segunda-feira, 23 de outubro de 2017

White with The Name of the Band - An Interview

O francês Bernard Marie é envolvido basicamente com um coletivo chamado "Nothing', só pra listar alguns nomes desde pessoal, Maria False, Dead, Future, e por aí vai.

Com este pequena introdução, chegamos ao projeto dele com outros malucos, o nome, The Name of the Band.

Sem um direcionamento musical, é impossível categorizar o que eles fazem, pois em cada single, e eles tem inúmeros, existe uma identidade própria, o The Name of the Band pode ser caoticamente em formas drone matematicamente repetidas, como pode soar como uma avalanche de noise perturbador, ou ainda, um belo guitar sound evocando os 90´s, mas já em outro momento, tudo pode virar um eletro noise cinzento.

Para o The Name of the Band não há limites, há apenas a liberdade de criar música, simples assim.

**** Interview with The Name of the Band *****

Q. When did The Name of the Band start? Tell us about the history...
Actually it’s not a new project, it started 10 years ago. I bought an old Fender Jazzmaster and had a vague idea of a song, but the system I was used to record demos broke down, so I took the little iMac with Garageband I had nearby. It immediatly gave this sound. I don’t mean this software has amazing sound qualities, but everything is simple with it and it goes quick. I had the song, loud, different, direct and true, and an opened field to dig in. Then it took time to find the good formula to play it on stage and above all, the good persons to play with (thanks so much to Marie and Matt). I have to admit that we play and tour with Maria False and with Dead (other bands I’m involved in), so we don't have a lot of time to spend in forming another band.

But the good point is that, after these years, we can rely on about 70 songs, a well-defined sound and a good stage experience for all of us. It makes that The name of the band is an easy band, everything goes quick and with a lot of fun.

Q: Who are your influences?
Well, talking about influences is always difficult. I mean I don’t think we play to do the same we love to hear. We can debate about what rock-and roll is, but what is clear is what it is not. This music is a reaction against something, and personally I feel much more influenced and motived by all the bullshit sounds I can hear all around me.

But to be honest, I'd like to talk about The Pixies. Not because this band is one of my favorite bands, but because I realised with them that doing music was possible. No need to have a good technical level (well it seemed at the time), a sophisticated sound, expensive material or fancy outfits to make a good band. Without them, I think I would have just continued listening music, without the idea that I could make it.

Q. Make a list of 5 albums of all time…
I’m afraid I don’t know a lot of things about music, so I’m not very credible. I spend a lot of time doing and playing it and I do not have time to listen the others. When I do, I try to understand how they made it, that’s crazy. To answer your question, I can talk about Question Mark and the Mysterians and their «Ninety-six tears». They have never made something better than this single and it’s my favorite rock song. More than love it, this song is still a mystery for me, I can’t understand how it works so well without so much objective qualities in it. It’s magic and very fascinating…

Q. How do you feel playing live?
Exciting! As I said, the band is easy and the sound is powerful. We all know well each others and all have other bands. The name of the band is a freedom to test other things, things we aren't used to practice in our other bands. For example, a lot of parts in the show are not planned. Everything depends on the feelings and the sound we can have on stage, especially because of these guitar amp feedback effects we use.

Q. How do you describe The Name of the Band sounds?
Well, firstly it's based on this wide and wild amp guitar sound. It takes a big place in the mix because it’s never compelled as it ordinary can be. It stays very organic and free. We use special guitars for that, a lot of valve preamps, valve amps and large frequency range cabs. In opposition, we work on very controlled drums and vocals. That gives this tension. Well, it supposed to do that effect, hahaha.

About the songwriting, the idea is to play with rock-and-roll more than to play rock-and-roll properly speaking, as poetry and language in a way. It means that we take the usual structures, shapes or clichés of rock music and play them differently to write our songs. So there’s always a distance I guess, but rock-and-roll is almost 70 years old now and it's a nonsense to try to play this music nowadays like it was a new thing. Everyone know what it's dealing with. You can also understand our very stupid band name with this explanation I think.

Q: Tell us about the process of recording the songs?
It’s very quick. We always try to keep the first idea of the song. We record and exchange our parts by the network and then it is quickly mixed, song by song. But these are not demos, they are not supposed to be re-recorded later in better studio conditions. It has to stay rough, something in between, a big sounding demo or a cheap production, as you want. Here again, there’s a format to invent.

About the sound, we never change the tool : same guitars, same amps, same mics… The creative part is not on this side. We don’t care about the sound, it’s just a vector. We record very loudly and noisy and then quickly shape and organize instruments together in the mix. When you start to understand the tune, get the lyrics and the rhythmic pattern, the mix is ended.

Q. Which new bands do you recommend?
I have some difficulties with a lot of new bands. It seems that the novelty and the strength come from the olders nowadays. May be that’s because these old artists have nothing to lose now… (I’m thinking about the last Alan Vega «It» LP, it’s very hard and it goes very far but this exemple is may be too excessive). I see a lot of new bands choosing very comfortable sounds and weak proposals. May be that’s an effect of the music industry crisis, but these bands are afraid to lose something they don’t have. Crisis is just another word for change. To react to that in our way, we have formed with other bands the collective «Nøthing». We have created it to play, communicate and spread our sounds in an easy way. It works like a label, even if formaly it’s not. You can take time to hear these bands.

Q: Which band would you love to made a cover version of?
I don’t know… But there was this nineties euro dance hit of Culture beat, «Anything», the vocal line is pretty fine, I would like us to try to do something with this, one day.

Q: What are your plans for the future?
We have no plans. I learned that this is the best way to last.

Q: Any parting words?
Well, don’t listen rock music, do it. And don’t say that’s difficult, it’s false, rockers are all slackers.

domingo, 22 de outubro de 2017

Clouds with Kitt vs Karr - An Interview

Nos primeiros momentos de "Clouds", segundo trabalho do Kitt vs Karr, lançado no primeiro dia deste mês, tem-se a impressão que o Disintegration do Cure esta sendo retrabalhado para os dias atuais.

"Future 2" evoca fantasmas do citado álbum, sob um espectro esfumaçado e denso, mas sem aquela sensação de querer cortar os pulsos a cada segundo. Mas é a partir de "Numb To This World" que o negócio começa a ficar mais sério ainda, sob um clima ainda perturbador, porém hipnoticamente guiada por nuances sonoras com o Bowery Electric, o álbum toma um direcionamento dark cerebral dançante.

Um trabalho absolutamente envolvente que vai penetrando mente adentro, e aí, a interpretação do que o Kitt vs Karr criou, dependerá muito do seu estado de espírito. 

Uma perigosa, excitante, envolvente e hipnótica viagem ....OBRIGATÓRIO!
***** Interview with Kitt vs Karr *****

Q. When did KITT vs KARR start? Tell us about the history...
Tanner: I started KvK in 2014 as a solo project. The first album I pretty much played everything.
In 2016, Jason (guitar) and I started playing together again since we played together and graduated high school nearly 20 years ago. We both lived in other cities and both had moved back to Denver. I just called him randomly and we seemed to hit it off. We needed a rhythm section and Jason's brother recommended Henry (drums) and Auguste (bass). We seem to have natural chemistry as a band.

Q: Who are your influences?
Tanner: Nirvana was my biggest influence. I saw them when I was 14 and my head exploded.

Jason: Slowdive, Black Rebel Motorcycle Club (BRMC), Boards of Canada, Radiohead, Blur.

Auguste: Radiohead, Joe Strummer, Tom Waits, John Frusciante, Ludwig Van Beethoven.

Henry: Radiohead, Portishead.

Q. Make a list of 5 albums of all time…
1. Nirvana - Nevermind
2. Built to spill - Perfect from now on

1. Radiohead - Ok Computer
2. Blur - Think Tank
3. The Faint - Wet from Birth
4. Luna - Penthouse
5. The Stone Roses - The Stone Roses

1. Pink Floyd - Dark Side of the Moon
2. Tom Waits - Real Gone
3. Beethoven - Symphony 9
4. The Clash - London Calling
5. The Beach Boys - Pet Sounds

1. Any Radiohead album
2. Bent Knee - Shiny Eyed Babies

Q. How do you feel playing live?
Tanner: I love it! the energy and the crowd. You can tell if your doing well.

Jason: I sort of get in my own zone - concentrate on my playing mostly because I do a lot of
improvising live, but also let my mind sort of wander. Overall, very rewarding every time.

Auguste: It feels like painting with sound.

Q. How do you describe Kitt vs Karr sounds?
Jason: Like what an infant might imagine while floating in space, in a dolphin's dream.

Auguste: Each one of us has a lot of musical gifts and talents that we are just beginning to learn how to bring together into one sound. I think what we've done up to this point sounds very good for our first time all working together and getting familiar with everyone's creativity and strengths. I am excited to see what we do next and how we continue to grow as a band.

Q: Tell us about the process of recording the songs?
Tanner: We did all ourselves. Jason and Henry both know how to use a computer and we just experimented with sounds.

Jason: I wrote most of my guitar parts during the recording process, after everyone else had recorded theirs. We recorded in Henry's living room and my basement over the course of 6 months, then mix/mastered by Adam Stilson at Decade Music Studios in Chicago, IL.

Auguste: It's fun taking the sounds you're making in a room and trying to capture that particular atmosphere or feeling. It's a challenge to take what you feel in person, record it, and show it to someone whose never heard it before and see if that feeling still shows through that recording. Some ideas are just better to experience in person, but sometimes recordings can be a better place to experience a sonic landscape in greater detail.

Q. Which new bands do you recommend?
Tanner: Tame Impala, Gregory Alan Isakov

Henry: Bent Knee

Q: Which band would you love to made a cover version of?
Jason: Luna or Blouse

Auguste: I think we should cover the theme song from Knight Rider.

Q: What are your plans for the future?
Tanner: Kep playing with this group of guys. I'm always focused on writing better songs.

Jason: to collapse the probability wave function of any given future - and release another album at some point.

Auguste: Growing as a band.

Q: Any parting words?
Tanner: Hope you enjoy the Music. Keep an eye on us as we will keep releasing albums.

Jason: Did you know that all of the planets can fit between Earth and the Moon? It's true.

Auguste: What is music to you?


Habita with Sobrenadar - An Interview

Paula Garcia ou Sobrenadar, para os íntimos, cria música, ou melhor, cria sensações, sentimentos desde 2011.

A música do Sobrenadar serve perfeitamente para a contemplação da vida, da beleza, as referências são quase todas voltadas para a natureza, ou, para o mar, uma imensidão de imagens são transpostas de sua música para os sentidos do ser humano.

Talvez a grande conexão sonora seja algo entre Julee Cruise e o duo Windy & Carl.

Sobrenadar é música para ser sentida, muita mais do que ser ouvida.

A natureza agradece.

***** Interview with Sobrenadar *****

Q. When did Sobrenadar start? Tell us about the history...
It all started in 2011 when I had a couple of songs recorded and I wanted to upload them to myspace for my friends to hear them. There I had to register and choose a username... I was reading a book where the word Sobrenadar appeared and suddenly it all click with the sound and names and lyrics of those songs, most made reference to water and nature. Back then I had never played live or imagined that I would end up getting a serious project of all this.

Q: Who are your influences?
My influences keep changing over time. A few months ago I was listening to japanese music from the 80's. When I was a teenager I could not stop listening to Led Zeppelin. Now I'm getting carried away (again) by ambient music, soft guitars or quiet pads.

Q. Make a list of 5 albums of all time…
Boards of Canada - The campfire headphase
Mort Garson - Plantasia
Air - Talkie Walkie
CFCF - The colours of life
Julee Cruise - Floating into the night

Q. How do you feel playing live?
To be honest it is not my comfort zone at all. I do not like being in the spotlight, but it's something I have to do anyways. The live set is simple, like my songs. It's not that I have ten instruments and I have to move a lot around the stage. Mostly it all happen around the vocals and the guitar for the moment. I try to focus on that and let myself go.

Q. How do you describe Sobrenadar sounds?
Dreamy melodies and a easeful atmosphere (I hope), with a bit of nostalgia.

Q: Tell us about the process of recording the songs ?
I have always worked alone so I can do it anywhere anytime.  For example I can start early in the morning with a guitar arpeggio and by the afternoon that became a pad almost imperceptible. Is a very spontaneous process that does not follow any rules. But it always took me many hours of work and dedication. I have some mechanisms that I developed over time that helps to be faster to concrete ideas than five years ago. It cost me a lot of patience to get there and to this day I'm still learning.
For me it is like a beautiful daily exercise that requires discipline but it fills me with peace and tranquility.

Q. Which new bands do you recommend?
You can listen to Lujo Asiatico, Las Voces, Jimena Dominguez, Bow, Lamusa, Geotic, Machinone...

Q: Which band would you love to made a cover version of?
Definitely Windy & Carl, the album Drawing of sound is beautiful.

Q: What are your plans for the future?
A new EP has just come out, "Habita" co produced with Tibo Javoy.  Is the first time I worked with someone who is not myself and I was very satisfied with the result. My plan now is keep working on new songs for an next album meanwhile I do shows to present this last work.

Q: Any parting words?
I would like to thank Renato for this interview and to be that bridge that helps to communicate new music with all the people who are willing to read this lovely blog.

sábado, 21 de outubro de 2017

Tangy Dream with Palm Haze - An Interview

Era uma vez numa casa de praia em Ilha Bela, litoral paulista, Lucas, guitarras, resolveu tocar uns acordes e Anna começou a cantar em cima do que ouvia e assim teve início o Palm Haze.

De Ilha Bela para Vancouver no Canadá, os dois se juntaram a Marianne e Caio, e banda nascia por completo.

Shoegaze flutuante, derretido em camadas e mais camadas formam a espinha dorsal do debute deles, lançado há pouco mais de um mês. "Tangy Dream" é sedutor, é abrasivo, é sonhador, e, é barulhento sem exageros, como manda a cartilha de todo shoegaze, ruídos entre sonhos predominam e direcionam o disco, que ainda oferta sinuosas tendências de trip hop.

O mais interessante de tudo, foi que, quando os ouvi pela primeira vez e os contactei não imagina que estaria conversando e conhecendo brasileiros, e foi uma grata e deliciosa surpresa.

Serve de exemplo e incentivo pra bandas que sonham em atingir outros ares, o Palm Haze dá a dica, mas mesmo assim é possível sentir a leve brisa dos ares de Ilhabela, escute Beautiful Island e ateste.

Deliciosamente envolvente.

***** Interview with Palm Haze *****

Q. When did Palm Haze start? Tell us about the history...
Anna: We were staying in a beach house in Ilhabela and out of nowhere Lucas started playing some chords on his acoustic guitar and I started singing some random lyrics.

Lucas: Yeah, them I stop and said "oh, this sounds good, we should record it so we don't forget it", we did it and it became our first song. For us that's what really defines our start.

Q: Who are your influences?
L: My main influences are Sonic Youth, Placebo and My Bloody Valentine. Other than that, I'm also influenced by electronic artists like Air, Portishead and Massive Attack, as well as vaporwave music.

Q. Make a list of 5 albuns of all time…
Loveless by My Bloody Valentine
The Virgin Suicides by Air
Goo by Sonic Youth
Sunbather by Deafheaven
Tidal by Fiona Apple

Q. How do you feel playing live?
L: It's kind of an awesome and also blurry experience. I often feel kind of nervous and excited and it all goes so fast, it's one of the reasons that I make music for sure.

Q. How do you describe Palm Haze sounds?
L: Our sound is like getting out on a sunny day to go skating (actually, on one of those flying skates from Back to the Future), smooth, with hard bright lights hitting your face once and then and often some abrupt falls that make you just lay down on the ground and stare at the sky wondering "what is happening?".

Q: Tell us about the process of recording the songs?
L: Usually we get together and I start playing something and Anna writes the lyrics until we get a very raw demo with some parts of the song, most of the time we do this in one afternoon. We don't like to keep working on songs for too long. Then, to record is not very different, but most of the time I do the instrumental part alone, also very quickly. I go and record the parts we thought on the demo and some other random parts and solos that I think it could fit the song. To finish I arrange all those parts on the production and we have a song.

Q. Which new bands do you recommend?
L: I'm really one of those that just keep listening to the same bands over and over, I do not follow many new bands and I'm kind of lazy to search new stuff, but I came across some awesome bands like Pinkshinyultrablast and Froth recently.

A: I love female vocals: Widowspeak and Winter are awesome!

Q: Which band would you love to make a cover version of?
L: I would love to cover Dirty Trip by Air.

Q: What are your plans for the future?
L: We will try to release Tangy Dream on Vinyl and Cassete and we are also working on a new album or EP for next year.

A: We would also like to play more concerts, maybe tour on the Northwest Coast and possibly Brazil. And make some cool videoclips!

Q: Any parting words?
A: Love Palm Haze.

sexta-feira, 20 de outubro de 2017

Horizons with Tús Nua - An Interview

Zagreb, Croácia, 2017, "Horizons" vem ao mundo, e assim o trio Tús Nua começa a ser devidamente descoberto e apreciado.

Reverberações cíclicas vão crescendo em proporções eloquentes, intenso em formas mantricas, cinzento e esfumaçado, são adjetivos que vão se alternando e servem para tentar decifrar a obra criada pela banda. Um mix de pós punk, shoegaze e psicodelismo, sempre em tons densamente melancólicos.
Especialmente recomendado a fãs de sonhos, escuridão, mas que sempre tentam buscar a luz. Uma obra como eu costumo dizer, ACIMA.

***** Interview with Tús Nua *****

Q. When did Tús Nua start? Tell us about the history...
Jordi: Well, Tús Nua was technically founded in 2015, but us three have been playing for a year together, since 2016. Before, it was a trio, then a duo, then a solo project, then I met these two wonderful people, and I knew that was it. We've been playing ever since.

Q: Who are your influences?
Jordi: It's kinda hard to say, since I don't pick my influences intentionally, plus, they constantly change. Also, I don't always pick influences from the music I usually listen to, sometimes I „accidentally“ pick up stuff. But if I HAD to name a few that have influenced me in recent times, I'd say Slowdive, Mogwai, Explosions In The Sky, Now Now, DIIV, Interpol, Echo and the Bunnymen. But, trust me, the list could go on.

Matea: Bands like Placebo, Slowdive, Mogwai, Interpol...

Jelena: Alice in Chains, Sonic Youth, anything Chris Cornell ever did, Tool, Tegan & Sara, Kyuss, QOTSA, Žen.

Q. Make a list of 5 albums of all time…
Jordi: This is even harder than naming our influences haha... My personal favourites are Slowdive – Souvlaki Space Station, Mogwai – The Hawk Is Howling, Tegan and Sara – The Con, Placebo – Sleeping with ghosts, Explosions in the sky – The Earth is not a cold dead place.

Matea: Meds and Sleeping with ghosts by Placebo, Turn on the bright lights by Interpol, Mezzanine by Massive Attack and Meteora by Linkin Park.

Jelena: Soundgarden – Badmotorfinger, Alice in Chains – Dirt, Tegan & Sara - Under feet like ours, Peach Pit - Suspicious Cargo, Pearl Jam – Ten.

Q. How do you feel playing live?
Jordi: Like when you quickly eat ice-cream, and get a brain freeze, but then it goes away and you can enjoy your ice-cream - a bit uncomfortable at first, but then it's the best ever, and you never want it to stop. I think it's amazing to have an opportunity to show your music to people outside of the recorded media, it's simply a different feeling.

Jelena: Ice-cream, that sums it up!

Q. How do you describe Tús Nua sounds?
Jordi: Like a mixture of everything, all mashed into one, but with a certain amount of sense.

Matea: I'd say that it's a hybrid of different genres. Like a crossover between dream pop and noisy shoegaze.

Jelena: Each one of us three puts a distinct and unique taste in our sound. Flavours matched, it came out a good blend.

Q: Tell us about the process of recording the songs ?
Jordi: Someone gets an idea, we work on it, improve it, change it around at least 5 times, go back to the first idea, then go through that cycle once or twice again, until we get something we're all satisfied with.

Jelena: Exactly, we build on each other's ideas.

Matea: We pour ourselves a glass of gin and tonic and hope for the best! :D

Q. Which new bands do you recommend?
Jordi: They might not be exactly new, but they are not as known, so I'll still name them. Žen, they're a great band that will soon release their third album (they also played on some songs on our album Horizons), and probably my favourite Croatian band; ###, another great band with no vocals, and awesome instrumentals; Valentino Bošković, , it's one of the weirdest bands I've ever heard, but I simply can't stop listening to it; and Side Project, who are into electronic music, and sound like Depeche Mode and The XX had a baby. All these bands are from Croatia; we have some really good bands over here.

Matea: Japanese House!

Jelena: ###! Taraba taraba taraba!

Q: Which band would you love to made a cover version of?
Jordi: I'd like to do something that's different than the original, so probably something like CHVRCHES. Or Depeche Mode.

Matea: The 1975, without a doubt!

Jelena: Dream pop version of Kao da ne postojim, by Daniel Popović.

Q: What are your plans for the future?
Jordi: Practice a lot, hopefully play a lot, and make some new music. We basically just want to play as much as possible.

Matea: Practice, practice, practice and practice!

Jelena: To play until we drop.

Q: Any parting words?
Matea: Thank you for your time, make sure to check out our album! Greetings from Croatia!

Jordi: Obrigado, tenha um bom dia!

Jelena: Ž!

Broken Spectre with Lost Film - An Interview

Cintilantemente veio ao mundo hoje o novo trabalho do Lost Film, "Broken Spectre".

Uma ode a famigerada sonoridade do selo de qualidade Sarah Records, e claro, porções de Chills e Go-Betweens sempre fazem parte do pacote.

O disco é uma pérola, resumidamente é isso, mas, existe, ao menos para mim, um certa similaridade do Lost Film com o querido Electric Lo-Fi Seresta, talvez muito por conta das conexões e referências, e, também, pelo formato, no caso, Jimmy Hewitt, é vozes, guitarras e todo restante, ficando a bateria a cargo de Ben Husk, mais um das muitas coincidências com o ELFS, mas isso serve apenas para situar você, leitor/ouvinte que vai se embrenhar no mundo de sonhos de Jimmy.

Uma doce serenata cristalina onde o amor comanda, assim é o Lost Film.

***** Interview with Lost Film *****

Q. When did Lost Film start? Tell us about the history...
Lost Film started officially in 2014 but was really a continuation of a project I had in Boston in 2011 called Orca Orca. I moved out of Boston to rural Western MA and changed the name to Lost Film. I write the records at home in my spare time and then when it comes time to go to the studio or play live, I have friends come and join in to make everything sound better and bigger.

Q: Who are your influences?
Chronologically my influences were my grandmother who gave me my first guitar, my friends pop punk bands in high school who I wanted to be like, and then the OC season 2 soundtrack from 2004.

Q. Make a list of 5 albums of all time…
My first tape I bought was Hootie & the Blowfish when I was like 8, my first cd was Sheryl Crow when I was 10, my first record I bought was the Strokes Is This It when I was like 15. Ryan Adams' Love is Hell and Wilco's A Ghost of Born were my favorite records in high school and probably still are.

Q. How do you feel playing live?
This project especially is always way different live than the recordings. we only play a few shows a year at this point so we make the best of it and have a lot of fun on stage. its a lot faster and grittier than the records.

Q. How do you describe Lost Film sounds?
Lost Film probably sounds like 1987 mixed with 2002

Q: Tell us about the process of recording the songs ?
Every Lost Film record has been recorded differently. Some have been in studios but mostly at home. Our new record was recorded in my basement and then we sent it to be mixed by our friends at Big Nice studios. I feel best recording at home since its more comfortable and theres no time constraints. it also allows me to try more things while recording I might not have if I were in a studio with a bunch of strangers watching me.

Q: Which band would you love to made a cover version of?
I'd like to cover Sheryl Crow's C'mon C'mon in full.

Q: What are your plans for the future?
Probably keep writing 3 minute pop songs on guitar. Also would really like to get into scoring films.

Q: Any parting words?
Our new record Broken Spectre is very good and comes out in late October on 10" vinyl and cassette tape.

quinta-feira, 19 de outubro de 2017

Stay With Yourself with Bruises - An Interview

O que move o TBTCI é o prazer da descoberta, o mesmo prazer que há décadas, este que vos escreve, tem em descobrir, conhecer, se aventurar, uma paixão pelo novo, pelo frescor da nova música.

Sei que muitos da minha geração, infelizmente, perderam este tesão, as vezes talvez o sentimento volte, mas o fato é que o desejo pela descoberta parece que torna-se cada vez mais inexistente.

Mas, não aqui. ter o prazer de conhecer uma banda desde seu nascimento, assistir seu crescimento, vivenciar seu amadurecimento, é impagável, e um caso que deve ser acompanhado é o quarteto de Barcelona, Bruises.

Apenas um single, nada mais, todavia, o prazer de degustar "Stay With Yourself" é daqueles que poucos podem apreciar, mas muitos deveriam. Um dreampop com os pés no pós punk trivial oitentista, porém emulando conexões e referências com gente como o Beach Fossils, fazem deles um sopro de leveza sonora.

Mas assim, se você esta cansaço e só consegue ter ouvidos para as mesmas coisas, eu lamento, seu desejo esta se perdendo contigo.....tente resgatá-lo com o Bruises, vai que tudo renasça, não é?

***** Interview with Bruises *****

Q. When did Bruises start? Tell us about the history...
Well, Bruises started at the end of 2016 more or less. I travelled (Sebastián) from Chile (my native country) to Barcelona looking for a new place to start a musical project. So with a couple of songs under the arm I met friends of friends who were playing too. First Carlos joined at bass and we kept trying with new people until we chose Alejandro at drums and finally Genís at lead guitars and backing vocals. Most of us have been playing the last 4 years in other bands like The Saurs, PANE, Mal Villano, etc.

Q: Who are your influences?
Hmmm… it’s quite hard to say. I think one of the biggest is the sound of the reverb from artists like Cocteau Twins, Cleaners From Venus, Beach Fossils… as well as the catharsis from emo and punk of American Football, Mineral, Dead Kennedys, Minor Threat… Also I feel really inspired by people that follow their dreams even if they don’t have many resources, like the DIY spirit.

Q. Make a list of 5 albums of all time…
Tough one, maybe something like this:

Radiohead - In Rainbows
Beach Fossils - Beach Fossils
My Bloody Valentine - Loveless
Cleaners From Venus - Midnight Cleaners
Joy Division - Unknown Pleasures

Q. How do you feel playing live?
Surely is one of my favourite things. I mean, all the songs have an emotional attachment, so at the end performing becomes kind of a therapy. Half of it is playing live and the other half is making the songs.

Q. How do you describe Bruises sounds?
We call it sad pop, but it’s more like hazy songs were the melody plays a very important part (that’s what we mean with the pop side). All the songs have a particular melody, like an own identity.

Q: Tell us about the process of recording the songs ?
Well, actually I record all the demos by myself and then I show them to the band. Then we play them at the rehearsals to check if we have to arrange things, etc. For example, with our single "Stay With
Yourself" I recorded Alejandro on drums at the rehearsal room with a couple of microphones and that was it. All DIY!

Q. Which new bands do you recommend?
In Barcelona we’re surrounded by many good friends’ bands like The Zephyr Bones, Keems, VLIVM, Grums and some others. Also I know quite well the music scene in Chile and there are many cool bands growing like Patio Solar, El Cómodo Silencio De Los Que Hablan Poco, Niños Del Cerro... All of them are young talented people with honest and fresh intentions.

Q: Which band would you love to make a cover version of?
I think we all agree that we should do a cover of “Sweet Child O’ Mine”, hahaha. Nah, maybe “Weird Fishes” by Radiohead or a Title Fight’ song.

Q: What are your plans for the future?
We will start to record an EP soon and also a lo-fi video for the single, with which we want to increase the band's exposure and play more and more. At first we said that we will try it as far as we can or until we play a great concert in Japan!

Q: Any parting words?
Download our single from Bandcamp!

Thank you very much, TBTCI. This was fun to answer and we hope to show up around Brazil soon.

Perfect Harmony with Evening Glow - An Interview

Inevitavelmente o indie rock deve tudo aos 80´s, a estética de gente como Smiths, Orange Juice, Cure, Chills, R.E.M. New Order, entre outros , fundiu a mente de muitos garotos que nasceram depois, e isso nunca deixou de acontecer, seja quando a class of 86 apareceu, ou quando a Sarah Records germinou seus garotos, depois ainda vieram o B&S, e uma infinidade de bandas que beberam, ou bebem, nesta fonte.

E não seria nos nossos dias atuais que isso mudaram, certo? Eu mesmo responde, certíssimo!!! Se você procurar no submundo dos bons sons vai encontrar pérolas escondidas, garotos e garotas que moldam seus anseios em urgentes melodias cristalinas, expurgando todos os desejos da transição da vida de um jovem para a temida vida adulta.

Um desses preciosos casos é o quarteto de Chicago, Evening Glow. Uma pulsante coleção de melodias que evocam todos os nomes ali do primeiro parágrafo e outros tantos, por vezes, ao ouvir o viciante EP, "Perfect Harmony", me lembrei do The Bodines, mas você mesmo vai se lembrar de seus prediletos, acredite.

O que vale é que essa chama, continua intensa, e o Evening Glow é um exemplo atual e vibrante disso tudo.

Ah, pode se apaixonar, não fará mal algum.

***** Interview with Evening Glow *****

Q. When did Evening Glow start? Tell us about the history...
Evening Glow started about 2 years ago. We were initially an noise/shoegaze band. Aidan and Aaron are brothers playing guitar and drums since they were kids. They have been playing with River and Vincent for over 8 years in many different bands. We finally decided one day that we should all be playing in the same band and form a 'supergroup' type band. Thus, Evening Glow was formed.

Q: Who are your influences?
Our current influences are The Cure, REM, The Smiths, New Order, Fela Kuti, Talking Heads, Joy Division

Q. Make a list of 5 albuns of all time…
Top 5 Evening Glow Albums of all time
5. Fela Kuti - Afrodisiac
4. Donna Summer - Bad Girls
3. The Smiths - Queen Is Dead
2. Pulp - Different Class
1. Talking Heads - Remain In Light

Q. How do you feel playing live?
Rushed but always good. We always go up on stage, play for 30-40 minutes of banging songs, little banter, walk off, watch the other bands and talk to people afterwards. People are there to be entertained by your music and forget about life for a while.

Q. How do you describe Evening Glow sounds?
With the latest release "Perfect Harmony EP" we definitely feel it can vary from "Post Punk" to "Dream Pop" sounding. But the icing on top of it all is the Indie aesthetic to it all. One of our friends recently described our music as, "It's like if REM had Stephen Morris (Drummer of Joy Division and New Order) as a drummer"

Q: Tell us about the process of recording the songs ?
Recorded the EP to a 16 track tape machine. We would live track the songs with all of us in a room playing together. Then go back and add all overdubs, vocals and synths later at our home studio. All of the tunes were mixed by Evening Glow as well.

Q. Which new bands do you recommend?
Alright, if you like our sound and style then you will definitely like some of our other Chicago friends too.

-Check out our friend Beach Bunny who plays sad 'surf pop' and 'power pop' type music. It's genius. We constantly, I mean constantly, bump to all of her songs.

-Ex Okays are basically a more noisy, louder version of Evening Glow and it's soooo good. . Check out their EP they put out last Winter.

-Lastly our friends Mt Pocono. Check this lovely bunch out. They're making indie shoegaze and it's like someone is massaging your ears while they're performing. They plan on putting an EP out soon which will definitely be in our top 3 albums of local Chicago bands this year.

Q: Which band would you love to made a cover version of?
Aaron (the drummer) always says Evening Glow should cover a Smiths song because it would be a challenge to do a good cover of them. Either "This Charming Man" or "Some Girls Are Bigger Than Others"

Q: What are your plans for the future?
Keep writing the tunes. Experiment as always. Maybe become an Afrobeat band. Or an experimental Hip Hop quartet. We might trade in our guitars for turntables... or for synths and drum machines. Who knows what's next...

But for real, probably put out more singles and another EP in 2018. We want to tour as much as we can here in the United States. Right now we only have the resources to do weekend runs to other cities in our region of the country. If we could tour for months on end and be writing records all of the time, we would quit all of our jobs in a heartbeat. Forget money. As long as we can pay rent and eat Mac n Cheese™ we are happy as we could ever be. Just need to keep putting out good music for all to love and just continue getting a name for ourselves.

Q: Any parting words?
Definitely check out those other bands if you like us. You will like them for sure because they are better than Evening Glow. Thank you for your time if you read this all the way through.
Check us out on Spotify, Itunes, Bandcamp, Soundcloud, and all other major streaming services! As well as follow us on all social media, Facebook, Instagram, Twitter...


quarta-feira, 18 de outubro de 2017

Trisset with Lazy Salon - An Interview

Sean Byrne ex-Lenola/Mazarin vem desde o final de 2014 se aventura numa trip de hipnose ambient evocando uma sonoridade absolutamente idiossincrática, baseada em repetições ininterruptas, passeando por dub, trance, ambient dream, sem se prender absolutamente a nada.

"Trisset" é a mais nova experiência de Sean sob a alcunha Lazy Salon e serve perfeitamente para sacolejar mente e alma.

Pegue sua bebida, seu psicotrópico favorito e caia na noite, ou apenas feche os olhos e como diria Fábio Bridges, segure a trip.

***** Interview with Lazy Salon *****

Q. When did Lazy Salon start? Tell us about the history...
I had played drums for a number of bands in the 90’s into the early 2000’s, and then started a home-recording folk/pop project with a friend called The Twin Atlas, which was an outlet for me to focus on songwriting, guitar, singing, etc., instead of drums, and also learning how to record music myself. That project lasted from around 2000 until 2010.

After The Twin Atlas ended I took some time off from writing/recording and became a lot more interested in music based on repetition, ambient/electronic things, dub, instrumental music and stuff like that.

Starting in 2014 I began recording new music by myself as Lazy Salon and the first EP came out later that year.

Q: Who are your influences?
I think a big influence on this project has just been a return to drumming, after having not played much for a few years. Just sitting down and working out rhythms, improvising and enjoying the instrument outside the context of playing in a traditional band or rehearsing songs has been really fun.

Even if I am creating a Lazy Salon song where I am using loops/samples and not technically ‘playing’ on the track, I still feel like my reconnection with drumming really informs the project.

Q. Make a list of 5 albums of all time…
Thats absolutely impossible, haha.

I do have a series of mixes I’ve created up on Mixcloud that include a lot of new & old music I love; ( )

Q. How do you feel playing live?
It’s not been a live project so far, just recording/producing. I’ve tried to wrap my head around how it might be translated & performed live as a group or solo, but I have not really come up with any approach I think I’d be happy with.

I’m not ruling it out, but I would need a good deal of help & work to really figure it out and make it worth doing as a live thing.

Q: Tell us about the process of recording the songs?
There is usually some basic track or idea that I start with and build upon to create a full song track by track.

It might just be a rhythmic idea, or other times a guitar pattern or a loop or snippet of some sound I randomly recorded on my iPhone which is then used as a foundation to build up a song from.

Once everything is recorded & built up & layered, I then make a lot of mixing & editing decisions on where & how each track or element gets brought in or out of the song, which ultimately creates the flow & sequence of the finished song.

Q. Which new bands do you recommend?
Not bands, but there are a variety of really interesting online radio stations that do a good job at exposing different sounds and ideas. NTS, Dublab and The Lot are all great for absorbing stuff you might not hear otherwise.

I also support and enjoy traditional free-form FM stations such as WFMU and WPRB here in my home state of New Jersey.

Q: What are your plans for the future?
2017 was pretty busy between the album release in March and the new EP this fall. I’m looking forward to not writing or recording anything for a little while, just play some music without feeling like i have to work on anything. I’ll probably start chipping away at new ideas & recordings in 2018 and see where that leads to.

Q: Any parting words?
Thanks for listening, feel free to follow along and spread the word;

terça-feira, 17 de outubro de 2017

A Beautiful Curse with Crying Vessel - An Interview

Uma volta às Batcaves é proporcionada desde os primeiros momentos de "A Beautiful Curse", novo disco do duo Crying Vessel.

Evocando ícones dos infernos escuros e sombrios, o duo despeja através sintetizadores uma aura de claustrofobia regada a tons cinzentos, dançante e cerebral, "A Beautiful Curse" soa ao mesmo tempo nostálgico e atual, condensando os 80´s ao caos dos dias atuais.

Absolutamente recomendado a notívagos sedentos por noites sem fim.

***** Interview with Crying Vessel *****

Q.Hello Slade, first congratulations on the new album, it's really brilliant, what is your analysis after conclusion of album? Are you happy with the result?

Hello Renato, good to hear from you and TBTCI again. Always a pleasure. First off, thank you for the compliment! Truly means a lot to me and everyone involved. I worked for nearly 2 years on this record, so it is kind of surreal feeling now that it is about to be released and pre-orders are out. I am happy with the results and amazed by the early success already going on with all of it.

Q. How was the process of creating A Beautiful Curse ?

The process of creating the music was just as important as the personal discovery process that happened with this I think. I learned to be patient and sit back on the songs and truly focus on where they should end up and what they need. I typically rush through this process and just get it out in the past. This time I really put a lot of attention on the progression of the vocals with the songs and lyrical work to truly get my feelings across. I focused a lot on how the Synths and my guitars interacted (both melodically and technically). My past albums were very experimental because of the feeling to get it out and going. But I took my time and put every ounce of energy I had into this album. The process of this album will forever be special too because I was using a lot of programmed drums and I did the entire thing myself. Since shortly after starting on the album I started working with drummer Basil back in early Spring 2016 both for live shows and then studio work for the new material. So this will forever be a special gem-of-an-album I think. Very personal for me and also for the fans.

Q. What are the main differences between A Beautiful Curse and "Killing Time"?

A Beautiful Curse has Killing Time on it along with the other 2 songs on the EP that came out last October. Killing Time was one of the first songs I wrote for the album and decided to put out the single. It was after seeing such great response (and a record deal from Manic Depression Records) that gave me even more reason to keep pushing to get this album done and get it done right. Killing Time is much more up tempo than the rest of the album, which funnily enough is now hinting at the new material we have been working hard on. Much more along those lines again. The unique thing I did with this album is also give each version (CD, Vinyl, Digital) a unique twist. The CD is different White cover trifold artwork and something special tucked away. The Vinyl is Black logo artwork with reordered track list for better master quality and flow. And the digital is the basic release with black logo artwork and CD order. I fully wanted this album and my Crying Vessel alias to be more than just a release or music. I want it to represent the world I am creating and everything we are doing is very conceptual. This bleeds into our live show too which is made to be a complete multimedia and visual experience with more meaning and depth. Its important to me for it to react with a person on a deeper level than one you get on a radio single made for the masses. Music can do so much more for a person than fulfill the duties of being the background music for their drive to work while sipping their coffee. Its fully submersible for the listener. It just needs to be presented a certain way and executed.

Q. What were the influences for creating the new album?

The album was greatly influenced by falling back in love with my childhood favorites. Sisters of Mercy, Gary Numan, Joy Division. You name it. If you look back in my discography I was doing a touch of this dark wave style in the first album back in 2011 called Necrozine. But It was just baby steps at the beginning of where it could end up I think. After detouring through Trip Hop for a while (a couple albums actually) I came back to this. I came back to what I am all about and what I can stand behind. I even had an EP that came out in 2013 with 3 very ‘80s’ style wave driven tunes that could have fit perfectly fine on this new album too. So those influences have been there, but I finally had the focus and time to refine my approach to deliver them. That mixed with more and more guitar oriented writing process has made it come to this.

Q. What are your plans for 2017?

We have some very exciting things going on. Basil and I have been working together since Spring 2016 to get the live performance going and it is going amazingly well. We have European and USA tours being lined up and October is already booked out around Switzerland for the album release shows. Holland is in the works for March 2018 and April 2018 we have about 10 dates in USA being finalized. Along with this we have new material we are already writing. We have the new Vinyl, CD and Digital release of “A Beautiful Curse” coming Friday October 13th and to our surprise; the Pre Orders have already sold out a few legs of our merch. We are also talking about doing a Remix EP this winter with some very great fellow Post Punk and Darkwave style bands we work with. So more on that soon!

We'll Be Just Fine with Burn The Louvre - An Interview

Indie rock inteligente e vibrante ainda existe, é apenas uma questão de procurar no lugar certo. Neste caso, ele se encontra em Ontario, Canadá, e atende pelo nome de Burn The Louvre.

"We´ll Be Just Fine", novo trabalho dos caras é urgente, buscando conexões com The Jam, Undertones, Arctic Monkeys e afins, sem soar pejorativo, pelo contrário, apenas seis exemplos de que ainda existe vida no indie rock.

Nada de novo, nada de inovador, apenas indie rock como deve ser, ponto positivo para o Burn The Louvre.

***** Interview with Burn The Louvre *****

Q. When did Burn The Louvre start? Tell us about the history...
My brother Dylan and I started writing songs for Burn The Louvre as far back as 7 years ago. I got sick of being the drummer in my old band so I quit, taught myself guitar and decided to start performing my own songs, Dylan had some of his own songs too, so with the help of a couple friends we put out Post-Romance EP November 2014. After dealing with some unforeseen delays and obstacles we were finally able to release our brand new EP We'll Be Just Fine this past July.

Q: Who are your influences?
A lot of Canadian bands actually. I love Joel Plaskett Emergency, Sam Roberts Band, Metric, our local Hamilton boys in the Arkells & The Dirty Nil, but then I'm also a huge Lana Del Rey fan. I'm always a fan of some good hip-hop (see: Dr. Dre, Kendrick Lamar, Childish Gambino etc.) and of course I love Bob Marley, but I mean who doesn't love Bob Marley right?

Q. Make a list of 5 albums of all time…
That is a tough one, but my personal list would be:

1. Love At The End Of The World - Sam Roberts
2. The Devil & God Are Raging Inside Me - Brand New
3. Three - Joel Plaskett
4. The Chronic - Dr. Dre
5. Favourite Worst Nightmare - Arctic Monkeys

Q. How do you feel playing live?
Centre stage is my favourite place in the whole wide world. It's me and 3 other guys just taking what the crowd is giving us and we do our best to give it back to them tenfold. I love getting the crowds going, because when they're into it and feeling it, it just makes my job so much easier.

Q. How do you describe Burn The Louvre sounds?
I would say it's a combination of 90's guitar rock bands like the Pixies and Weezer mixing modern indie rock bands like Arctic Monkeys with some acoustically pleasing sounds deriving from Joel Plaskett and Sam Roberts. I'm hoping to eventually push this into a more Lana Del Rey dream pop kind of direction when the time is right.

Q: Tell us about the process of recording the songs ?
We had these songs kind of kicking around for a year or so prior to recording, so when we got into the studio to record them properly it was a pretty fluid process. Everybody knew their parts so that made things a lot easier. Some scheduling conflicts, but sometimes that's the way things go. Overall I'm quite happy with how this EP turned out.

Q. Which new bands do you recommend?
There are some great new bands from right here in Hamilton that I love: Aron D'Alesio, The Bandicoots, Silvertone Hills, Parts & Service, The Crowleys, Free Love, the list goes on and on. Great music in this city.

Q: Which band would you love to made a cover version of?
Honestly, I would love to cover Lana in some capacity. I think I might do a cover or two of hers on our YouTube Channel in the coming months.

Q: What are your plans for the future?
Well we're releasing our new music video for our second single "Body Lies" in the next week or so and have a few more shows coming up as well as a couple more music videos coming out before the end of the year. I'm looking at booking into 2018 right now, hopefully some Toronto dates. I'm planning to start demoing in December for Burn The Louvre's debut LP due to be released in 2018. I can not wait to start working on that album.

Q: Any parting words?
I'd just like to thank anyone who might be reading this for taking the time. I'd also like to give a huge thank you to you Renato for the interview! It was an absolute pleasure

segunda-feira, 16 de outubro de 2017

Reverie Remedy with Outward - An Interview

Corey Philpot é a mente criadora do Outward, projeto que ele mesmo conduz e expurga seus sentimentos na íntegra. 

Tudo é conduzido por guitarras, synths, loops e uma aura que mescla melancolia oitentista com uma certa raiva noventista. Ecos de diversos subgêneros são facilmente identificados na música do Outward, o que reflete o próprio Corey, de shoegaze a industrial, de new wave, a grunge, de pós punk a psicodelismo, tudo torna-se ingrediente neste caldeirão de referências.

A música do Outward, reflete fundamentalmente a a necessidade de Corey se expressar, e a música e sua salvação.

***** Interview with Outward *****

Q. When did Outward start? Tell us about the history...
Realistically, Outward started when I was about fifteen in high school in the small town of London, Kentucky; except I wasn’t calling myself the title yet. I started making short instrumentals, recording guitars, electric drums, and whatever synths I could find into a single mixer in my bedroom through audacity. For me, it was the only way to escape the reality of a town (at the time) I hated. It’s extremely rural and southern there, where simplicity and normality seemed the only golden life for all; here I was wearing t-shirts of The Jesus and Mary Chain and Japanese horror exploitation flicks to class. Everyone thought I was weird for obsessing over a genre nobody has ever heard of (shoegaze, and still I’m pretty sure it’s the same boat today) and weird Asian or Italian b-films. I’ve since grown to understand and love London though, it truly is something special all in its own. I self-taught anything musically I could get my hands onto. After high school, I went to film school for a few years. Here I started to hone a sound a bit more as I’d scored my and others short films. I started to teach myself mixing and mastering a bit more, and decided instead of leaving the tracks as instrumentals to add vocals and make them full-fledged tracks. Everything I’ve ever done or played musically is self-taught. This is the time period I adopted the pseudonym ‘Outward.’ From there, I self-released two EPs and one LP; trying to craft some form of one man-band idea. The goal was to do everything myself; write, record, perform, mix, and master everything. It wasn’t till a move cross-country to Austin, TX though that I truly began fulfilling what my idea of sound should be sonically. Adding a little bit more musical equipment and live shows to my belt helped progress. As I’ve grown as an adult I believe my music has too in its own strange way. The core of the sound has almost always been the same, but my translation of it has progressed further and further… At least I hope.

Q: Who are your influences?
My first and foremost influence since I was probably five years old has been Trent Reznor of Nine Inch Nails. He was living proof that you didn’t need a soul but yourself to make whatever you want; and it be unbelievably cool. I remember hearing ‘The Downward Spiral,’ for the first time and just nothing sounding even close to it. It was pure and raw. It was cool. Trent Reznor was cool. Till this day, 1994 is my favorite musical year because of that and so many other albums.

Kevin Shields of My Bloody Valentine is another huge one for me. In seventh grade, my best friend at the time showed me ‘Loveless.’ My mind was completely blown. I had no idea guitars could sound like that. It was like hearing a sound that I’ve always heard in my head and longed to hear externally, finally coming to exist. ‘To Here Knows When,’ literally dumbfounded me in the best way and inspired me to do everything I could to create my own wall of beautiful noise.

The Edge from U2 is one of those guys that’s always been a big part of my influences. His guitar playing is just beautiful. U2 were always one of the family bands; where its one of those things we all grew up with and kind of united us. Some of his guitar work is untouchable; stuff from like Achtung Baby, Zooropa, The Million Dollar Hotel OST, and the one off Eno-U2 project Passengers were big inspirations for me.

Lastly, Ken Andrews of Failure. Fantastic Planet till this day blows my mind each and every single time I hear it. The guitar tone crunch is everything I’ve ever wanted out of a guitar. The chorus guitar riff on ‘Dirty Blue Balloons,’ is one of the best riffs of all time hands down. On top of that, they’re amazingly sweet dudes. Kelli Scott is an amazing drummer and super super nice. They’re inspiring as just good peeps that know how to treat their fans on a ground level.

Q. Make a list of 5 albums of all time…
1. Nine Inch Nails – The Fragile ; this album changed my life. So many days dealing with depression were met with this album. I remember hearing it when I was ten years old in ’99 thanks to my older cool brother. I was never able to turn back. Trent Reznor spoke in a video interview once about telling people there is nothing commercial on the record at all, asking to just give it a chance. That stuck with me. The album was made with pure heart and intent.

2. U2 – Achtung Baby ; given this album was released at the very beginning of the 90’s it’s insane to me the level of experimentation that was actually at play on this album; as well as it retaining a very commercially viable sound.

3. My Bloody Valentine – Loveless ; this album rewrote what I thought you could do sonically with a guitar. Till this day, it still does. Melodic noise at its finest.

4. Failure – Fantastic Planet ; Space-grunge… I mean what is better than that? The album is a stroke of genius from beginning to end; musically and conceptually. I was also lucky enough to catch them twice on their recent reunion tours and I have to say these songs live are pretty spectacular.

5. Nothing – Guilty of Everything ; even though this album is pretty recent, I feel like it was one of the perfect next steps for shoegaze in sound. I’d hands down put it as one of the best shoegaze albums of all time. Beautifully and depressingly lush in sound, this album is pretty damn near perfect in my eyes.

Q. How do you feel playing live?
I love playing live. It feels so interesting hearing these songs I play over and over in my bedroom and living room turned up even louder. I use a tiny little Marshal practice amp for my guitar live, and it’s always very surprising to the listeners how loud it gets and the tone it delivers. Besides that, it’s always interesting to see and hear what people think of my music; they seem rather surprised how different altogether my sound is as well that it’s all coming from one person. I love creating zones for people to enter and reside in; trying to find and create a wave that they can ride within themselves.

Q. How do you describe Outward sounds?
The sound to me is a mixture of every single genre I love and grew up with. Since I was a kid I’ve been obsessed with shoegaze, industrial, grunge, dreampop, post-punk and practically every type of music I can get my hands onto. My sound is literally a cherry-picking of my favorite styles and combined. I lean more towards shoegaze in an overall sound, but mostly I want to remain a bit genre-less in terms of everything that’s being used and at play.

The music you’re hearing from me… is like… audibly dealing through my life. I play these sounds to make myself feel okay, safe, and that I’m still breathing. It’s a way to stay alive. What you’re hearing is me trying to find a peace within myself to be okay. The tones and feelings are what I’m chasing to feel; so I play them, to feel them.

Q: Tell us about the process of recording the songs?
Most of my tracks seem to start with either a simple synth line or drum beat. From there its kind of sorting through hundreds of synth noises until I find one that resonates with me against whatever the first layer was. I continue building layer upon layer into whatever cohesive thing it becomes. Bass lines comes next. After that I’ll decide if that set of layers is a chorus or verse, then proceed to create whatever it’s not. Once those layers are built, I’ll play it through a PA and begin writing guitar parts to the track. I’ll record that. I’ll then mix and pre-master everything up to that point. After all the layers are in, I’ll do vocals, mix them, then master those as well. My songs generally are pretty heavily layered. The last track I finished ‘I Love Sometimes,’ has forty-nine layers; even though you’ll probably only hear the main obvious instrumentations.

Q. Which new bands do you recommend?
There’s a lot of bands I’d recommend, but I’m going to go with strictly current bands: Newmoon, Nothing, Jesu, Super Thief (they’re doing things in the noise-punk scene most bands would give a left hand to achieve sound wise!), Grivo, Iris, Lantlos, Gleemer, Alcest, Hollow Sunshine (the songs Bad Company and Coral are two of the best songs ever recorded imo), Anakin, Cloakroom, Whimsical, A Thousand Hours, Richard Buckner, Cheatahs, No Joy, Deafheaven, Lift to Experience, The Lees of Memory, The Cherry Wave, Unsane, Drab Majesty, Deafcult, and Roku Music.

Q: Which band would you love to make a cover version of?
At one point I was doing a cover of Talk Talk’s ‘It’s So Serious,’ but my laptop at the time fried itself. I lost a lot of material when that happened sadly. I’d love to cover quite a few different things though; even do a cover of George Jone’s ‘Choices.’ It obviously wouldn’t be country, but I’d love to turn it into something totally different. I’d love to do the Waterboys ‘Whole of the Moon.’ Maybe Tommy Conwell’s ‘Gonna Breakdown.’ I’m always intrigued to do covers that aren’t specifically meant for this sound.

Q: What are your plans for the future?
Right now, my big plans are to finish up recording my new album called ‘The Melting Bed.’ I’m so happy to announce it’ll be released on disc via the wonder Cali based label Vesper Records. I really think it’s going to be something special; at the very least it will be something very deeply personal from myself. On top of that, my wife and I are about to re-locate out of Texas and back to my hometown in Kentucky. We had a recent strain of terrible luck where we could’ve been very hurt by three accidents in one week that were out of our control; and later after that hell week my wife was held up at gunpoint at her work. We’ve decided we need some good clean air and surrounded by nature again to breathe it in. Once back in the bluegrass state I’ll be looking to start playing live again around there and Tennessee; wherever they’ll let me through the doors.

Q: Any parting words?
I want to thank you all at TBTCI for having me and willing to take the time to get to know me. Thank you for contacting me and thank you for checking out my music. I appreciate that with all my heart in the truest sense. For any eyes passing by, I say thank you as well for taking a read here. My album releases soon and it will truly be something different. If you’re looking for something that may not sound like everything else, but is oddly pretty cool, I promise it’s worth checking out. It will be music purely from the heart and soul. Lastly, I wish each and everyone the best of the best in life; I’m happy to share this big rock/ship called Earth with you all. Don’t forget to take a bow before the show comes to an end.

Amphibious Neato with Powerslacker - An Interview

O Powerslacker já é conhecido pra quem acompanha as páginas do TBTCI, apenas relembrando, o duo já havia aparecido por aqui por conta de seu primeiro trabalho, "Terminally Chill" onde já havíamos decretado que aos indies festivos era melhor esquecerem Mac DeMarco, e focarem nas pepitas sonoras do duo, mas agora o passo maior chegou.

"Amphibious Neato" é um suculento saquinho de docinhos psicodélicos, misturando o psicodelismo flower power e a neo psicodelia moderna, sem afetações ou exageros, apenas deixando fluir a good vibe da viagem.

Sinta a brisa e boa viagem.

***** Interview with Powerslacker *****

Q. What was the process for creating Amphibious Neato?
The album was quite a studio-heavy project- the songs were pretty much developed as we went with parts played in all over the place. For a cohesive listening experience, I ran the drum, bass, guitar, synth and vocal channels through a tape machine, which I feel really glued everything together, and provided a low-fidelty aesthetic. I was aiming to achieve the warped and haunting sounds of Vietnam-era psychedelic rock bands such as The Doors and Jefferson Airplane. Working off previous demos and some songs by my friend GB Loon, the production took place half in my bedroom and half in studio at my University in York.

Q. What are the main differences between Amphibious Neato and Terminally Chill?
I was happy with the songs on Terminally Chill as a compilation of demos but that’s all they were. In a sense Amphibious Neato is an elaboration on the same concept, with all the parts re-played and tracks remixed as I’d since honed my production and musician skills.

Q. What were the influences for creating the album?
Pixies, Nirvana, The Beatles, Beach Boys, Doors and Foxygen were probably the biggest influences on my song-writing and visions for the finished piece. Elements from each band inspired a combination of psychedelic, experimental and pop heard on my tracks. I was listening to The Lemon Twigs and Mac DeMarco at the time and enjoyed the way they used arrangement and production to have their records sound like they came from the 1970s.

Q.What are your plans for 2017?
For after the release of the record I have a lot of designs ready for new merch and music pressings, and am working on putting a band together for live shows. Currently I am working on a collaboration album with GB Loon, but it’s in the very early stages at the moment. We have dozens of songs ready, but recording is a relatively slow process as he lives in Canada.

The City Is A Bone with Volunteer Cheerleader - An Interview

Chris Blackman e Jordan Sommerlad formam o charmoso duo Volunteer Cheerleader.

O adjetivo "charmoso" é perfeito para descreve o debute homônimo deles, que passeia por entre o dreampop moderno e a new wave/pós punk sofisticado dos 80´s, algo como se o Psychedelic Furs e o Wild Nothing se fundissem numa única forma sonora.

Por entre sutilezas e melodias cintilantes o Volunteer Cheerleader cria um mundo de sons particular.

***** Interview with Volunteer Cheerleader *****

Q. When did Volunteer Cheerleader start? Tell us about the history...
Jordan and I have been friends for 20 years, since we were in grade school, and we’ve been making music together for probably 14 years. We spent our teen years playing in garage rock/punk bands around Ohio. After college, Jordan moved to LA to work in film and I moved to New York to go to grad school for poetry. After a few years, Jordan relocated to New York and we lived together for a year. We started working on demos in our living room that would become the first Volunteer Cheerleader songs.

Q: Who are your influences?
I think we both love and take a lot of cues from original Shoegaze and Dream Pop bands without ever sounding very much like any one of them in particular. We’ve been listening to Loveless since we were about 14 but that sound is impossible to replicate. Basically we like any type of rainy music from the UK, especially Radiohead. Then there’s the American college rock thing: Replacements, Pixies and Guided By Voices are all some of my favorites. Jordan and I both love The Strokes too. Lyrically, I’m also influenced by 20th century American poets like John Berryman and Ted Berrigan, though again, the lyrics don’t sound like either of them.

Q. Make a list of 5 albuns of all time…
1. The Rise and Fall of Ziggy Stardust and the Spiders from Mars- David Bowie
2. Tim- The Replacements
3. What’s Going On?- Marvin Gaye
4. In Rainbows- Radiohead
5. Aja- Steely Dan

Q. How do you feel playing live?
Volunteer Cheerleader has been a recording project until very, very recently. Only in the past few months have we started getting a band together to make the sounds that we have been recording. Still, we feel comfortable. Jordan and I have been playing together for so long that we can communicate without words on a stage. I know what he’s going to do, and he knows that I’m going to do.

Q. How do you describe Volunteer Cheerleader sounds?
We try to avoid it, whenever possible. It’s hard to define unless you’re a music geek. Definitely Dream Pop and Shoegaze inspired rock, or indie pop, though. In a conversation with a friend I explained, “We’re kids who grew up in punk bands that want to play Coldplay songs.” But this isn’t entirely accurate either. Basically, we love rock music (especially from the UK) in the last 40 years, and our sound takes parts of all of that music.

Q: Tell us about the process of recording the songs?
A lot of times our recording process will start with Chris sending a guitar riff to me, which I'll take and play around with, building out the structure, adding synth, drums samples, and a rough vocal melody. After that we'll meet up and properly record all the instrumental elements, all within my 12x8ft bedroom studio. For lyrics, usually Chris takes the first pass based on the temp vocal track, and then I'll revise while recording. From there, mixing, tweaking, rearranging and re-recording takes weeks, and by the end what you thought was the hook of the song often fades into the background and something else takes it place. That's the real fun of it, writing, and rewriting again and again to get to something that you wouldn't be able to come up with on a first pass.

Q. Which new bands do you recommend?
I love Twin Peaks. They have perfected the kind of music we played when we were younger. Alvvays and Cigarettes After Sex, in the Dream Pop realm, are both hugely inspirational. We also love Whitney. Whitney was a band we listened to a lot when we first got together to make early demos. Oh! Also Spirit Club, Nathan Williamson from Wavves’ side project, is something we admire deeply.

Q: Which band would you love to made a cover version of?
First and foremost on my list is “Speak Low,” the standard by Kurt Weill. There’s a version online of Weill singing and playing the song on piano and it’s so haunting. We’ve also talked about a version of “Dream Lover” arranged like the version by The Paris Sisters. Like in Kenneth Anger’s short film, Kustom Kar Kommandos. We saw that at the MoMA in New York a few years ago and it has sort of haunted us.

Q: What are your plans for the future?
More recording, definitely a full-length. Develop more as a live band and get more people listening.

Q: Any parting words?
Thanks for listening, if you do. If not, please listen. Our families are starving. Just kidding—we do have day jobs.

sábado, 14 de outubro de 2017

This Blinding Light, "Mountains" - Track by Track

O combo de Seattle, This Blinding Light retornar as páginas do TBTCI em grande e ruidoso estilo, hoje veio ao mundo seu mais novo trabalho, o EP "Mountains", que definitivamente explicita tudo o que os caras tem de melhor, ou seja, psicodelia áspero.

Cinco exemplos de como se produzir melodias pegajosas, barulhentas e viajantes. Como nos melhores momentos do B.R.M.C., o This Blinding Light unifica J&MC e Spiritualized numa simbiose perfeita e necessária.

E para melhor entender "Mountains", Lance, um dos criadores do TBL decupou o EP minuciosamente.

Leia e escute em alto e bom som.

***** "Mountains" - Track by Track *****

Star: This song is about the moment when two people cross paths and the electricity jumps out to cause that storm of passion that not only unites a man and a woman, but the moon and the sun, and the stars above.....

Breakout: This song is about trying to come to terms with the little games we play with ourselves and each other, and trying to "break out" of that cycle and move forward....

Tree of Life: This song is about recognizing the interconnections between all things....

Heaven: Like Star, seeing that the passion we engage in is the Heaven we have here on earth...

Leyes: is about seeing the current state of events, being able to read all the bullshit on the hypocritical faces, especially in the eyes (the window to the soul) and wishing so much I could take away all of the pain and suffering..... hoping the song wil at least ease some of it away...