah, and to make matters worse we opened for a band that made a proper cover of a very same song. We pay homage to the bands we love in other ways.

Q. What are your plans for the future?
G: I hope to play even more shows outside Warsaw. Tours are fun.
M: To hit studio this year.

Q. Any parting words?
P: I could say something about condition of humanity, but I don’t want to be perceived as gloomy misanthrope.

G: Try to find your place and not force things. You don’t have to be the best to be happy.
M: Love is all you need, so fight capitalist exploitation and gender roles; do shows of amazing bands in your hometown; and support your local Antifa.

domingo, 22 de maio de 2016

Cinematic Views with Frankenstein Bolts - An Interview

Justin Cullen e Dan Comerford formam o duo irlandês Frankenstein Bolts, um pequena bela preciosidade com altas doses de um algo como um dreampop conduzido por camadas de synths e lirismo folk.

Uma discografia a ser apreciada e principalmente degustada calmamente, saboreando sem pressa as nuances sempre elegantes, sofisticadas e com aquele ar de doce inocência.

Experimente iniciar pelo belíssimo Cinematic Views, e prepare-se para um verdadeira relaxamento de corpo e alma.

***** Interview with Frankenstein Bolts *****

Q. When did Frankestein Bolts start? Tell us about the history...
Frankenstein bolts are 3 years old. We met playing the Irish circuit many years before and always wanted to work together. We have common interests in audio engineering and a similar taste in music . Over the past three years we have released an album, two singles and an EP. We have gigged extensively in Ireland including major festivals.

Q: Who are your influences?
We have a vast range of influences. We listen to everything from Irish traditional music to heavy rock, but mostly we like shoegaze/dreampop acts like Beach House and Cocteau Twins. We love Grant Lee Buffalo right now too.

Q. Make a list of 5 albuns of all time…
That’s a tough question, but at the moment (today) it’s these:
Smashing Pumpkins - Siamese Dream
Cocteau Twins - Heaven or las Vegas
Red House Painters - Down Colourful Hill
Tears For Fears - Songs From The Big Chair
Wild Nothing - Nocturne

Q. How do you feel playing live?
We love playing live. We particularly love playing to new audiences who don’t know us. There’s often a point in the gig where you feel the audience getting on your side and that’s a lovely feeling. Dan also has a particular liking for sweaty basement-style gigs.

Q. How do you describe Frankenstein Bolts sounds?
Although we use synths and drum loops our music is still very focused on the song. We enjoy verses choruses, melodies and hooks. The songs are lyrical and dreamy. Its good music for a sunny day (which we don’t get many of in Ireland)

Q: Tell us about the process of recording the songs ?
We record most of our material ourselves in our home studios. We both have a background in sound engineering and though we have recorded in other studios we enjoy this process the most. We don’t stick to any single method of recording. Sometimes we record together, sometimes we record separately and email our parts back and forth. It’s nice to be able to do this as it saves time and money and allows us to make more music.

Q. Which new bands do you recommend?
Ireland has a pretty cool music scene. We’re an island full of musicians. Right now some Irish bands we’re listening to are Malojian, Windings, Saint Sister, and Super Hyper Giant. They’re all excellent.

Q: Which band would you love to made a cover version of?
In the past we’ve covered Pet Shop Boys, Hall And Oates, and Flaming Lips (and Chris Rea last Christmas). Next we may do a cover of some Slowdive songs, or maybe Prefab Sprout. I think that sound might suit us.

Q: What are your plans for the future?
We’re currently writing a new album which we plan to have completed by the end of this year. In the meantime we’ll be playing some festivals in Ireland and going to Europe to do some gigs. We’ll also be releasing a remix of our track ‘The Bay’ by Northern Irish producer, Grim. We’re pretty busy. It’s nice to be busy.

Q: Any parting words?
We’d just like to say thank you for your time. If any fans in Brazil would like to say hi you can visit our website and send us a message. We’d be delighted to hear from you. http://frankensteinbolts.com/


sábado, 21 de maio de 2016

Young Vagabonds with KinZie - An Interview

De Birmingham, Alabama, vem o trio lo-fi guitarreiro KinZie.

Young Vagabons é o ep de estreia dos caras que soa como uma paulada mesclando Sebadoh e Melt-Bananas, tudo de forma curta e grossa sem firulas ou enrolações.

O negócio aqui é diversão, ouvir alto, sair pra curtir, e mandar um foda-se bem grande pra preocupações e responsabilidades.

Afinal, a diversão é o que conta, certo!?!

***** Interview with KinZie *****

Q. When did KinZie start? Tell us about the history…
P. Ori: KinZie started in 2011 as a recording project. The band has gone through many line-up changes before settling on the power trio of today

Q: Who are your influences?
P. Ori: We’re all influenced by different things, but I think as a band we look up to Bloc Party, Descendants, Melt-Banana, and Fugazi.

 Q. Make a list of 5 albums of all time…
P. Ori: Oh boy that’s tough. It rotates constantly, but I would say right now:
Moms by Menomena,
In Portuguese by Hello Ocho,
Our First American Friends by Tubelord,
Reptilian by STRFKR,
and X’ed Out by Tera Melos

 Q. How do you feel playing live?
P. Ori: Playing live is a very powerful experience for us. We play loud and want our shows to be felt as much as heard. Besides, who doesn’t like poppy noise rock music thrown at them?

Q. How do you describe KinZie sounds?
P. Ori: I call it a loud psychedelic experimental punk rock. We’ve also have been compared to fast paced anime music as well

 Q: Tell us about the process of recording the songs ?
P. Ori: We recorded in our buddy Dury’s house where he engineered the EP. We wanted to go for a live feel while performing in a small house.

Q. Which new bands do you recommend?
P. Ori: I would highly recommend Hello Ocho and Linear Downfall is you want your brain to melt

 Q: Which band would you love to made a cover version of?
P.Ori: We use to do an awesome cover of Indiscipline by King Crimson. I personally wouldn’t mind tackling Tapir’s Flown Away by Melt-Banana.

Q: What are your plans for the future?
P.Ori: We’re actually working out some kinks for our debut album. We’ve got 8 songs so far!

 Q: Any parting words?
P. Ori: if you dig our stuff, go to our bandcamp: kinzie.bandcamp.com


sexta-feira, 20 de maio de 2016

Numbers with Nightblonde - An Interview

De Nashiville vem o quarteto Nighblonde, em vias de lançar seu debute intitulado "Numbers", que pelos dois aperitivos, os singles "I Belong in Your Arms" e o mais recente "Vanishing" já fica explicito que "Numbers" será mais uma das belas preciosidades lançadas neste belo 2016.

Um shoegaze com um ar glam e dançante, para fazer os sonhadores de plantão flutuarem sob camadas de reverbs e delays aliados a vocais deliciosamente sensuais, algo como se o MBV colidisse com o Mamas and The Papas

Que venha junho rapidamente.

***** Interview with Nightblonde *****

Q. When did Nightblonde start? Tell us about the history…
Megan and I were in a glam punk band, and when that ended we decided we wanted to make an entirely different kind of music. Something beautiful, but powerful. Like a rocket ship. Less words, longer songs, more mystery. We asked Jill to join us, and then Jill recruited Ben, and the line-up was complete. It’s been a complete dream ever since.

Q: Who are your influences?
Lyrically, we are fascinated with 20th century authors who wrote about the future as they saw it, usually a warning for society to change its ways before the world destroys itself. And I don’t know if anyone really listened. Writers like Ray Bradbury, Anthony Burgess, Aldous Huxley, George Orwell, many others — they foresaw things that have become reality for us today. Surveillance, genetic testing, reliance on technology, basic human rights being threatened, the list goes on. Looking at the future through the lens of the past is a big theme for us.

Musically, the songwriting of Slowdive and My Bloody Valentine; you could strip away the effects and you still have very well crafted songs. We love the hypnotic repetition of Neu!, which went on to be furthered by Stereolab. We are very moved by the harmonies of lots of 1960’s groups, The Free Design, Mamas and The Papas, The Byrds, Crosby Stills, Nash and Young. I also love incorporating strange sounds into the songs, very Radiophonic Workshop or like the French band Air would always do. And we adore reverb and delay.

But design and image are also such an important part of what we do. It is important for us to have a uniform look on stage. Megan works very hard to have all our publicity threaded with a specific Orwellian voice. And Jill came up with the cover art for our debut record Numbers using dots and dashes from Morse code which ended up having a very striking Factory Records / Peter Saville look to it.

Q. Make a list of 5 albums of all time…
The Nightblonde sound is best represented by these records which we play endlessly:

My Bloody Valentine - Loveless
Air - Moon Safari
Brian Eno - Here Come The Warm Jets
Cocteau Twins - Head Over Heels
Broadcast - Ha Ha Sound

Q. How do you feel playing live?
Oh it’s heavenly performing the songs, always such a thrill.

Q. How do you describe Nightblonde sounds?
We are the band the fireman’s wife from Fahrenheit 451 would watch perform on her TV walls as she drifts into a haze from taking too many pills.

Q: Tell us about the process of recording the songs ?
We were recorded by Jeremi Morris in a house in the Green Hills area of Nashville. We put the songs together, piece by piece, and had fun coming up with new sounds to add to songs we already knew so well. Ben especially enjoyed trying lots of percussive ideas. He brought twelve different tambourines into the studio one day.

Q. Which new bands do you recommend?
I honestly don’t care for too many new groups, I find most of them very ordinary and lackluster. But there are a few bands in Nashville who seem to be expanding on the basic idea of the pop song and what pop music can do, and it’s very exciting. Bands such as Wildfront (https://wildfront.bandcamp.com), and two bands who are performing with us for our record release show in June, Soft Bodies (https://softbodiesmusic.bandcamp.com) and PANGS (http://pangsband.com/).

Q: Which band would you love to made a cover version of?
We would enjoying turning all the songs from the classic film The Room into 10 minute long krautrock anthems. Having said that, we are recording a Cure song later this year for a tribute record that a great guy in Nashville called Heath is putting together.

Q: What are your plans for the future?
Our debut record is coming out in June on a label called yk records, the brainchild of Michael Eades, one of the most passionate music lovers I have ever met. And we are thrilled to be playing the triumphant return of the Athens Popfest in August.

Q: Any parting words?
More reverb and delay, please.


The Light with Monographic - An Interview

Seguindo a trilha aberta pelos conterrâneos do The Blue Angel Lounge e do Alpha Waves, chega a vez de desembarcar nas páginas do TBTCI também de Hamburgo na Alemanha, os comboio neo psych Monographic.

Os caras estão prestes a debutar com seu álbum homônimo em 10 de Junho. O aperitivo é The Light, um poderoso dark psych evocando Sisters of Mercy e Black Angels simultaneamente.

Não os perca de vista de forma alguma, o TBTCI esta com o disco em altíssima rotação por aqui já há alguns dias e digo o seguinte, facilmente o Monographic com seu debute, coloca no mercado um dos destaques psych do ano, fácil.

***** Interview with Monographic *****

Q. When did Monographic start? Tell us about the history...
The current line-up started playing together by late 2014. Until then, Björn, Ric and Lothar played with another drummer who got replaced by Moids. We gave the band the name "Monographic" and the rest is history.

Q: Who are your influences?
Ufff, that´s a tough one... We have thousands of influences in our music; punk, post-punk, brit-pop, 60's, garage, shoegaze, psychedelic... We don´t really think too much about it. We know each other´s influences and respect them because all of them are really tasteful and so far they are cohabiting really well in this mixer that Monographic is. But if you want a name which we all agree with; Iggy Pop (from The Stooges to his latest band with Josh Homme)

 Q. Make a list of 5 albuns of all time…
- The Stooges "Raw Power"
- David Bowie "Ziggy Stardust"
-The Jesus and Mary Chain "Psycho Candy"
- The Smiths "Hatfull of Hollow"
- Rebel Motorcycle Club "Take Them, On Your Own"

 Q. How do you feel playing live?
Comfortable, really comfortable... We love playing live especially when the audience is smiling and headbanging at least a little bit.

Audiences need to realize that a concert is not only a band entertaining them, it is a communion of the souls of everyone involved in the gig. The more warmth a band feels the better the band is gonna perform.

And yes, this is a claim applicable to every kind of concert.

Q. How do you describe Monographic sounds?
Like the Hiroshima bomb landing into the Versailles palace in 1750 while the Royal Family is having tea.

 Q: Tell us about the process of recording the songs ?
Normally is Björn or Ric who come with an idea, we jam through it adding/arranging parts and then we record a demo of it that we listen one million times. After we feel the song is 100% ours we keep it but if we don´t feel 100% into it, we discard it.

Our soon-to-be-released first album was recorded on December 2015 at Brazil Studios in Madrid (Spain). We went totally analog and we couldn´t be happier with the result.

Q. Which new bands do you recommend?
Strato from Hamburg

 Q: Which band would you love to made a cover version of?
We spoke of covering The Police or Bowie in the past but we just don´t see how.

Q: What are your plans for the future?
A lot!!! First of all a video single of "The Light" is coming out next week, then on June 10th the 12" of the album is coming out on Manic Depression records from Paris and Cat On The Howling Moon records from Glasgow, it will also come out on every digital platform. After that on June 17th we are organizing the release concert party together with our friends from Strato, we both will present our releases on that date. Then we will play Berlin in July and by september/october we are organizing our first european/UK tour.

So yes, we are quite busy and fucking excited at the moment.

Q: Any parting words?
Do your own shit, don't wait for others to help you. A band is worth what each member of the band can do for it.



quinta-feira, 19 de maio de 2016

Floriography with Painted Zeros - An Interview

A origem do nome Painted Zeros diz muito sobre e o que é Floriography, debute deles, ops dela, já explico o porque. Mas voltando a origem, o nome Painted Zeros foi extraído nada mais nada menos do que da letra de "Teenage Riot" (That's the hero / we paint a zero / on his hand". Dito isso, talvez seria desnecessário maiores referências, mas ainda vale dizer que temos uma discípula da escola Pixies, Pavement Yo La Tengo. 

Sim, uma discípula, o Painted Zeros é Katie Lau, a garota toca tudo, grava tudo no disco, e ao vivo conta com dois amigos para fazer a alegria e, claro, fazer os tímpanos da rapaziada arder um pouco.

Escute alto, se apaixone, e escute mais alto ainda, disco espetacular, só isso.

***** Interview with Painted Zeros *****

Q. When did Painted Zeros start? Tell us about the history...
Painted Zeros is the name I chose for my main recording/songwriting outlet. I started writing songs under Painted Zeros almost 4 years ago when I was finishing up college. The name comes from a Sonic Youth lyric in Teenage Riot (That's the hero / we paint a zero / on his hand). I always loved composing and writing songs when I was a teenager, but didn't feel confident enough to share them with the world until I was ~20 years old.

Q: Who are your influences?
My first instrument was violin, so a lot of romantic classical composers like Tchaikovsky, Brahms, Beethoven, then I got into minimalist and contemporary composers like Philip Glass, Steve Reich, Ingram Marshall. I really liked punk and screamo when I was an angsty pre/teenager, so City of Caterpillar, Saetia, Rites of Spring, Jawbreaker, Choking Victim. Also always loved Elliott Smith and his guitar playing, as well as Bright Eyes and Oberst's lyrical themes/the interesting instrumentation they used.

Q. Make a list of 5 albums of all time…
Tough question! But if I had to choose:
Elliott Smith -- Either/Or
Yo La Tengo -- Painful
Kanye West -- My Beautiful Dark Twisted Fantasy
Broken Social Scene -- S/T
Beach House -- Bloom

...but also recently I've been obsessed with Fleetwood Mac's Rumours ! And also Built To Spill's There's Nothing Wrong with Love is perfect! This question is too hard!

Q. How do you feel playing live?
I used to get nervous playing shows, but I really love playing live now. I love connecting with an audience and feeling like we are having a special, transient shared experience together. It can be an amazing feeling. We just went on tour across the country for 35 days, and we played a few shows with another Brooklyn band Haybaby in El Paso, Phoenix, and San Diego, and we were all really sick and exhausted from SXSW, but they still fucking killed their set each night. They were seriously inspirational to me and to Jim (bassist) and Jared (drummer). I feel like we're a better band from seeing Haybaby refuse to let their health problems or a bad turnout get in the way of playing their hearts out every single night.

Q. How do you describe Painted Zeros sounds?
Dreamy, melodic, layered, deceptive.

Q: Tell us about the process of recording the songs ?
I write and record everything in my practice space. I normally make a quick shitty demo first, then start a new session on my laptop where I record drums first, then the guitars, then bass, and finally vocals. I mix while I record, and add auxiliary instruments like synth, violin, tambourine etc after the bare bones are laid down.

Q. Which new bands do you recommend?
Japanese Breakfast just released an incredible and moving album called "Psychopomp." Everything Michelle makes is gold. Bethlehem Steel are our super homies and Becca is an amazing songwriter. Haybaby, Infinity Girl... I love Stove a lot (Steve's old band Ovlov was amazing) Pile,--all of the Exploding in Sound bands that Dan Goldin releases are great. Love love love Mitski, Izzy True (our label-mates), Vagabon, Eskimeaux, the list goes on and on.....

Q: Which band would you love to made a cover version of?
Pixies! Doolittle is 4ever. I would be Black Francis. Or Pavement!

Q: What are your plans for the future?
I've already started writing the next album! Perhaps a split 7" in-between, since albums take a long time to release, even when they are completely "finished."

Q: Any parting words?
Thank you for writing me about this interview! I enjoyed your questions :)


Asleep/Awake with Ikiryo - An Interview

Ikiryo é um quarteto sueco, que pega a barulheira de gente como Mars Volta, Smashing Pumpkins, Sunny Day Real Stat e afins transportando tudo para os nossos dias.

Uma pancada melancólica, barulhenta e gritada, esta prestes a vir ao mundo, trata-se do debute dos caras, Asleep/Awake, 10 chineladas bem no meio dos tímpanos, que para o ouvinte mais desavisado poderá soar como algum álbum perdido dos 90´s ou ainda como uma das novas bandas que seguem a linha do Nothing.

Mas não se esqueça, Ikiryo, "Asleep/Awake, suecos movidos a melancolia barulhenta e em esporros bem altos.

***** Interview with Ikiryo *****

Q. When did Ikiryo start? Tell us about the history...
We started in 2013 when Jonas joined the band. Me (Dante) and Victor had already played together in the band that was the precursor to what would become Ikiryo, so when we all came together was when the sound of the band started to solidify. Pontus joined us a year or so later when we realised we needed another guitarplayer in the band.

Q: Who are your influences?
We have very eclectic tastes in music, but some shared loves are: Deftones, the mars volta, radiohead, aphex twin... and so on

Q. Make a list of 5 albums of all time…
Fear Before - the always open mouth
Smashing Pumpkins - Machina
Coheed and Cambria - Second stage turbine blade
Frou Frou - Details
Crystal Castles - II

Radiohead - In Rainbows
Venus Outback - Spiron Johd
Shnabubula - Free Play
The Mars Volta - Frances The Mute
Infected Mushroom - Classical Mushroom

Sparklehorse - It's a wonderful life
Pixies - Surfer Rosa
Cold Specks - Neuroplacticity
Noah and the Whale - First Days of Spring
Wu Lyf - Go Tell Fire To The Mountain

The mars volta - Deloused in the comatorium
rage against the machine - evil empire
the mars volta - amputechture
tim hecker - virgins
radiohead - in rainbows

Q. How do you feel playing live?
Dante: I feel like I need to tear of my flesh, it's a beautiful blend of an intense self-loathing and complete euphoria

Jonas: Like an awkward waste of space

Victor: Playing live is a completely different thing than playing in a studio. Within the walls of a studio composing and playing an instrument tend to become a very clinical exercise, while playing live is in a sense more genuine because the audience gets to see both your flaws but also spontaneus variation in the songs. I appreciate this aspect of playing music because it seems to have a natural resonance with how are ordinary lives are and how we operate. In conversations for example we tend to imagine what we´re suppose to say, but it comes out in different way and sometimes we convey a message even though we haven´t said anything. These analogies seem pretty apparent when it comes to music.

Pontus: What I find interesting and compelling about playing live is really the non musical performance. Creating a visceral experience on stage that lifts the music beyond playing my instruments well. It ultimately comes down to a lot of preperations, and an amount of work that isn't always possible, but often worth the effort when you get it right.

Q. How do you describe Ikiryo´s sounds?
A euphoric nimbus-cloud of whispers and the last throes of summer

Q: Tell us about the process of recording the songs ?
For our debut album we recorded the drums in a local studio and then we recorded the rest of the tracks in our rehearsal space. Jonas mixed the entire record in his home. In the end we payed for the record with nothing but our time

Q. Which new bands do you recommend?
Nisennenmondai is a great Japanese band, they used to play noise rock but now they're doing some kind of trance-but-with-instruments.

Tennyson, trip-hop cat-fusion
The Red & The Hidden Language, amazing folk-psych from our home town of Växjö
Mr Bill
Death grips, innovative and brutal
PWR BTTM, queer and acoustic-math-punktastic

Q: Which band would you love to made a cover version of?
We have a couple of ones we've talked about; mixomatosis by radiohead, sunflower meadow by melina borglowe, let go by frou frou. We're not really the kind of band who does covers, but we'll see.

Q: What are your plans for the future?
We are soon to release our debut album "Asleep/Awake" and later this may we're going to Croatia for a small tour.

Then when we come home we're going to start recording our next album, and some videos for the debut is also in the making, so it's going to be a busy summer for us.

Q: Any parting words?