segunda-feira, 20 de outubro de 2014

Bloweyelashwish with Fiorella 16 - An Interview

É fato que o Peru tem uma cena extremamente experimental vide os trabalhos de gente como Wilder Gonzales e seus inúmeros projetos de exploração noise, e também principalmente pelo altamente difícil e experimental Fiorella 16.

Trabalhos como LeS NOms, Laura en su Laberinto, Entra..Entras são exercícios poderosos de exploração máxima de efeitos pedais, casiotones, frequências de rádio, tudo misturado de forma a ecoar o maior expressionismo ruidoso e barulhento possível

O Astrobrite começou com essa tendência e o Fiorella 16 levou tão a sério que beira o limite do inaudível, definitivamente os estudos do wall of sound que o Fio 16 faz é pra perfurar os tímpanos sem dó nem piedade.

Simplesmente, não deve ser exposto a fãs da Sarah Records ou do Belle & Sebastian, eles não entenderiam.

***** Interview with Fiorella 16 *****

Q. When did Fiorella 16 starts tell us about the history…
Fiorella16 is a solo project, started in october 2003 with some recordings in tape, using radios, casitones, guitars and microphones with effects and no input system. It was an attempt to reproduce the same feelings you experience hearing those bands that you liked, who used the noise as a resource in their compositions.

Q: Who are your influences?
I remember three basic influences for me in the first years of the project: Sonic Youth with the album “Bad Moon Rising”, My bloody Valentine with “Loveless”, and The Peruvian band El Aire with their first album. After this I recorded the first Ep (Entra., entras) and some other recordings. I received a very strong influence by "harsh Noise", when I met Ignacio Ruiz and heard his project 886VG. He produced a big interest on me for flirting with harsh and ethereal sounds and as result a second EP called "Hola Puto!" was recorded.

By now my influence comes from guitar projects like Grouper or the guitar presentations of the mexican noise act Los Heraldos Negros.

Q. Made a list of 5 albuns of all time…
Bad Moon Rising – Sonic Youth
Lobed – Cranes
Bloweyelashwish - Lovesliescrushing
Home is in Your Head – His Name Is Alive
Loveless – My bloody Valentine

Q. How do you fell playing alive?
At the beginning I tried to avoid the live presentations, because the way to do the project was very intimate at home. That changed when I began to concentrate myself in the atmospheres that you can produce in several (close) amplifiers. I love the spooky feedbacks of my actual live set!

Q. How do you describe Fiorella 16's sounds?
Like oniric melodies with a harsh corrupted sound

Q: Tell us about the process of recording the songs ?
In the recordings, things depends too much of the coincidences, instruments and effects I have at the moment, and where do I do it. My first recordings were made in tapes at home, after I used to work in very simple computer programs. I like the lo-fi sound and I think my work has too much of that.

Q. Which new bands do you recommended?
Registros Akásicos ( ),
S.I.N ( )
and Senana Missions ( ).

Q: Which bands you love to made a cover version?
Really I would like to do a cover of Billie Holiday's version of "Gloomy Sunday". I don’t remember what other cover version i'd like to do with Fio16.

Q: What´s the plans for future....
Last year I released an EP called “NoMundo Fiorella”, now I'm working on a long version of this for the record label "Musica Dispersa", after that, I hope to do some live shows.

Q: Any parting words?
tudo legal !!
muito obrigado a voce!!
Thanks Josemmmmm

Show of Strengh with Mode Moderne - An Interview

New wave moderna com ares requintados é a faceta dos canadenses de Vancouver do Mode Moderne que soltou Occult Delight segundo ábum lançado no início deste ano com no mímino três pérolas do pop moderno, ecos de Smiths, Chills, Bunnymen permeiam Strangle de Shadows, She, Untamed e Baby Burn, mas a história deles vem desde 2009 quando soltaram o debute Ghost Emerging, outro belíssimo exemplo da finesse dos caras.

Pro futuro prometem um álbum inteiro de covers, sera? 

A única saída é acompanhar atentamente a trajetória dos caras.

***** Interview with Mode Moderne *****

Q. When did Mode Moderne starts, tell us about the history.
A very cold, very snowy Canadian Winter. Locked in a basement studio. Smoking marley-marls and black tea with evaporated milk and brown sugar. Drum machines and photography.

Q: Who are your influences?
Girl Groups, Echo & the Bunnymen, the Smiths, and live nude sex

Q. Made a list of 5 albums of all time…
The Smiths – Queen is Dead,
Scott Walker – Scott 3,
Magnetic Fields – Holiday,
Fresh & Onlys – Long Slow Dance,
Jeru tha Damaja – Sun Rises in the East

Q. How do you feel playing live?
Envigorated & Humbled

Q. How do you describe Mode Moderne´s sounds?
Leather jackets and cardigans

Q: Tell us about the process of recording the songs ?
We are going to record our next album entirely through emails

Q. Which new bands do you recommended?
Grave Babies (USA), Flowers (UK), Black Marble (USA), Chai Khat (GER)

Q. What's the plans for the future?
A full album of cover songs

Q: Any parting words?
Never bow down, Don't ever slow down

Spacious Mind with Evening Fires - An Interview

Kevin Moist é um dos caras mais bacana que eu conheci no submundo dos bons sons, podem acreditar, Kevin é um lorde, um verdadeiro gentleman, gentil e atencioso isso sem contar que ele é o fio condutor de uma viagem sem limites as profundezas de lugares ainda não habitados, o Evening Fires, sua banda com quatro eps onde todos seguem uma linha hipnoticamente psicodélica guiando-nos através de arranjos eloquentes e viajantes, um verdadeiro passeio por mundos distantes, onde só uma viagem de ácido é capaz de nos levar.

O Evening Fires finalmente debutara com seu primeiro álbum cheio via Sunrise Ocean Bender e preparem as passagens porque a viagem esta apenas começando.

***** Interview with Evening Fires *****

Q. When did Evening Fires starts tell us about the history...
Hmmm, let’s see… need to wake up the memory banks here… It was back around 2005/06, Nathaniel was helping me digitize some 4-track tapes of my old band the Clear Spots, and we started goofing around and making some music on the side of the production activities. Other friends would occasionally pitch in too if they were around. It was pretty rudimentary and there was no great goal in mind, but eventually we realized we had developed some material we kind of liked, and that became the first Evening Fires release.

That beginning kind of set the stage for how the group still functions. It’s usually some of us working on some music, and then others might come in and add to it at different stages ‘til we feel like it’s finished (or as finished as we can make it; or just until we lose interest and want to move on to something else). Lots of folks have played with Evening Fires over the years, probably upwards of 20, coming and going as interest and circumstances allow. I guess the seeds of that arrangement were there from the start.

Q: Who are your influences?
I have no idea how to answer that one, sorry! Everybody who plays with the group brings their own background and interests with them, so it might be possible to sort that out at an individual level, but collectively we have never once discussed such a thing. For sure there are reference points that come up from time to time – someone will say, “Let’s do more of a Can thing here…” or something – but that’s always in the context of specific practical matters – so that would mean “Let’s play it rhythmic and minimalist…” rather than “Can are an influence on this piece” per se… No matter what format we’re working in at any given moment, we’re just channeling the sound – we’re happy enough to all find the same key & make it to a stopping point at more or less the same time, rather than thinking about where it’s coming from or what box to put it in…

Q. Made a list of 5 albums of all time…
This was a tough question, because I didn’t want to just pick personal favorites, since this is about the group; and trying to poll the whole gang isn’t overly practical… So while I do think these five are classics, I selected them because for me at least they have some kind of triangulation point for Evening Fires’ music – not that we sound like them or are anywhere near as good, but something about what they play, or how they play it, or something, seems to resonate in some way with what we do. So, in reverse chronological order for no particular reason:

*Spacious Mind – Live Volume 1: Do Your Thing But Don’t Touch Ours (2002)
Sweden’s Spacious Mind are the greatest, every fan of cosmic psychedelic rock should hear them. Unfortunately their classic releases from the ‘90s and ‘00s are out of print and increasingly hard to find; somebody should do something about that. The studio albums are all essential, but this disc captures how they really take off in a sympathetic live setting, fantastic group playing.

*Pelt – Ayahuasca (2001)
Massive double CD documenting the VA trio’s transmutation from noise-rock deconstruction into avant/drone/folk shamanism. Jack Rose was getting deep into his fingerpicking thing by this point, and combined with everything from banjos and organs to hurdy-gurdy, zither, esraj, and singing bowls, it’s like the album John Fahey and Taj Mahal Travellers never made together. A feast for the ears, you can get lost inside.

*Ghost – s/t (1st album) (1990)
As much as I like the later Ghost albums, the early ones (up through Lamarabirabi or so) still sound like the masterpieces. The first couple especially just felt totally out-of-time-and-space when they came out in the grunge-belabored early ‘90s. Ethno-tribal rites leading to fragile acid-folk with excursions into communal psychedelic heaviness; nobody has done it better.

*Agitation Free – Last (1976)
For whatever reason, Agitation Free remain under-heralded in the Krautrock pantheon, but all their records are superb. Malesch and 2nd might be more obvious, but the posthumous Last is on a different plane. Time-dilating acid-rock improvisation on the version of “Laila” on side 1, while the “Looping” electronics on side 2 take them out into Ash Ra Tempel or Tangerine Dream territory. I can play this over and over and it always feels new.

*Lula Côrtes & Zé Ramalho – Paêbirú (1975)
Classic double LP of northeastern Brasilian folkloric roots, psychedelic jamming, freeform craziness, and perfectly arranged pastoral pieces; all built around the alchemical theory of the four elements, in case the metaphysics weren’t obvious from the sounds. Pernambuco had a lot of incredible music at the time – Lula and Zé solo & in other configurations, Geraldo Azevedo, Flaviola e o Bando do Sol, Alceu Valença (especially Molhado De Suor, such a beautiful album), Ave Sangria (anyone with a spare copy of their LP please contact me) – but Paêbirú in particular seems like it could have been released last month as easily as in 1975.

Q. How do you feel playing alive?
We used to play live more often than we get to these days. There have been periods when we operated almost like a conventional “band,” but those aren’t necessarily the norm. We certainly enjoy playing live, and when we do so we put a lot of thought and planning into what we’re going to play, but in the actual instance it’s still basically improvised. It feels great when it works, like we’re collectively floating on air; but we get the same feeling whether that’s happening at a concert or in the practice room or while recording. And of course, improvising is always kind of a high-wire act, so there are no guarantees.

Q. How do you describe Evening Fires sounds?
Mostly I try not to! I think that kind of thing is probably better left to others. I know what it sounds like to me, but others might hear totally different things, and that’s great – I don’t have any interest in putting my interpretation on anyone else’s ears. Mostly, we’re too busy with the doing to worry a whole lot about the labeling. If you’re familiar with the old tale about the blind men and the elephant, I think there’s some of that in most attempts to describe what we play…

Q: Tell us about the process of recording the songs?
Well, that can take lots of different forms, depending; there isn’t really one set procedure. Much of what we do is built around improvisation, which is part of the recording process too. So we might record some assortment of people – could be the whole band, or various smaller sets – playing, improvising, or maybe working on a piece (though even our “composed” pieces are essentially more structured improvisations); and then we’ll take that and add to it further, or come up with fun things to do in the mix or production. It can set up a lot of interesting possibilities; sometimes you’ll have one group of people starting a track, more of us adding to it later in a different setting, and others finishing it yet elsewhere… It might all be basically improvised, but not necessarily all at the same time. The results mostly seem to come out sounding pretty organic, and can be hard (even for us) to tell the “overdubs” from the “basic tracks,” especially since a lot of that can get turned around in the mix anyway. All that said, sometimes it’s just nice to get folks together, crank everything up loud, and make a big racket. That’s part of it too.

Q. Which new bands do you recommended?
There is so much good music around right now in so many different styles – psychedelic stuff, and folk, and African music, it’s hard to name just a few (and hard to keep up with it all). I’ve been listening to a lot of new South American psychedelic rock, bands from Chile like Föllakzoid, Holydrug Couple, La Hell Gang, all very cool. Montibus Communitas from Peru too, they do this great communal jam thing. I mentioned Spacious Mind up there somewhere, they just released a totally righteous new album called Greazy Green and the Stoney Lonesomes, so wonderful to have new recordings from them. I don’t want to start plugging here, but I’ve also been spending a lot of time with music we’re working on for Deep Water; the new United Bible Studies disc is almost finished, and it is just magnificent, can’t wait to share that with the world.

Q: Which bands you love to made a cover version?
Because of what we do and how we do it, I’m not sure that cover versions (as most people would understand the term) are quite in our wheelhouse. There’s a track on one of our CDs that started when a couple of us (apparently spontaneously, it wasn’t planned) tried to play the chord progression from the Beatles’ “Dear Prudence,” but we couldn’t quite figure it out on the spot and the rest of the group didn’t pick up on it, so we all took off on a tangent away from that starting point… The released version picks up after the initial fumbling, and to my knowledge no one has ever made the connection. So I guess we nailed it!

Q: What´s the plans for future....
It looks like a bunch of things are set to become tangible in the relatively near future. There will be an Evening Fires LP (our first LP release!) out later this year via Sunrise Ocean Bender records. It’s called Where I’ve Been Is Places, and What I’ve Seen Is Things, and we are incredibly excited to be working with the label on it. Around the same time we’ll be releasing a CD of entirely different material on Deep Water; working title is Incredible Adventures, though there’s always a chance that could change. There will probably be yet another separate release sometime soon after that on a very cool label, but I don’t want to get ahead of ourselves. With so much production going on it’d be nice just to play some music too, hopefully we can work that in somewhere.

Q: Any parting words?
Thanks for getting in touch and doing the interview! We dig the blog, keep up all the great music coverage.
Thanks Kevin

sexta-feira, 17 de outubro de 2014

Where Does A Body End? with Zeroine - An Interview

Extrema melancolia, guitarras densas, vocais demonstrando fragilidade, sofrimento, amores, desilusões, ansiedades, Stine e Christian formam o duo dinamarquês Zeroine, um pequeno detalhe, ambos também fazem parte do grande Tales of Murder and Dust, mas o Zeroine vai fundo na alma, por vezes me vem a cabeça um mix de Codeine com Underground Youth.

A exuberância do Zeroine é absurda, um dos grandes vícios recentes deste que vos escreve, a música do ep Pale Clouded Yellow levam as profundezas da alma, aquele sentimento de isolamento mesclado com certa pureza vem a tona, um slowcore gazer para caminharmos lentamente perante nossa fragilidade.

Simplesmente ACIMA.

***** Interview with Zeroine *****

Q. When did Zeroine starts, tell us about the history...
A: Realizing that we had actually formed a band maybe took us 4-5 months. This process started with one night drinking with the guys from Tales of Murder and Dust and letting them in on my, then, secret that I had recorded som songs. I was very shy about it but Christian and Kristoffer pushed me to share them. From then onwards, they really encouraged me to keep making more stuff and share it. Later on, Christian offered to help me record some tracks and do some guitar overdubbing, and as he got more and more involved we kind of found ourselves being a band. So we came up with a name and turned our efforts into our first EP.

Q: Who are your influences?
A: I don’t really have any clear musical influences that are obvious to me. Writing music is something that keeps happening as a sudden and quick process where I have no time to think about what I am doing. All the songs I make have had the core structure and lyrics written in less than 15 minutes, and as a completely parallel process. Often, spurred on by a malign psychological process that squeezes out the songs from my head - and usually - during spates of heavy anxiety, mixed with red wine and a really bad day. Sort of a “perfect storm” for me, that always results in some kind of creative output.

After our first EP, I stopped writing songs for a long time. But for “Animous” I have gradually found a new way to write. I have become a more active listener and pick up more inspiration now, opposed to when making music was an auto-poetic thing I did for myself. Ambition has opened up the gates for influence, I guess. Now, I get very inspired by acts like Low, Swans and Slowdive in a way that is visible to me in my writing. I also get very influenced by the profound feelings that come from realizing that all the empathy and disgust that I feel, as a human being, when witnessing human tragedy all over the world from the relative comfort of my living room, is eminently useless. This line of thinking usually ends with a song…

Q. Made a list of 5 albuns of all time…
Sonic Youth – Washing Machine
Slowdive – Souvlaki
Swans – The Great Annihilator
Rowland S. Howard – Teenage Snuff Film
PJ Harvey – Let England Shake

Q. How do you feel playing alive?
We haven’t done many live shows yet, but it’s definitely a rush. For Christian it’s more like stepping into the office, but he loves being forced to play in a different way than he is used to with ToMaD. The best experience I have had so far was seeing a couple make out during our concert. I still find it weird being on stage as I had never sung to an audience before our first concert a year ago. As a kid, I was once told I couldn’t sing so I got shy and stopped singing in public, and only resumed singing when we formed the band. I really enjoy singing my songs to an audience and singing exactly the way I do. And I’m still discovering more and more about both my abilities as a singer and guitarist, so each live performance feels like a new adventure. Also, I like the fact that someone seems to be able to stand there, listen and just seem to understand something from the music that I often don’t. It puzzles and excites me.

Q. How do you describe Zeroine´s sounds?
It’s the sound of melancholia, lonely nights, anxiety, disillusion, and dystrophy. Someone once told me it lowers his heart rate, so we thought “low-core” was a good description. Some people say there’s a bit of shoe-gaze, and slow-core too. They could be right. Our live performances are significantly noisier than our recordings, so we are also borderline noise-rock if you catch us on the right day.

Q: Tell us about the process of recording the songs?
We do everything at home. I usually record a demo and add some ideas for the different instruments to it. Then we layer as much on as our imagination allows, and then we start stripping off the layers again, until we have as few instrument tracks as possible to create the right sound and feeling that I had in my mind when writing the song. Then we mix it and then it’s off to mastering.

I use a lot of imagery and colours to explain each song to Christian, who then interprets my abstracts to apply his ideas and sound to it. If the feeling’s not right, if the imagery that we have produced doesn’t match what was in my head at the beginning, I don’t feel good about releasing it. This is of course a challenge for Christian, as I obsess about very specific details, that he has absolutely no grounds for guessing, based on an abstract pencil drawing. Then we don’t talk for a few hours and we start all over again. We can both be very stubborn which prolongs the process but also distils the music really well.

Q. Which new bands do you recommended?
They may have been around for a while now but we definitely recommend you check out Distortion Girls, Guerra Despues De la Fiesta. Weyes Blood has her moments – she’s also worth checking out.

Q: Which bands you love to made a cover version?
We would probably never do a cover, but personally I would love to give Nina Simone’s – ”Go to Hell” a slow and fuzzed-out treatment. Galaxie 500 – ”tugboat” is always fun to play in the rehearsal space, but I think we’ll keep it there.

Q: What´s the plans for future....
We are putting the final touches on our debut album ”Animous” right now and the first single, the title track, will hopefully be out soon.

Then we will have a short hiatus while we are both undertaking the next Tales of Murder and Dust European tour where I’ll be helping them out on keys. I think the entire album may be ready for release in January.

Q: Any parting words?
Yes: Do follow us on Twitter and Instagram!
Thanks Stine

Two Days from Eden with Breathless - An Interview

Certa vez Ivo Watts-Russel o dono da 4AD disse assim: "Sem exageros, Dominic Appleton é meu cantor favorito em atividade, sua voz triste transmite uma beleza sem tamanho junto com as melodias....".

Bom, depois disso basta dizer que Dominic Appleton é vocalista de uma das bandas mais injustiçadas dos 80´s e 90´s, estou falando do Breathless, pós punk, dream pop, shoegazer com uma rara beleza melódica que fascinou não somente o Sr Ivo, mas Kramer, notório produtor do Galaxie 500, outro fã confesso da banda.

O Breathless lançou seu primeiro álbum em 1986, o angelical The Glass Bead Game e desde então tem nos presenteado com pérolas fascinantes guiadas por Dominic e Ari, caso do deslumbrante Between Happiness and Heartache.

Aos mais inteirados, deverão saber que Dominic participou do álbum Filigree & Shadow do This Mortal Coil emprestando sua belíssima voz em três músicas.

O último álbum do Breathless é de 2012 e conta com a participação mais do que especial Heidi Berry musa das gravadoras Creation e 4AD que só por curiosidade era namorada de Peter Astor e cantou no terceiro álbum do This Mortal Coil, Blood, ah nome da pérola do Breathless é Green to Blue.

Por fim, com honra total e sorrisos e mais sorrisos o TBTCI apresenta talvez a primeira entrevista do Breathless para o Brasil, e surpresas durante ela ocorrerão....


***** Interview with Breathless *****

Q. When did Breathless starts, tell us about the history...
Ari: We formed in the 80s. Dominic and I were briefly in band together with a school friend of mine. We really liked what each other were playing, but were becoming more and more frustrated with what the rest of the band was doing so decided to form our own band instead. We started writing songs with Dominic just playing keyboard, but he soon started singing too and once we had a few songs, we asked Gary, who Dominic had played with in a previous band, to come and play with us. That first rehearsal was amazing, I loved Gary's playing from the first note and it all just came together perfectly and fell into place from that moment.

Soon after that, after only a couple of rehearsals with Tristram we went into the studio to Record 'Waterland' (which we just intended to be a demo at this point). Tristram was the brother of a friend of mine at the Virgin Megastore where Dominic and I worked, and again the chemistry was immediately there from our first rehearsal with him.

We went to see a few record labels with 'Waterland', but got a really negative response. We were talking about making albums like Pink Floyd but the labels keep talking about 3 minute hit singles. At the same time Dominic and I used to play 'Waterland', in the Virgin Megastore and a lot of customers came up and asked what it was and where they could buy it, which is when we realised there was a market for our music and decided to start our own label.

After 'Waterland' we worked with Cocteau Twins engineer/producer Drostan John Madden, on our next couple of EPs and eventually with John Fryer at Blackwing for our first album, which lead to Ivo asking Dominic to sing on a number of songs on This Moral Coil's Filigree and Shadow.

And introduced Breathless to a whole new audience which was fantastic

Q: Who are your influences?
Ari: We all have different influences, which is probably what keeps our music interesting. And for me there are a lot of things I listen to that I love but that don't find their way into our music, like say Funkadelic, or Barry White or Hole. At least I can't hear them!

But other people that I really like. like Neil Young, Richard Hawley, Brian Eno, John Barry, Ennio Morricone, Pink Floyd, Galaxy 500, Joy Division and The Velvet Underground are a lot easier to hear echoes of in our music. Especially Joy Division from the bass playing point of view as Peter Hook is my biggest influence, along with Carole Kaye, who also influenced Peter Hook .

Dominic: Well, when I was at school I was listening to Patti Smith, Japan, The Only Ones, Heroes by David Bowie and then post punk stuff like Wire, Mass, Felt, This Heat and Pere Ubu. It was an incredibly exciting time in music and it had a massive impact on me. Punk was too rocky and macho for me. it was fantastic that it shook up the industry in the way it did but it was the post-punk stuff that has shaped me as a musician.

After I left school I started working at Virgin and was introduced to earlier music like Can, Joni Mitchell, Pink Floyd, Eno, Velvet Underground, Roxy Music and Nick Drake. It's funny but at school, because of punk, it was really unfashionable to look back at music. Working in a record shop and being exposed to so much was incredible. I was overwhelmed, in absolute heaven, just trawling through the past as well all the new music. I'd say the way Can and Pink Floyd approached music was very influential on early Breathless.

My favourite lyricists are Peter Perrett, Bjork (sometimes) and Mary Margaret O'Hara.

I have a massive amount of respect musically for Kate Bush (from The Dreaming onwards) and her incredible imagination. Bjork too.

Mark Cox from Mass is my favourite keyboard player.

Gary: As a guitarist, my main influences would be Neil Young, David Gilmour, John Perry from the Only Ones, Maurice Deebank from Felt, Tom Verlaine and Jesus Acedo from Black Sun Ensemble. At the start of Breathless I was hoping that we would make music that was a cross between the post-punk music that Dominic was talking about and Pink Floyd. I think some of the music ended up a bit like that but we soon found other directions to go in too. I also loved This Heat, Japan, Patti Smith, Velvet Underground, Can and I was also involved in very harsh, discordant electronic music which didn’t influence Breathless at all I don’t think but who knows? There was just so much music washing over us, it’s not always easy to know what influences you the most.

Q. Made a list of 5 albums of all time…
Ari: This is by far the hardest question of all. These are just the 5 albums that I would take if I was going to a desert island tomorrow.
Music For Films Brian Eno
Everybody Knows This Is Nowhere Neil Young
Coles Corner Richard Hawley
The Look Of Love The Burt Bacharach Collection
The Velvet Underground And Nico

Heaven or Las Vegas - The Cocteau Twins
Miss America - Mary Margaret O'Hara
Even Serpents Shine - The Only Ones
The Dreaming - Kate Bush
Quiet Life – Japan

Gary: This changes virtually daily but the ones I keep coming back too would be:-
Y – The Pop Group
Even Serpents Shine – The Only Ones
Hex Enduction Hour – The Fall
Future Days – Can
This Heat – This Heat

Q. How do you feel playing live?
Ari: It used to really terrify me from start to finish! But I have recently got over my stage fright and really enjoy it. Even when it terrified me there were parts of it I enjoyed. It is lovely to look out into the audience and see the pleasure one's music is giving people. And for that joy to feed back into our performance.

Dominic: I hate it slightly less than I used to. In recent years there have been the odd moments when I've enjoyed myself but I'd rather be in the studio.

Gary: I hate the build up to the show during the day and about the first 5 minutes on stage. Then I calm down and by the end I want to go straight back on.

Q. How do you describe Breathless sounds?
Ari: Melancholy, melodic, rich, textured. Our press release describes us as 'Space Rock Melancholia' - which I like.

Dominic: Melancholy, melodic, rich and textured. Well done Ari, beautifully put, I must remember that for when people ask me. Romantic as well.

Gary: I can’t describe it better then that.

Q: Tell us about the process of recording the songs ?
Ari: We always try and record as many of the instruments as possible together in the studio, to give the records a live organic feel, whereever we can.

Our most recent album 'Green To Blue' was a bit of an exception as we wrote and recorded a lot of the tracks without a drummer, using drum machines and then added real drums last after everything else had been recorded.

It was a different process for me too, as usually I do my bass parts right at the beginning before the vocals have been recorded and then don't play anything else for the rest of the session, but with Green To Blue, I also played E bow, which I added to the songs right at the end, which was really inspiring for me as it gave me the chance to emphasize Dominic's really melodic vocal melodies.

But on previous records we all played together to give our drummer the vibe until we got a good drum take, and often kept the bass, some basic guitar and keyboards, and then overdubbed the guitars and vocals. But whatever is happening in the studio, we all like to be there even if we aren't actually playing, so we can give our input on what the others are doing.

Q. Which new bands do you recommended?
Ari: I really like Josh T Pearson. I know his debut album came out a couple of years ago now, but I still think of him as being new. Also I really like Death And Vanilla , John Murry and Gemma Ray.

Dominic: I absolutely love Radio Dept, Deptford Goth and Perfume Genius and really look forward to their new releases. Tim Hecker has been going for a while but I saw him live a couple of years ago and it was one of the best gigs I've ever seen. I just had a look on my computer and My Maudlin Career by Camera Obscura and Pavillon D'Armide by Scanner are my most played albums of the last five years.

Gary: I really like Chris Forsyth, Cian Nugent and the Cosmos, Goat, Moon Duo, Wooden Shjips and Sun Araw at the moment.

Q: Which bands you love to made a cover version?
Ari: We have so far only done one cover version and that was of The Only Ones 'Flowers Die'. The reason we chose this song in particular, is that The Only One's version was only a demo, so we could hear ways it could be improved upon, or interpreted in a different way, whereas with something like 'Another Girl Another Planet' which I think is a better song, the original version is just so perfect, there would be no point in trying to better it.

My favourite cover versions by other people are where they really change the songs mood radically, like Grace Jones did with 'She's Lost Control' and 'Nightclubbing', by turning them into Disco songs, or John Cale's version of Heartbreak Hotel and Johnny Cash's interpretation of 'Hurt' where they completely strip down the songs to the bare basics, so that lyrics one has heard a 100 times, now ring out with a pain and suffering, previously obscured by the complex musical arrangements.

I would love trying to cover a Lee Hazlewood song or some classic country song, something one could strip down and re interpret.

Dominic: Ari's completely right and she use all the examples I would have. Cover versions are hard to do well. You have to improve the song or completely reinterpret it. Ivo real understood that with his This Mortal Coil project.

I'd really love to cover Run To Me by the Bee Gees. I think breathless could do that beautifully. I'd love to ask John Grant to duet with me on it as I love his voice and we'd make it a beautiful gay romance.

Gary: This Mortal Coil “Song to the Siren” is about the best I can think of. You have to make the song your own.

Q: What´s the plans for future....
Ari: We have recently recorded a single which we plan to release next year, along with more remixes of songs from 'Green To Blue', by Tim Gane (Stereolab), Ken Lockie (PIL, Cowboys International) and Jeremy Kimberley (Readers Wifes) and we are currently writing new songs for our next album.

Dominic: Yes, let's do another album!

Gary: Hopefully more quickly this time!

Q: Any parting words?
Ari: We would love to play Sao Paulo!!!

Dominic: I was in Brazil last February and it blew my mind. What an amazing country and what wonderful people. My plan is to travel all over it now. If I have to, I'll play live too!

Gary: I’ve never been to Brazil. I would love to play there too.
Thanks guys

Sky is Hell Black with Has a Shadow - An Interview

Darkgazer psicodelico diretamente do México a cargo do trio Has a Shadow, que da mesma forma que seu conterrâneo o espetacular Lorelle Meets The Obsolete grava pela espertíssima Captcha Records e seu debute Sky is Hell Black do ano passado é sombrio e ruidoso, aliás o debute foi produzido por The Obsolete metade do duo mexicano.

O álbum caminha entre loops sintetizados, vocais sombrios e darks, muralhas de guitarras e um pezinho no pop que torna o resultado ainda mais saboroso.

O Has a Shadow soltou um single esse ano mais sombrio e sintético do que o álbum chamado Hollow Curve e mostra talvez o que venha pela frente, é pra ficar altamente ligado.

***** Interview with Has a Shadow *****

When did Has a Shadow starts, tell us about the history...
It starts in February 2012, with me (Daniel) and Remi, we used to live in Guadalajara MEX, in the same house, were we recorded the EP called Vibrating in Exile. After some house parties and not much to do, we moved to Mexico City and got the luck to "meet" Lorelle Meets the Obsolete, who are an amazing couple and became very close friends of us. The Obsolete recorded the drums and produced our first album: Sky is Hell Black, realesed by Captcha Records in 2013. Some few months later we Rodolfo Samperio stopped playing in the band and then we met Daniel Arp who nows plays the guitar and contributes with many of the bands needs. In 2014, after the Sky is Hell Black Album is sold out, we recorded a 2 songs EP called Hollow Curve.

Q: Who are your influences?
The Rolling Stones, Rowland S.Howard, Jesus and the Mary Chain, Jacques Lacan, Blue Angel Lounge, suicide, Skywave, Leonard Cohen, The Human Expression, Alexander Theroux, R. Crumb, Franz Kafka, Wally Wood, David Cronenberg, Ken Russell, John Carpenter, and many others

Q. Made a list of 5 albums of all time…
Lee Hazlewood- Trouble is a lonesome town
The Stooges- The Stooges
Spacemen3 - The Perfect Prescription
Rowland S. Howard - Teenage Snuff Dream
The Cure - Seventeen Seconds

Q. How do you fell playing alive?
D: well…i can't see myself playing dead, would be funnier although jajaja R: I feel strange, first I'm very concentrated, but then the songs start to make me feel or think all those feelings they're about. It can connect so many things attached to feelings and people in my mind.

Q. How do you describe Has a Shadow´s sounds?
Hypnotic, dark and bright, understandable, nothing from other world, but yet, when you hear it you can relate to it, as if you where testing a drug or a nightride that takes you to other places in within yourself.

Q: Tell us about the process of recording the songs ?
Well it's hard to answer, cause we've been a little busy… but as for experience, first EP was recorded by Remi and I with a digital tascam mixer/recorder (drums is a R-1 loop station). Sky is Hell Black was more professional, but still was recorded in a living room of a house, last EP was recorded by ourselves, in a little room where we rehearse (with drums live and different gear) and it sounds very different from The Obsolete Production, nevertheless, was something we were working out and been especting to be as it sounds, and its been like that with the last albums and we hope it'll be like that with the others to come.

Q. Which new bands do you recommended?
Eli Pop, The Walking Who, L.A. Witch, Oceanss, The Frozen Border line.

Q. What's the plans for the future?
We're in the process of finishing songs for the new album, we're also planning an European tour, so there is work to do

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

quinta-feira, 16 de outubro de 2014

Processed For DNA with Sun Dial - An Interview

Verdadeiro patrimônio do shoegazer psych desde os longínquos 90´s, Other Way Out o debute do Sun Dial data de 1990 e a partir deste clássico absoluto os caras lançaram álbuns fundamentais e cultuados até o talo, leia-se Acid Yantra, Reflecter, Zen for Sale e outras maravilhas, o último de 2012 Mind Control é pra se ter ideia tão poderoso quanto qualquer outro de sua extensa discografia de álbuns, eps, singles, 

Gary Ramon a mente perturbada por trás do Sun Dial começou tudo no também cultuado The Modern Art, e depois da banda desfeita montou o grande Sun Dial isso como eu disse lá no final dos 80´s, porém depois do 

***** Interview with Sun Dial *****

When did sun dial start,tell us about the history
Gary had been bands in the late 80's like the 'Mystery Plane' and had most noteably formed the 'Modern Art' which had a more minimal dark electronic and experimental feel to it.Eventually as the band became heavier and more sophisticated and it gradually morphed into Sun Dial.Gary met Hugo Chavez who had a record store at the back of Balham market and he became a benefactor and big supporter of the group.Hugo helped finance an initial pressing of the first album,Other Way Out in 1990 .It was released in a very low key fashion and it was an immediate success,selling out very quickly.The record label 'tangerine' was set up for the demand and of course throughout the years it has had many reissues on various different labels.The keyboard player Anthony Clough was the only other member of Sun Dial at this point, so bass drums and an extra guitar were drafted in to fill the sound and establish a proper line up.After that rave reviews in magazines such as Record Collector helped raise the band's profile and they played their first show at the Borderline in London 1991 to a sold out audience.Sun Dial have been going ever since...

Who are your influences?
It's very hard to mention them all but it's hard to listen to a lot of music when you are making an album.To be fair,it's not just musicians and bands that we look out for.Record labels like 'Small Wonder' and 'Factory' were a big influence.They embodied all the elements of the music experience,meshing together the images,sounds and underground attitude of the time.The music journalist Byron Coley wrote that some tracks sounded like 'psych thuggery' which at the time was a fair comment as punk was and still is a big influence on us.The Damned are our favourite band from that era.From the start Kraut and Electronic music such as Kraftwerk,Can and even early Depeche mode which gary saw a couple of times has had an effect on our music.We did a version of the Open Mind's 'Magic Potion' and cool stuff like Mickey Finn and The End have always been something we've listened to.Also Psychedelic/Rock such as the great Thirteen Floor Elevators,Hawkwind,MC5 and the more experimental craziness of Sun Ra Arkestra.Let's not forget the genius of Brasilian greats 'Os Mutantes'!

It's cool to have been included in the Stoner rock/Doom scene and there is some great stuff out there like Conan (seriously heavy) and Kavanar but in reality we're pretty different and don't pin ourselves down to one style

Q. Make a list of top 5 albums of all time
Kraftwerk-the Man Machine
The Monks-Black Monk Time
Augustus Pablo-King Tubby meets Rockers Uptown
King Crimson-Red
Pierre Henry-Messe Pour Le Temps Present

How do you feel playing live?
We have always struggled to find the right drummer for us to play live.Also it can be frustrating not getting the right sound at the venue.

However when there is a great crowd and everything is cool it's a fantastic feeling.
We always want to do great shows and tours but sometimes it's difficult due to logistics and the cost but we want to do more in the future.

How do you describe sun dial sounds?
Exploding in your mind of course!

It would be very hard to describe some of the sounds on the new album to be honest,there are some seriously spaced out/messed up ear splitters!

Q. Tell us about the process of recording the songs
We don't jam as a live band much.Gary begins the process.He comes up with endless demos of melodies and sounds and occasional wordage/song titles.Scorpio normally writes lyrics and adds ideas/occasional riffs(gary is the riffmeister though)

Q. Which bands you love to make a cover version
Sun Dial have recorded Rocket From The Tombs': 'Down In Flames' and Roxy Music's: 'Every Dream Home A Heartache' (for mind control) , the Osmonds' 'Crazy Horses' ,the Equals' 'The Skies Above'(what a great band)and Eric Burdon and War's 'Magic Mountain'
We were thinking of doing an EP of 70's punk

Q. Which new bands do you recommend?
Holy Mountain.

What are the plans for the future?
The new website is being launched soon with up to date news and the elusive and hopefully definitive band discography!

Then towards the start of the year the new album will be released which we'll give out details of soon.Hopefully there will be some gigs on the horizon.
It's very likely that the new album won't be the only release so it should be a busy Sun Dial year!

Q. Any parting words?
Many thanks to the people who have supported the band all these years through the many dramas,ups and downs,dark days and occasional madness.

Peace,light and freedom and see you next year!
Thanks guys

Information Overload Unit with Rat Alarm - An Interview

A história é mais ou menos assim, não me recordo ao certo de qual entrevista foi citado o Rat Alarm e fui ouvir a indicação e fiquei extasiado, o mesmo aconteceu com o brother Adeson, conhecedor e admirador dos bons sons do submundo.

Esses dinamarqueses destoam por completo do que esta acontecendo, simplesmente eles pegam SPK, Cabaret Voltaire, Suicide e desconstroem o mundo atual em forma de fragmentos hipnóticos e sequenciais.

Não consegui entender por completo a discografia do Rat Alarm, altamente dúbia e confusa, uma penca de informações disconexas tal qual sua música, um caldeirão insano de psicodelia industrial minimalista.

Uma banda para poucos e esses poucos certamente cairão de vício pelos caras. 

***** Interview with Rat Alarm *****

Q. When did Rat-Alarm start, tell us about the history...
Martin started Rats many years ago, recorded an album with HC Kidde, which was released on cassette tape on Posh Isolation. They split up immediately thereafter. The project was taken up again in 2013 when Søren recorded vocals on some old Rat tracks. Brian, a long time collaborator of Martin's, also joined, completing the trio.

Q: Who are your influences?
Old kraut rock, psychedelic 60's like White Noise, Joe Meek, C.A Quintet, CAN, Cabaret Voltaire, Suicide, SPK, Silver Apples, The Residents, Crash Course in Science, Smersh, Bruce Haack, Raymond Scott, Yellow, Throbbing Gristle, Psychic TV, Thomas Leer & Robert Rental, Kraftwerk, SODS, MX-80 SOUND, the Normal, Sun Ra, Tuxedomoon, Art Zoyd, No Knox, Tee Vee Pop, Terry Riley, Sesselberg, minimal synth/cold wave post punk Industrial and all things weird.

Q. Make a list of 5 best albums of all time…
In no particular order:
Silver Apples: Contact
Thomas Leer & Robert Rental: The Bridge
Suicide: Suicide
SPK: Information Overload Unit
The Residents: Commercial Album

Q. How do you feel playing live?
We use really old synthesizers and drum machines, which never seem to want to reproduce earlier sounds exactly. So every time we play, even if it's a song we've played many times, it feels like it's a cover version: We create the sounds anew, and never know where they'll take us. This is both horrifying and liberating.

Q. How do you describe Rat-Alarm´s sound?
Rhythmic noise. Dirty minimalist electronica. Cold wave. Psychedelic industrial.

Q: Tell us about the process of recording the songs?
Most tracks start as improvisations, with Martin providing the basic drums and bass, Søren the vocal and lead synths and Brian the sick noise effects and more drums. Usually we play everything live, but sometimes we layer tracks on our analog 16-track.

Q. Which new bands do you recommend?
Vox Populi, Pacific 231, Exquisite Russian Brides, LCT, Erwin Ewald, Sunken Spaceship

Q: Which bands would you love to made a cover version of?
We've made quite a few already, with more to come: Canned Heat, Sods (legendary Dansh punk band), Bruce Haack, Country Joe and the Fish.

Q: What´s the plans for future....
We're recording constantly, and will try to get the best songs out on a good label

Q: Any parting words?
Watch out for the rats!
Thanks Rats

domingo, 12 de outubro de 2014

Rollercoaster with Rev Rev Rev - An Interview

Um dos melhores discos de 2013 para este que vos escreve foi certamente o debite dos italianos do avassalador Rev Rev Rev, fuzz, distorção, muralhas e mais muralhas de guitarras assoviando aos tímpanos, doses cavalares de VU, J&MC, MBV e seus descendentes, o Rev Rev Rev não poupou em fazer um barulho desgraçadamente ensurdecedor em sue estreia.

E o barulho foi tão bem executado que Catching a Buzz foi parar no programa de Steve Lamacq da BBC, com méritos porque o debute homônimo é algo de acachapante e não há como se livrar do encantador barulho que além dos baluartes citados muitas vezes as guitarras remetem a um tal de Joey Santigo, e que vira covardia facilmente.

Vem mais por ai, e que venha logo.

***** Interview with Rev Rev Rev *****

Q. When did Rev Rev Rev starts tell us about the history...
Oh, we wonder to...It's all so fuzzy, and we only know the story through so much reverb...It's like the allegory of the cave from Plato: we can't investigate reality itself, just the reverb...

Q: Who are your influences?
Obviously our tutelary deity are Velvet Underground, MBV, JMC, Spacemen 3 and Loop...but we also grew up in the 90s, so Brian Jonestown Massacre, early Smashing Pumpkins, Pixies...Another big influence is Dinosaur jr, then we can mention BRMC, Ringo Deathstarr and all the Austin Psych Fest scene...Still some bands not from "our front" had probably imprinted us, I think of early Pink Floyd, late Beatles, Sonic Youth...

Q. Made a list of 5 albuns of all time…
Uhm...Not easy at all, anyway let's try...
The psychedelic sounds of 13th Floor elevator,
The Velvet Underground and Nico,
A saucerful of secrets,
Unknown pleasures.

Q. How do you fell playing live?
It's kind of enchantment, an hypnotic delight. We simply stay there and let those strange sounds take effect on us all, we and the audience.

Q. How do you describe Rev Rev Rev's sounds?
An attempt to understand the intimate relationship between sound and human mind.

Q: Tell us about the process of recording the songs ?
For the "Rev Rev Rev" LP recording session we used a lot of analogic machines, such as Roland Space Echo and Space Chorus, reel to reel tape decks, tube compressors, spring reverb units...The mixer desk was also an old analogic one, hence I think you can feel that kind of warmth in the sound texture.

Q. Which new bands do you recommended?
Easily Stella Diana from Naples, they're really great. Then Clustersun, and I also enjoy the experimentations of 86Sandals...This guy jokes with classic shoegaze songs as it was hip-hop, cutting and pasting the phrases with surprising results. And talking about Brasil, we love Inverness...I once reviewed an album of theirs for a blog, very good band indeed.

Q: Which bands you love to made a cover version?
I think there's no point in covering a similar band. The fun is when you take a song apparently far from your style and make it yours. Two years ago we used to play a cover from Nick Drake and it worked great, hell yeah!!

Q: What´s the plans for future....
After the UK and Swiss tour we're going to work hard on new songs; we should be ready for recording the new album at the beginning of 2015.

Q: Any parting words?
New album will be not so much about shoegaze, but it's kind of attempt to get the same effect with different techniques. Less reverbs, less layers of sound, more extreme tunings, minimal calligraphy and hard exploration of some psychoacoustic phenomena...
Thanks guys

sábado, 11 de outubro de 2014

From Hell With Love with Wall of Death - An Interview

Main Obsessions debute dos parisienses do Wall of Death apadrinhados por Christian Bland dos Black Angels é um bomba prestes a estourar os tímpanos desde os primeiros acordes de Away, passando pela catarse de Thunder Sky até chegar na apoteótica From Hell with Love, os caras vão explodindo neurônios com doses cavalares de psych moderno, aquele pianinho pegajoso, pena que desde 2012 ano do lançamento de Main Obsessions os caras pouco lançaram, tirando o split ao lado de outra maravilha chamada The Entrance Band que saiu pelo meca do psych moderno, a Fuzz Club, os caras vem tocando em tudo que é festival na Europa, Estados Unidos e vão criando uma gama de seguidores fanáticos pela acidez e reza a lenda que ao vivo os caras massacram mesmo.

Quem nos dera podermos ser destruídos pelos ruidosos Wall of Death....mas o mundo é pequeno, vai lá saber....

***** Interview with Wall of Death *****

Q. When did Wall of Death starts, tell us about the history.. .
We all met in a bar in Paris, we became friends and we got the idea of making a band cause we had the samed interest for psychedelic music, everything went very quickly, first gig with the black angels just 6 months after we started!

Q: Who are your influences?
All the good music! Rock of course (psychedelic, indie, 60's, Stoner,etc...) but also every different kind of music. In the van we listen to a lot of different music, from jazz to funk to hip hop etc... Every sound is good for inspiration.

Q. Made a list of 5 albuns of all time…
Not all time but defnetly favorites:

Connan mockassin: forever dolphin love foxygen: we are the 21st century ambassadors of peace and magic pink floyd: meddle black angels: passover black rebel motorcycle club: BRMC

Q. How do you fell playing live?
Live is ouf favorite thing to do with tour in general, it's more powerful that the LP and we have great technicians with us thats does a great work on light and sounds. we give evrything that we have and we are generaly very exhausted after our shows, and very profesionel too. by the way we would love to play brazil!

Q. How do you describe Wall of Death´s sounds?
Like an eagle which is hunting down the mountains, with his moments of contemplation of the landscapes and with the violent moment of the hunt

Q: Tell us about the process of recording the songs ?
We generaly work in our rehearsing space and work on the songs until we think it's perfect, then when we have it done we all go in the studio . generaly in the studio we try to have in mind that we are playing a big show and that they is a lot of people full of energy in front of us... then it's the sound guy job!

Q. Which new bands do you recommended?
Recently: temples, connan mockassin, st vincent, foxygen, etc...

Q: Which bands you love to made a cover version?
Pink floyd for sure, or the doors but we actually did one "light my fire"

Q: What´s the plans for future....
Do more and more music and tour around the world, meet cool people, have fun!

Q: Any parting words?
Don't do drugs!
Thanks guys

sexta-feira, 10 de outubro de 2014

Songs of Love and Hate with Tempers - An Interview

Um caldeirão de referências exala da música do duo de NY Tempers, darkwave, dreampop, pos punk, noise, tudo em pequenas doses conduzidas por beat lentos e gélidos, mesclando sensualidade, violência, tensão e sonhos.

Sem nenhum álbum oficial, mas que segundo eles o debute vem em 2015, o Tempers vai colecionando seguidores desde seu single Eyes Wide Wider/Hell Hotline.

Por hora o TBTCI traz o Tempers mais próximo de todos.

***** Interview with Tempers *****

Q. When did Tempers start, tell us about the history
Jasmine: Eddie joined my previous band Sea Sick right before it broke up. We had a unique telepathic musical chemistry, so we decided to start a new project together and explore our connection - that was the birth of Tempers.

Q: Who are your influences?
Jasmine: I love so many different genres and times in music. I think the music that blows your mind when you are a teenager can be what influences you the most profoundly - Nirvana is what made me learn how to play guitar and write songs. With that in mind - I would say 90’s grunge and post-rock, 80’s CBGB’s, 70’s post-punk and Krautrock, 60’s folk...

Q. Made a list of 5 albums of all time…
Eddie: That is so hard.

Daydream Nation, The Man Machine, Songs of Love and Hate, Spiderland, Low. If you ask again tomorrow you may receive a different list.

Q. How do you feel playing live?
Jasmine: I love performing because it is unlike anything else. At best, I feel like another creature who is euphoric and united with people, timeless and raw. If I snap out of the spell, however, it can feel very absurd.

Q. How do you describe Tempers' sounds?
Jasmine: The soundtrack for a fever dream, beautiful and unnerving. There is a lot of tension between opposites - sensuality and restraint, tenderness and violence. I think of it as romantic music.

Q: Tell us about the process of recording the songs ?
Eddie: Recording is such a satisfying experience. We’re often writing the songs at the same time as we’re recording them, and it’s powerful to hear our collaboration come to life with such immediacy.

Q. Which new bands do you recommended?
Jasmine: Angel Olsen, The War on Drugs

Q: Which bands you love to made a cover version?
Eddie: Last year we recorded a cover of “Killing For Company” by Swans, and it was incredibly inspiring. I think deep down we both want to cover Leonard Cohen or Fleetwood Mac, although we’ve never discussed that!

Q: What´s the plans for future….
Eddie: We began touring this year, in Europe and China, and both trips were life-changing. We’re planning to release our album in 2015 and look forward to touring with it as much as possible.

Q: Any parting words?
Eddie: We would love to come to Brazil.
Thanks Jasmine/Eddie

Cataclysm with Sunken Seas - An Interview

A Nova Zelândia sempre nos brindou com uma infinidade de belíssimas bandas, Bailterspace, The Chills, The Bats, entre outras preciosidades, agora nas páginas do TBTCI o destaque vai para o comboio pós punk shoegazer Sunken Seas, descendente direto do Bailterspace e com nuances de grandes nomes do art noise como o Band of Susans.

Um álbum extremamente hipnótico com paredes e mais paredes de dissonâncias extremas de guitarras e uma cozinha fincada no pós punk leia-se The Sound, Null Hour é denso e pesado, e esta a mostra gratuitamente no bandcamp deles bem como seus último registro o ep Cataclysm igualmente recomendando.

O Sunken Seas virou objetivo continuo em audições deste que vos escreve e não a toa se faz necessário mais dosagens pesadas de Sunken Seas.

Ah eles citaram as meninas do Ratka como uma das novas bandas que eles recomendam, e conversas nos bastidores podem revelar grandes novidades para o futuro, meu conselho é fiquem atentos.

***** Interview with Sunken Seas *****

When did Sunken Seas starts tell us about the history...Why this name?
The imagery of our name is shrouded in some kind of mystery, personally it conjures the image of looking out to the horizon and seeing a massive slow churning whirlpool.

Q: Who are your influences?
We are inspired by alot of different genres of not only music but books, societal factors, events that happen in our own lives. Whilst at all times we try not to over-think the end result, Sunken Seas could be seen as the end result of pouring all the churning machinations of daily life into an musical output.

Other influences include Wesley Snipes and Bridget Powers.

Q. Made a list of 5 albums of all time…
Hard but I’ll give you 4
Colder – Again
My Bloody Valentine – Loveless
Sgt Peppers
Velvet Underground and Nico

Q. How do you fell playing live?
It’s the most enjoyable part. To most musicans I would imagine playing live is like being re-affirmed somehow.

Q. How do you describe Sunken Seas´sounds?
We get confused by trying to classify what we are. It changes alot – we’ve been called so many different genres, i’ve not even heard of half of them. Stonegaze?! We just say we are a rock band, you know what are you are getting on the tin that way.

Q: Tell us about the process of recording the songs ?
It’s a four step process. First we invoke the dead, then we get as high as we possibly can, then for a change of tack we sit around pontificating about the pressing issues of the day, ideas are swapped - as are seminal fluids.

Then we write music

Q. Which new bands do you recommended?
Ratka from Brazil!!
Grave Babies from North America
Total Control
Pink Turns Blue (not new but german and damn good)
Ali Farka Toure
Mo fuckin Electric Wizard

Q: Which bands you love to made a cover version?
Kaleidoscope ‘Please Excuse my face’

Q: What´s the plans for future....
Release our second album early 2014 and get some more international touring under our belt. Would love to play in South America!

Q: Any parting words?
Viva Brazil!
Thanks guys

Human Destination with The Upsidedown - An Interview

Com bons anos de estrada e apadrinhados pelos Dandy Warhols, o The Upsidedown manda ver aquela psicodelia grudenta e altamente pop, bebendo nas mesmas fontes do Dandy Warhols, BJM os caras tem no currículo álbuns acima, os dois primeiros são impagáveis, Trust Electricity e Human Destination, o último cheio The Town With  Bad Wiring tem participações de Peter Buck (R.E.M.), Peter Holmstrom (Dandy Warhols), Colin Hega (BJM) só pra ficar em alguns nomes.

Mas tem mais, recém lançado Under, epzinho desgraçadamente delicioso acabou de sair pra alegria geral.

O The Upsidedown é daqueles típicos casos de amor a primeira vista, ou melhor, audição, a saída é sempre a mesma, entregue-se e divirta-se.

***** Interview with The Upsidedown *****

Q. When did The Upsidedown start, tell us about the history...
I (Matt) met Jsun at a Bikram Yoga class in 2000 I think it was. We were both coming out of a depressed stupor and were doing lots of hot yoga to sweat out the bad stuff in our lives. We realized we had many things in common not the least of which was to start a band. It was a blessing that we met. We have had quite the journey together and have brought others to the family to share the joy.

Q: Who are your influences?
Our influences are all over the place. I grew up in the Ozark Mountains and at that time I was re-exploring my roots. My first concerts were Black Oak Arkansas and The Ozark Mountain Daredevils. Jsun had been a long time Pixies groupie and had spent his summers following them on tour. Locally the 90's were just wrapping up and we were both huge fans of two local bands that collectively blew our minds. Those bands were Hitting Birth and The Dandy Warhols. I think initially we wanted to do something somewhere in the middle. Our music in the beginning was all over the map. It took us a while to find our way.

Q. Made a list of 5 albums of all time…
I don't have a definitive list like some. My memory and taste changes from moment to moment. This is my early morning on October 2nd, 2014 list.

1) Beatles - Magical Mystery Tour (The soundtrack to my youth. I was an accident and my siblings were 10 years older. I inherited their music when they left the house.)
2) KISS - ALIVE II (Jason and I both wore this record out when we were kids especially "God of Thunder." Can hardly listen to it today but still should be on the list.)
3) The Clash - Sandinista (When I finally left my little town and went to collage I was exposed to music that would change everything for me. The Clash was a big part of that.)
4) Elton John - Captain Fantastic and the Brown Dirt Cowboy (This is another one from my childhood. That record took me away as did the amazing artwork. I grew up to be a graphic designer also.)
5) The Church - Starfish (Pretty great record that I heard the other day and remembered how great it still sounded. I think we all still have a copy of that one.)

Q. How do you feel playing live?
Playing live is what it is all about really. It is such a struggle touring and all that goes with it but when you are finally on the stage and giving the music all you have it is transforming. We become greater than the sum of our parts as they say. It feels like you have purpose. We just got back from Australia and I think at least one of those shows was the best ever. It felt amazing.

Q. How do you describe The Upsidedown´s sounds?
That is a tough one because I personally don't think we have a distinctive sound unless it is Jsun's Baritone voice. We get compared a lot to The Dandy Warhols which I take as a compliment. That band has been so very good to us. We love them dearly. One or two reviews have compared our guitars to Thin Lizzy. I think we all loved that one too.

Q: Tell us about the process of recording the songs?
Challenging! We have lots of cooks in the kitchen when it comes to putting the music down for the ages. Expectations are high and often times we record songs a few different times in different places. I keep thinking we will get better and faster but so far that hasn't happened. In a nutshell we put everything we have into it and it is often painful but in the end we can usually say we are proud of the effort.

Q. Which new bands do you recommended?
I have been loving: Temples, Tame Impala, Fever the Ghost, The Ghost of a Saber Tooth, Wand, Avey Tare's "Little Fang" has been stuck in my head all summer. I owe many new musical discoveries to my partner Luci who has a knack at finding great stuff. Our house is filled with new sounds because of her.

Q. What's the plans for the future?
We need to buckle down and get a new record out. We have a truckload of new songs and ideas that need to get flushed out. Hopefully we will get more placement on TV shows with them because that is what pays our bills.

Q: Any parting words?
Man it is such a privilege to be an artist and have an audience. We all try not to take that for granted. Bringing joy, comfort and hopefully some wisdom to people through music is such a great job to have. We have received so many gifts from other artists. We are honored to be able to give something back. It is a noble profession and I hope we can inspire others to give the gift of music and make the world a better place.

Thanks for having us!
-Matt Upsidedown
Thanks Matt

quinta-feira, 9 de outubro de 2014

Funhouse with La Hell Gang - An Interview

A água chilena foi infectada vide Föllakzoid e agora La Hell Gang, psicodelia alucinógena com altas doses de hipnose lisérgica.

O La Hell Gang grava pela cultuada Mexican Summer e o terceiro álbum lançado há poucos meses Thru me Again é pirante pra ficar em um adjetivo simples. A trip é cíclica, a formula da repetição é concebida com exaustão pelos caras e o efeito é o vicio.

Os caras já tocaram em várias cidades da Europa, Estados Unidos e prometem novo álbum pra 2015, o TBTCI já esta ansioso desde já.

***** Interview with La Hell Gang *****

Q. When did La hell Gang starts, tell us about the history...
1 we start at the beggining of 2009 after break with my first band Cindy Sisters (2005- 2008) we recorded our first álbum the same year, Just What Is Real. Me and the bassit met in the school, and the drummer some months before to made the band.

Q: Who are your influences?
2 at the beggining we listen a lot of The stooges albums, raw power specially, spacemen 3, mc5 ,loop, Hendrix, Rolling Stones, And psychedelic from the 60s...

Q. Made a list of 5 albuns of all time…
3 Hendrix - Are you experienced?,
Rolling stones - aftermath,
Stooges - funhouse,
first of Velvet underground,
Spacemen 3 - Perfect Prescription

Q. How do you fell playing live?
4 we feel free, to can jam a lot and blow the songs away..

Q. How do you describe La Hell Gang´s sounds?
5 our sound is analogue and raw, minimal as well as we are a trio... we try to keep the harmonics on music, to envolve and make the wall of sound.

Q: Tell us about the process of recording the songs ?
6 we recorded all together, always on tape, then we make some overdubs of guitars, and few keyboards sometimes.. our first álbum was recoded completly live, one take, Also the voice , so its feeling alive.. In both albums and eps we jam a lot in the recordigs, we love to jam...

Q. Which new bands do you recommended?
7 new bands.. I really like the Wooden Shjips,
There an australian guy called Roy Montgomery, the brian jonestown massacre..

Q: Which bands you love to made a cover version?
8 yo make a cover, maybe John Lee Hooker, or the earlys Bob Dylan, or some T. Rex hehe...

Q: What´s the plans for future...
9 now we are going to eeuu to make a tour, from NY to California, then we back to Chile to record another album and we are planing a europe tour for April of 2015!
Thanks guys

Fiction Prediction with Soft Riot - An Interview

Soft Riot é Jack Duckworth ou JDD como ele mesmo assina, e seu projeto/banda é uma viagem sem volta a virada dos 70´s para os 80´s, pegue a cena eletrônica de Sheffield, pegue a onda minimal wave alemã e européia, acrescente 4AD e ainda os expoentes experimentais da fundamental Kranky Records e você tem Fiction Prediction último álbum do Soft Riot que é uma imersão atmosférica e hipnótica, lenta e climática, suas 12 músicas contemplam uma era que tende a retornar cada dia mais fortemente.

E maravilhosamente Fiction Predicttion esta disponível, em formatos, vinil, cd e k7, ou seja serviço completo, aplausos a Mr JDD.

***** Interview with Soft Riot *****

Q. When did Soft Riot start? Tell us about the history.
The Soft Riot that is out releasing records and playing shows today is pretty different than the one that started a long time ago. It was around the mid-2000s, when I was playing in other synth-punk and post-punk bands that I wanted to do something a bit more minimal and atmospheric. I was really into stuff like early 4AD releases, Kranky records, John Foxx, Ike Yard and that sort thing and looking to do something vaguely in that arena. I recorded some demos in 2006 under the name JJ Wax and did one show in Vancouver (where I’m from originally) with two friends of mine as a backing band. It was an alright show. Someone called me “Trent Reznor” from the audience which I thought was funny.

But I couldn’t really grasp how I wanted it to sound or how to work it live so I put it on ice for a number of years until after I had moved to the UK. I started a short-lived band called Savage Furs and it was only after being in that band for a while that I finally had a eureka moment for that old JJ Wax project — now called Soft Riot — that I was looking for. This was late 2010 going into 2011. Those songs ended up on the “No Longer Stranger” record, which has most recently been re-released on Volar as an 8-song LP.

Savage Furs disbanded and Soft Riot became my only project. I experimented doing it as a one-man show and have been developing the sound and the live show since then. It’s all a discovery process as I go along.

Q: Who are your influences?
It’s a bit trickier for me these days to pick where influence comes from. When I was younger I was more aware of what music I was referencing, especially genres or bands. Nowadays all of these influences have manifested into a personality of it’s own. I’m obviously into synth pop and early new wave/synth wave but over the years I’ve grown to investigate things like modern avant grade, ambient and electro-acoustic music, etc. Coming from a punk rock background I’m always fucking with the formula regardless of how hard I try to. There’s a very subtle sense of humour to the music as well. I have a soft spot for melancholy italo-disco music that comes into play here and there. As serious and dour as it can be there’s a light, airy feeling to it and it’s always entertaining to listen to as well.

There’s a lot of influence outside of just music as well. I’m very interested in film and watch a lot of rare and strange films that likely a lot of people might not pick up on. In my live set there’s reference to some of these. The moods and images from a very striking series of pictures may have as much influence on me as a more obvious thing, like a synth pop track or something.

Lyrics are very important to me as well. I find myself experimenting more with lyrics than sounds sometimes. On the last record, and especially the new record I’ve been experimenting with linear narratives. All my lyrics are in the third person (I never use “I” in any Soft Riot track) as the vocals are intended to take on the role of a narrator. I’m really into subtle, dark humour in music — Bauhaus and The Human League were good for that, especially the Canadian punk band Nomeansno. I love really surreal comedies like Kids In The Hall and The Day Today, etc. so influence comes from so many places for me!

Q. Give us a list of your top five albums of all time…
It’s always tough condensing my favourite music down to five albums but I’d say the following five are not only music I love but sort of relevant to the Soft Riot sound:

The VSS “Nervous Circuits” (1997) — In the 90s when I was more in the post-hardcore scene, this was a band from that scene that put out this one album fusing a 90s post-hardcore sound with a Wagnerian psychedelic/coldwave synth sound, maybe similar to Gary Numan, “Flowers of Romance”-era Public Image limited and that sort of thing. Before that synth pop to me seemed like something that wasn’t relevant to me as in popular culture it was packaged as misty-imaged nostalgia. With The VSS it was cool seeing musicians around my age, and possibly knew through several degrees of separation, doing this sound and playing all ages and small club shows in the West Coast right then and there. A hidden gem from that time period.

Cabaret Voltaire “Crackdown” (1983) — I’ve recently moved from London to Sheffield, a smaller city in northern England that has great history of electronic music, especially for it’s size: The Human League, Cabaret Voltaire, ABC, Clock DVA, Warp Records, etc. “Crackdown” was a great mix of the experimentalism of the Cabs earlier stuff while moving them forward into more “song”-oriented dance music. Soft Riot has been compared to Cabaret Voltaire often enough. I do see it, maybe in the drum production and the vocals a bit.

US Maple “Talker” (1999) — I have an on-and-off obsession with this band. Upon first listen they sound totally unrelated to the music that I do. I love how they have a completely different language with music and they’re a great escape when you’re constantly hearing heavily quantised or melodic music around you all the time. The music is incredibly loose sounding, with a bizarre sounding vocalist who when you seem them live is almost acting this strange Lynchian character. Their music sounds like they can’t play but when you see them live they sound exactly like the record, which is incredible. The track “I Wanna Lay Down Next 2 U” from my first record is Soft Riot trying to take a US Maple approach to songwriting but in a completely electronic realm. “Talker” was produced by Michael Gira of Swans.

Bauhaus “Burning From The Inside” (1983) — Out of a lot of the classic post-punk bands I listened to when I was younger, I think I come back to Bauhaus more than the rest of them. I think they’re a bit overlooked, and by that I mean that most people focus on the obvious: their look, the dourness, the “goth” aspect, etc. I think they’re great musicians and have a varied palette of sounds, like dub, rock, avant grade, etc. They’ve also got a great sense of humour. This album for me is the most exciting, mainly as the dynamics are so varied and knowing the story how it was created, with Peter Murphy struggling with addiction, filling out the story behind the sound.

Deutsch Amerikanische Freundschaft “Gold Und Liebe” (1981) — I had a period around 15 years ago where I was listening to DAF a lot. It sounded quite alien against the more indie/punk rock sounds I was surrounded with in Vancouver at the time. The synth sounds are so in-your-face and raw — they sounded like they could have been produced 20 years after the fact. A good exercise in space and minimalism, as well as atonal composition, which is important to me when music can tend to be by-the-books chords and harmonics…

Q. How do you feel about playing live?
I quite like it, although the format I play live in is still quite fresh to me. After years of playing in bands where you always have at least one other person to play off on stage, it’s relatively new territory for me to play seated with a lot of synths and hardware that I operate as well as signing the songs. My first live show in this configuration was just over three years ago in London and it was suited for the more low key material from the No Longer Stranger record that I was playing at the time. Now, as the new material is more upbeat and synth pop sounding, my performance when playing live has evolved with the music. I’m more animated now I think and more comfortable playing many things at once.

It’s not without it’s challenges though. I usually share the stage with a lot of other great acts that benefit from having a front-person for the band and where their live set-up is more free for performance. Playing seated and just being one person I think weirds people out a bit (I hear “Why don’t you playing standing up?” a lot…). There’s some really big shoes to fill when I start up the set as it’s almost one continuous piece of music from start to finish. I’m grateful that most of my sets have gone pretty smoothly but there’s some shows where I get more “into the zone” than others and I let my intuition guide me into being absorbed into the performance.

Q. How do you describe Soft Riot´s sound?
I try to keep it really simple. I just use the phrase “atmospheric, psychedelic minimal synth pop” and that seems to work.

Q: Tell us about the process of recording the songs?
I’m currently finishing of recording eight new songs that will be a new album. I’ll be mixing those in London with my friend, engineer Owen Pratt in October. Usually most of the ideas come into my head when I’m not even in the studio. I could be walking somewhere, on a bus or doing something really banal like washing dishes or something. I get a lot of ideas when I’m listening to constant machine noise, like being on a train or hearing a refrigerator unit or something. From there I start to flush out the ideas in the studio using the synthesisers, etc. It’s a very complex and all-encompassing process. There’s a lot of emotion, technical detail and even philosophy thrown into the mix. Songs often go through a few phases. Sometimes I’ll shelve a song for weeks or months and come back to to it when I all of a sudden have a breakthrough idea on how to finish it.

When I started working on the new record my idea was that the songs would be more minimal sounding but more hard hitting than Fiction Prediction but it’s ended up being more pop and fuller sounding. I thought about why that might be — my life has been so busy this past year (moving, self-employed work) and the world so full of so much informational noise that I think that’s perhaps why it went in a different, more fuller direction. I’m thinking the next record might take the course I originally intended.

Q. Which new bands do you recommended?
Playing throughout Europe and meeting new people I’m coming across a lot of people doing great and engaging synthesiser and post-punk music. I think Europe’s got a really great “synth wave” scene that’s been emerging over the last 5+ years. It’s very DIY, well networked and feels like a community of sorts.

Now for the bands! I bought a cassette by a Polish group called Alles that is quite good. From my hometown of Vancouver there’s Animal Bodies, Sur Une Plage, Sally Dige and Terror Bird. Good friends of mine are doing amazing synthesiser-based or electronic music such as Noi Kabát, Keluar, Mild Peril, Marcel Wave, Martijn Comes and Transfigure. I’ve also been seeing great new acts by chance at shows and festivals such as Lola Kumtus (Finland) and Paradox Sequenz (featuring a member of Nacht Analyse). The new LP by the Prague-based group Neden has been on my stereo a bit — great kommische style sounds great for evening listening.

Q: Which bands you love to made a cover version?
Doing cover songs for me is difficult as I’m very picky and always trying to make sure I do something that offers an interesting but worthy take on the original song. On my first album I did a cover of a band called Hoover, who were a post-hardcore band on the legendary US label Dischord records that most European audiences are likely not familiar with. That’s all for cover work so far. I’ve got a few recording sessions that are half-finished of cover songs that have been sitting around for a while that I’ll likely pick up. I’m keen on doing a classic Canadian new wave track but not sure exactly what yet!

To be fair I’ve done a lot of remixes over the last year which falls in that general area. Check out for remix work that’s been released so far.

Q: What´s the plans for future?
Well, right now I’m really focused on getting the new record completed and mixed. I’m then in Canada for a few weeks visiting and playing shows. Once I return in November I’m taking a few months to remain stationary. I’ll be working on promo videos for the new record as well as the Some More Terror cassette I just released. During this time I’m not going to be writing any music. I need to do a music “detox” after pumping out two full lengths this year — refresh the studio, clean the slate and let new ideas come in.

I’ll also be turning my attention to rehauling the live show and booking live dates for next year to support the new record.

Aside from that myself and my girlfriend (MM Lyle of Marcel Wave) are launching a new synth club night in Sheffield in November called “Der Hammer” so that’s something to look forward to. If it goes well we hope to get live acts locally and from afar.

Q: Any parting words?
Get involved. We recently had a Scottish Referendum here in the UK where Scotland was given a choice to separate from the UK. The motion didn’t pass but there was it was a close vote and those in favour of separation where passionate and well-researched on their decision. It’s a wake up call to how politics in the UK need to have more involvement from the people. The system here is corrupt and broken. And that’s not just an overview of the UK. That view is a global one as well.
Thanks JJD