terça-feira, 23 de janeiro de 2018

New Frontier with Spirettes - An Interview

Entre o doce e pesado, entre o sutil e o esporro passeiam as meninas do Spirettes.

Um caldeirão de referências permeiam a sonoridade das meninas, passando por décadas de boa música, das girl groups dos anos sessenta, as sombras do pós punk, ao bubblegum pop de Debbie Harry, aos riffs de Neil Young chegando aos heróis do indie Yo La Tengo, dentre outras tantas possíveis referências, tudo de bom gosto, torna-se combustível de criação e inspiração para as garotas.

Experimente o último EP delas, é algo como se as Dum Dum Girls convidassem Neil Young para um jam sem preocupação com o resultado final.

Mas, no caso das Spirettes o resultado final é absolutamente viciante. Apaixone-se.

***** Interview with Spirettes *****

Q. When did Spirettes begin? Tell us about the history...
Originally named after the band’s lead guitarist “Katey Sleeveless,” the power trio Spirettes (Kate Perdoni [guitar/vocals], Kellie Palmblad [bass/vocals], and Emily Gould [drums/vocals]) formed in Colorado Springs in spring 2017.

Q: Who are your influences?
Spirettes’ influencing sounds range from Warpaint in vocal creativity, to early Broken Social Scene’s guitar layering, paying tribute to hints of darker 80’s and 90’s new-wave as in New Order or The Cure. Classic guitar riffs and songwriting borrow from Neil Young and Crazy Horse, and dynamic spaces between heavy and soft lend tribute to Yo La Tengo.

Q. Make a list of 5 albuns of all time…
Kellie - Ha! My brain can’t compute “of all time” but I will answer in this moment sitting in my kitchen one snowy December evening.:

1. Disintegration (The Cure)
2. Perfect From Now On (Built to Spill)
3. Knife Play (Xiu Xiu)
3. Exquisite Corpse (Warpaint)
4. Okay Computer (Radiohead)
5. Von (Sigur Ros)

Q. How do you feel playing live?
Kellie- Existentially free. When I’m playing live and everything is going right, it feels like like a burden of having to be anything more or do anything more disintegrates and I’m free to just exist.

Q. How would you describe Spirettes´ sounds?
The recording process solidified the band’s blended vocal arrangements, layered guitars, and stirring waves of sonorous frequencies. David Lynch-infused dark atmospheres mixed with feminine harmonies and playful power-rock moments on the recording, leading to band’s actualization of a dreamy and ghostly soundscape -- and a new name, Spirettes. The convergence of vocal harmonies, alluding to classic-girl-groups like The Shangri-Las, thickened in overdrive-drenched reverb, ghost-harmonics, and driving drum lines, resulted in something otherworldly, and rooted in an older rock heritage.

Q: Tell us about the process of recording the songs ?
Kellie - The process of recording these songs was shockingly serendipitous and smooth. Andy Jones traveled from Denton, Texas to Colorado and set up his beautiful recording equipment in the living room. Beforehand, we had talked about the space and atmosphere we wanted, primarily that we
wanted a natural big room sound and reverb from the acoustics. Andy really engineered a unique environment and sound and we poured our hearts into it for a few days. We experimented with mics to get the right guitar sounds and capture the space. I was so in love with what we had by the end; it was really hearing the tracks come together that congealed our sound for me.

Q. Which new bands do you recommend?
Kellie - One of my new favorite local artist is Seal Eggs; her work is transporting.

Q: Which band would you love to made a cover version of?
Kellie- I have two current “cover” fixations. One is “Precious” by Depeche Mode. I’m completely inspired by the interplay between the guitar and keys in the bridge of that song! The other is “Whole Wide World” by Wreckless Eric. I think our band is living that song.

Q: What are your plans for the future?
Kellie - We are just starting out on what I see is a mind blowing journey. I want to keep writing together and refining our sound and keep playing these great live shows. We will definitely be touring this year (2018) and I think the scale of those shows will be largely determined by the response we get to this recording and upcoming shows.

Q: Any parting words?
Kellie- I sincerely thank you for your time and attention to our music! Thank you so much!


Sunday with Shoe Shine SIx - An Interview

E a Russia novamente aterriza nas páginas do TBTCI, representada pelo shoegaze gélido e estridente do Shoe Shine Six.

Emulando Siouxsie Siouxsie e Rachel Goswell como inspirações, principalmente pela performance de Katarina, voz, o Shoe Shine Six entrelaça-se por entre tonalidades sombrias, densas mas sempre em volumes altos e intensos. Por vezes a conexão mais direta se faz com o cult Alison´s Halo, do que propriamente com as vias mais óbvias.

Não a toa o Shoe Shine Six é mais um dos evidentes exemplos da efervescente cena russa.

Para ficar de olhos e ouvidos atentos.

***** Interview with Shoe Shine Six *****

Q. When did Shoe Shine Six begin? Tell us about the history...
I guess the very beginning was in 2014, when I (Mikhail) bought some kind of rare bass guitar from Pavel. When we realized, that our music tastes are practically the same and we have a bit of unfinished tracks, that was written to the “drawer”, we helped each other to crate and modify tracks during the next few years. In the end of 2016 we realized, that our tracks were finished, and should be played with full set of band. Sergey and Katarina joined band during the first half of 2017 when we almost tired of looking for another musicians. A part of them were not qualified, but the other great part did not like this kind of music. However, after Sergey and Katarina joined this band, we started to work as hard as possible on tracks. In the autumn of 2017 we recorded the first 4 tracks and formed an EP “Sunday”. The great contribution to our music was made by Aleksey Petrov, the one who mixed and mastered our EP, but instead of this, he gave us valuable advices about our final sound. What about other tracks, we are playing them on live sets, and decided to include them into the following album.

Q: Who are your influences?
Firstly it is of course shoegaze and noise bands like Slowdive, Sonic Youth, Weed, Alison’s Halo, and A Place to Bury Strangers. Other influencers are The Cure, Siouxsie and The Banshees, The Saddest Landscape, Fugazi, Public Image Limited, Converge and so on.

Q. Make a list of 5 albuns of all time…
It is quietly hard to choose only five albums, but we will make an attempt:

1. Queen – Innuendo
2. Sparks – Plagiarism
3. Clash – London Calling
4. Sonic Youth – Goo
5. Morphine - Yes

Q. How do you feel playing live?
Some kind of nervous, but also surprisingly high soul fly. At the current moment we are trying not to make frequent live sets, so every set is the great event for us. However, during live set there is a sense, that music enspheres us and unite every band member with audience, there is no Pavel, Mikhail, Sergey or Katarina or any particular viewer, there is a Shoe Shine Six.

Q. How do you describe Shoe Shine Six sounds?
It is a melody breaking through the wall of noise.

Q: Tell us about the process of recording the songs ?
Firstly drums recording, which were created during the rehearsals. Then Pavel took his guitar and at first time recorded what he created on rehearsals, then there comes inspiration and guitar modifies recording and new parts adding. However it is not enough with guitar! When listening to guitar recorded, there is a sense, that it is not solid enough, so Pavel records from 2 to 10 duplicating guitars of main riff. After that Mikhail recording his bass, which is partly differs from previous versions of this track and Katarina records vocals. After that started a magic by Aleksey. We really do not how, but the recorded tracks changes their sound into that one we wanted. As daily job interrupts the music creation, recording process could long for months.

Q. Which new bands do you recommend?
We actually do not know, could these bands be considered as new bands, but: Shy, Low; Nadryw, Offret, Blankenberge, Materic.

Q: Which band would you love to made a cover version of?
All songs divides for us on two categories – songs we do not like and songs we like. We obviously do not want to create cover versions of songs we do not like. On the other hand, we do not want to make cover versions of songs we like, as perfection must not be harmed.

Q: What are your plans for the future?
Release the second album, get an experience of live sets and make a tour. As for more distant future… Well, we will know it after second release.

Q: Any parting words?
Don’t forget to stay super.


segunda-feira, 22 de janeiro de 2018

Bloom In View with Houseplants - An Interview

Das cinzas do Dear Tracks, que para quem acompanha as páginas do TBTCI, sabe do que estou falando, nasceu o Houseplants.

Matt e Victoria reformularam o antigo projeto e trouxeram um pouco mais de sonhos ao mundo, mais precisamente em Julho do ano passado. O debute deles, homônimo é um verdadeiro frescor sonoro, um antidoto para males do cotidiano, guiado pela magia entre os dois, a música flua de forma cristalina e afaga mente e coração.

Se você gosta de dreampop, o Houseplants é absolutamente necessário. Bons sonhos.

***** Interview with Houseplants *****

Q. When did Houseplants begin? Tell us about the history...
We used to be "Dear Tracks" & made the changes to Houseplants as a new project and released an EP back in June. We played our first few shows this past summer as Houseplants opening for The Drums, Wavves, & Teen Daze. We also did a southwest tour.

Q: Who are your influences?
Daniel Johnston, Andy Kaufman, Yoko Ono, David Lynch, Henry Miller, Tim Heidecker

Q. Make a list of 5 albums of all time…
Jesus and the Mary Chain- Psychocandy
Cleaners From Venus - In The Golden Autumn
Blouse - (self titled)
The Clientele - The Violet Hour
John Lennon - Plastic Ono Band

Q. How do you feel playing live?
Performing live is always a great mental / physical release when the vibes and atmosphere is chill. Most of our time as Houseplants has been shortly lived but the process so far has been a significant learning experience for both recording and performing live. With our new project, we're able to find out what we're looking for and how to get our ideas to work especially after trying it out live.

Q. How do you describe Houseplants sounds?
We're heavily into chorus effects and staying to a dreamy-esque between guitars and synths. Our rhythm sound has a post punk upbeat / mid tempo range of patterns. Our live sound and material using both electronic and live drums. Vocals are soaked in reverb and other effects

Q: Tell us about the process of recording the songs ?
Each time we've recorded has been done differently but we like to demo out our ideas and build from it over time. We've recently just started recording/demoing at home on our own and currently in the midst of writing new material. We'll be using some of our home recordings into our next release.

Q. Which new bands do you recommend?
Ravennas (Seattle) + Launder (Los Angeles)

Q: Which band would you love to make a cover version of?

Q: What are your plans for the future?
We're always working on ideas - right now we're writing new songs. We plan to be active again and tour in new cities around spring time.

Q: Any parting words?
New music coming in 2018, keep us on the radar. Thank you for reaching out✌


Turning with Beach Bully - An Interview

Guitarras estridentes, clamando por volumes mais elevados, tudo naquele clima melancólico, tipicamente de quando, esta se experimentando a virada da adolescência para a vida adulta, o momento talvez, mais delicioso da vida, ou não, o fato é que, justamente nessa fase são concebidos os melhores resultados sonoros.

Logicamente, que estou generalizando, daqui a pouco virão experts dizer que não é nada disso, mas estou pouco me lixando, principalmente quando se dá de cara com uma delicia barulhenta chamada Beach Bully.

Beach Bully é um trio de Nova Jersey que debutou logo nos primeiros dias desse 2018 com seu homônimo EP, com cheiro dos anos noventa e roupagem atual.

Daquelas estreias que fazem o TBTCI abrir um sorriso de ponta a ponta. Beach Bully é barulhinho do bom.

***** Interview with Beach Bully *****

Q. When did Beach Bully begin? Tell us about the history...
Aidan: We're still very new, and the band has only been around since June of last year, and the current lineup has only been around since about September or so. Really, I would just send friends demos of my songs, usually Catherine Wheel, and then eventually a group of people formed. I went through 2 other bassists until we hit Kevin, and we kinda just clicked immediately. Kyle actually joined as a temporary drummer a few weeks after I started playing guitar for his band, and he eventually warmed up to the idea of staying cause Kevin and I liked his drum style that much.

Q: Who are your influences?
Aidan: I'd say The Smiths is probably the biggest influence for my guitar parts, ever since I discovered them I wanted to play guitar like Johnny Marr. Our song Catherine Wheel was actually a product of me listening to "this charming man" on loop. Alex G, and Elliott Smith is where I take a lot of inspiration from on vocal melodies and harmony, and then I think Ride is a big influence subconsciously even though I've never consciously tried to emulate their sound.

Kevin: For my bass playing, I feel like Mike Dirnt from Green Day has been my biggest influence. Even though I'm playing in a experimental post-punk band, while writing some of the bass lines, I listened to Green Day's "Kerplunk" on repeat trying to fuel my ideas and my passion. Jimmy Eat World also is a big influence for both my basslines and my backing vocals.

Q. Make a list of 5 albums of all time…
1. Thinking Fellers Union Local 282 - Strangers From The Universe
2. Animal Collective - Strawberry Jam
3. Ride - Going Blank Again
4. Slint - Spiderland
5. Medicine - The Buried Life

Gotye - Making Mirrors
Streetlight Manifesto - Everything Goes Numb
PUP - The Dream is Over
Sorority Noise - Joy, Departed
Thank You Scientist - Maps of Non-Existent Places
in no particular order

1. Slowdive - Souvlaki
2. My Bloody Valentine - Loveless
3. My Bloody Valentine - Loveless
4. My Bloody Valentine - Loveless
5. My Bloody Valentine - Loveless

Q. How do you feel playing live?
Aidan: Absolutely love it! For me it's one of the few things I DON'T get nervous doing. I remember the first show we had I was like shaking about performing, because I thought I was gonna be too stage frightened to play since I always struggled with presentations and stuff like that, but as soon as I started playing it almost felt euphoric in a way.

Kevin: It's incredible. The feeling you get when you're onstage is unlike any other. I started acting in high school, but that doesn't compare to performing music that YOU write to new people every other week. Its amazing and I wouldn't trade it for the world.
Q. How do you describe Beach Bully sounds?
Aidan: Damn, that's a tough one to answer. Kevin always says "We're the strokes with more reverb", which is a decent explanation of our sound, I guess. I really just think of it as post-punk music with a bunch of effects and more vocal harmonies.
Kevin: Basically, we're The Strokes with more reverb.

Q: Tell us about the process of recording the songs ?
Aidan: It was really exciting, this was my first time ever recording an album. Previously I made demos of my songs at home, so I had some experience recording. there was a bit of struggling to get our engineer to do what we wanted, but overall he was a nice guy, and I'm pretty damn impressed with how he mixed it.

Kevin: I've only recorded an album in a studio one other time before Beach Bully, and this was much better than the first. Not only was our sound engineer so much better, but the overall experience, making music with some of my closest friends, was amazing.
Q. Which new bands do you recommend?
Aidan: Definitely check out "Cerulean Blue" they're this neo-psych band from Philly that I once played with in my other band, I had my jaw dropped their whole set, it was just absolutely incredible to listen to.
Kevin: Check out "Melatonin Dreams". Hands down one of the best math-rock/emo/experimental bands I've heard in NJ. They played in my basement (sometimes bands play in my basement), and I was stunned by how good these guys were.
Q: Which band would you love to made a cover version of?
Aidan: I've always liked the idea of playing xiu xiu songs in a more accessible way, their music is incredibly interesting, but Jamie Stewart's vocals tend to turn people off, which is a shame.
Kevin: Aidan and I have been talking for a while about doing the Elliot Smith song "St. Ides Heaven", and it's always a song I've wanted to cover from the day Aidan showed it to me.
Q: What are your plans for the future?
idan: Releasing an LP would be something I'd like to do. The plan for me right now is really just to try and get more people to listen to our stuff and make more music.

Kevin: Definitely to work on an LP, we're currently working on some new music and I can't wait to have it all recorded and to release it to the world. That's all I want; to spread music to the world.
Q: Any parting words?
Aidan: Yeah, check out our drummers band "Future Reflection", and thanks for the opportunity!


domingo, 21 de janeiro de 2018

Kitchen Floor with Fuzzy Feeling - An Interview

Barulho, distorção, barulho, distorção, barulho e distorção, eu poderia apenas me limitar a essas duas palavras para descrever o primeiro EP do caras do Fuzzy Feeling do Tennessee.

Três canções no EP homônimo que soam como esporros cíclicos de fuzz, tudo devidamente soterrado com a famosa parede de microfonias, sem o menor espaço para um respiro.

Nada que irá mudar o universo, nada que os críticos de plantão vão querer elevar ao olimpo, mas a opinião do TBTCI é: fodam-se todos essas coisas, porque o que gostamos por aqui é barulho e distorção, barulho e distorção, sem parar.

Desnecessário dizer que é necessário escutar no volume mais alto que seu aparelho permitir.

PS: ah tem uma versão de "I Wanna be Your Dog" na página do bandcamp dos caras que se faz necessário ser ouvida.

***** Interview with Fuzzy Feeling *****

Q. When did Fuzzy Feeling begin? Tell us about the history...
1. Roger : Fuzzy Feeling began at the beggining of 2017. Before this project I played primarily synthesizer driven music. So I started writing songs on guitar that filled me with the same satisfaction and sense of adventure that synthesizers did. After I wrote the first EP, I contacted my friends Allen and Joseph Cooper to help me record it. I thought they were such a big part of shaping the sound on the EP that I asked them to permanently be apart of the project. Allen has been my musical partner for years now and is the only other official Fuzzy Feeling member.

Q: Who are your influences?
2. Roger : My influences for this project are the noise rock bands from the 80s, like Dinosaur Jr. Lately, I have been really inspired by the Asian Shoegaze scene.

Allen : Lou Reed, Scratch Lee Perry, Television.

Q. Make a list of 5 albuns of all time…
3. Roger : This is a really difficult question because it changes every year. Right now it would be: The Smiths “Queen Is Dead”,
Nirvana “In Utero”,
My Bloody Valentine “Loveless”,
Joy Division “Unknown Pleasures”,
and Dinosaur Jr “Bug”.

Q. How do you feel playing live?
4. Roger : Fuzzy Feeling hasn’t played live yet. It was originally started with the intention of soley being a recording and visual art project. Allen and I were in a touring darkwave band before this. Honestly, we got burnt out on playing shows to people that didn’t give a shit. So this time around we thought we would just focus on recording music we loved instead of everything else. However, we would be open to playing the right show if it ever came along.

Q. How do you describe Fuzzy Feeling sounds?
5. Roger : Fuzzy.

Q: Tell us about the process of recording the songs ?
6. Roger : The process for recording the first EP was a lot different. With the first EP I wrote all of the songs before ever hitting the studio. I contacted my friend Joseph to record the guitar parts for me. He was really awesome when it came to capturing gnarly guitar tones. I borrowed his sm57 and tracked the vocals by myself. After that, I went over to Allens studio where he added bass and omnichord. Joseph did all of the production and mixing. We got our friend Alec West to master everything. Now, Allen and I collaborate on everything. Usually, I will write a bunch of riffs and go into the studio to track what we think is the best one. Allen will work on the tracks by himself after I have recorded some rhythm guitar tracks to start with. He adds tons of cool instruments and really makes the songs come to life. I will get to hear the progress along the way before I go in and record the final vocals. Allen also mixes and masters everything in addition to helping me write.

Q. Which new bands do you recommend?
7. Roger : I would reccomend Pinkshinyultrablast, Thud, and Rubur.

Q: Which band would you love to made a cover version of?
8. Roger : Well we have a shoegazing cover of The Stooges “I Wanna Be Your Dog” on our bandcamp. That was really fun. Aside from that, I would like to maybe do a noisy cover of a Meat Puppets or Neil Young song.

Q: What are your plans for the future?
9. Roger : My plans are to keep making fuzzy noisy rock n’ roll! We have another EP that will be out in the next month or two! Please be on the lookout for that. We will be releasing some cassette tapes for the new EP as well.

Allen : never stop making music.

Q: Any parting words?
10. Roger : Thank you so much for the support. It means the world to us. Xoxo


sexta-feira, 19 de janeiro de 2018

Silo Halo, "ST" - Track by Track

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

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

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

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

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

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

Mergulhe sem medo.

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

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

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

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

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

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

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

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

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

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

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


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

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

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

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

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

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

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

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

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

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

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

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

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

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

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


quinta-feira, 18 de janeiro de 2018

Poisoning the Mead with Lotus Whispers - An Interview

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Q: Any parting words?

Maps with Billow - An Interview

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

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

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

O Billow cria música para tranquilizar momentos caóticos.

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

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

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

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

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

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

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

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

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

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

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

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

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

Q: Any parting words?
Thanks for the interview!


quarta-feira, 17 de janeiro de 2018

Awaken the Quietus with Quali - An Interview

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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


terça-feira, 16 de janeiro de 2018

Responsible People with Droopies - An Interview

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

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

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

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

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

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

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

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

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

Q. Which new bands do you recommend?
Witch Bomb

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

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


segunda-feira, 15 de janeiro de 2018

In Silence with Agura Matra - An Interview

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

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

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

Hipnótico resume.

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

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

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

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

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

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

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

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

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

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

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

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

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

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


domingo, 14 de janeiro de 2018

Spectres with Lost Children - An Interview

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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


sexta-feira, 12 de janeiro de 2018

Reality of It with Sicayda - An Interview

Pic by @bluangmany 

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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


quinta-feira, 11 de janeiro de 2018

Saf with Bur - An Interview

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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