quinta-feira, 27 de setembro de 2012

One Way Or Another with Noct Villains - An Interview

                                   

A receita parece ser simples, um garota belissima nos vocais, com sua deslumbrante performance e poderosa voz, uma bateria poderosa e infernal, um literal herói do undeground nas guitarras, baixo, enfim, veja até aí nenhuma novidade, certo?!?!Certo o caralho, escute Lost Loves e veja o quão energético isso, em estúdio, os "vilões noturnos" soam, imagine em ao vivo, não, você não consegue imaginar, só vendo pra crer, é poderoso, intenso e sexy!!!

Vag & Roxy são o coração e alma dos Noct Villains e André é o inferno em forma de bateria, pos punk, new, wave, darkgazer, tanto faz o rotulo, aqui é primitivismo, rock´n´roll nú e cru, o amor é enaltecido calices de vinhos e a dor expurgada pelas entranhas dos vilões.

Nada mais justo do que o TBTCI partilhar a história e prever que o debute dos Noct Villains chegará e será um porre de esbórnia na cara de muita gente.

Um brinde de Cabernet aos Vilões!!!!


***** Interview with Noct Villains *****

                                             


Q. Como o Noct Villains começou, conte-nos a historia
Roxy- Após o termino de minha antiga banda, X Devotion, que lutei durante 15 anos com todas as forças para mante-la na ativa após sucessivas trocas de integrantes e outros problemas internos que atrapalhavam demais o andamento do trabalho, bateu um desanimo total em relacao a continuar cantando..mas apareceu o
Vag, que com sua insistência e persistência eternas, conseguiu me convencer a voltar. Devo muito a ele, por sempre ter me valorizado como cantora. Ter acreditado no meu potencial, ter feito eu voltar a acreditar no meu sonho e ter me colocado de volta ao cenário musical. Assim nasceu o NoctVillains. Noites regadas com muitos cabernets e carmeneres, melodias cortantes, letras intensas, carícias, olhares e máscaras...

Vag- começou mesmo em quartos de hoteis pelo centro de são paulo, na epoca eu estava tocando Supersad e na volta dos shows lá estavamos em algum quarto eu , ela e o Bryan (que é o nosso contrabaixo), em um desses encontros nasceu a primeira musica"A kind of love" e ao mesmo tempo uma nova fabrica de musica NoctVillains, de vilões noturnos, essa frase eu tinha escrito em uma resenha sobre o X- Devotion, salientando como é foda ser heroi entre tantos viloes...

Q. Quais as influencias?
Roxy-Da minha parte, sao tantas que é até injusto citar somente algumas...mas vão aí umas das mais marcantes : Siouxsie, The Cult, Roxy Music, The Cars, Blondie, David Bowie, Kim Carnes, Liza Stansfield, Psychedelic Furs, Anne Clark, Ghost Dance, Peter Murphy, Velvet Underground, Morphine, Human League, Frank Black e muitos outros.. eu me sinto como uma mistura de tudo isso e muito, muito, muito mais..

Vag- A minha principal influencia e inspiração é a Roxy, ao seu lado tenho vontade tocar e ouvi-la cantar, musicalmente sou influenciado por muitas bandas,com o Frank Black me senti mais avontade para compor tudo q nasace entre os dedos, mas oque eu ouço todos os dias são as mesmas :Jesus, Ride, Joy, Spiritualized, Velvet e Ramones.

Q. Como vocês definem a sonoridade da banda?
Roxy-Rock puro, sem rótulos ou frescuras, algo simples, forte e direto...Um tipo de.....Primitive Rock.

Vag- Eu gostaria de ter criado o Primitive Rock rsrs, mas acho q as coisas estão tomando outros rumos, as musicas estão se transformando em grandes canções, e com os parceiros que estamos trabalhando acredito que vai longe. Primitive Rock seria, voz, baixo e bateria, algo assim, primitivo.

                                 

Q. Como é o processo de composição e gravação?
Roxy-Tenho que admitir que eu escrevia muito antigamente, mas ha algum tempo estou meio sem criatividade e paciencia pra escrever. Algumas letras do NoctVillains são de minha autoria, mas a grande maioria é do Vag...simplesmente nos sentamos, ele comeca a mostrar as melodias, eu pego as letras dele, e nao sei daonde, vem uma inspiraçao tao grande, que tudo se encaixa. A melodia instrumental e vocal se fundem de tal forma...como se a cançao sempre tivesse existido. Sempre comemoramos ao final de uma composição.

Vag- Acredito que temos material para 5 albuns. Sempre comemoramos ao final de uma composição.

Q. Como é a sensação de tocar ao vivo?
Roxy-Única..inexplicável..incomparável...acredito que é a única grande razão de existirem os músicos.

Vag- Sem musica ao vivo a humanidade seria um zero, Tocar essas cançoes me realiza com ser e existencia.

Q. Se voces fossem gravar uma cover, qual seria?
Roxy- NoctVillains até agora tocou apenas uma cover, que é o grande hino de Patty Smith : People have the Power...temos umas surpresas em breve bem interessantes..entre elas, Bettie Davis Eyes...um sonho bem antigo...
Vag- entre essas q a Ro citou e todas as outras que conseguirmos ensaiar eu quero grava-las. Quero muito gravar Silver box song do Blemish.

Q. Quais os planos para o futuro?
Roxy-Gravar com qualidade, pra poder fazer shows com mais qualidade.
Vag- Compor, ensaiar, gravar e prensar nossos discos.

Q. Alguma mensagem para o mundo?
Roxy-Nunca bebam bons vinhos em copos de plástico.....comemorem a vida sempre em grande estilo....Não é o vento que faz a curva, mas sim a curva que faz o vento.
Vag- Mundo eu nunca vou te abandonar.Se não tiver copo toma no gargalo.

Agradecimentos especiais a todos que participaram até agora do inicio da historia dos Vilões Noturnos...Eugenio Costa, Andre Semeone, Mario Malukinho, Vinicius (John Candy), Samuel ( Interlude)......entre outros.

Robson Gomes, sua participacao está sendo espetacular no NoctVillains, só temos a agradecer...muito.

Renato Malizia, nosso Tony Wilson brasileiro.....contamos com você, nosso herói.

Eu agradeço as pessoas acima, agradeço a Roxy pela parceria, agradeço o Robson pela irmandade, agradeço ao Renato pelas oportunidades.
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Obrigado queridos!!


segunda-feira, 24 de setembro de 2012

I Wanna Touch You with R.M. Hendrix


R.M. Hendrix não é novidade aqui no TBTCI, vide a primeira aparição, e retorna com seu novissimo EP Pink Skin, seguindo os passos dos anteriores, 3 petardos sexys, encharcados com um shoegazer sexy, remetendo diretamente a grande e infelizmente desconhecido Sweet Jesus.

R.M. Hendrix ou Michael, é daqueles tipicos excêntricos que faz que com um simples wall of sound grude na tua cabeça e desça pelas entranhas, sendo basicamente impossivel ficar imune.

E o TBTCI manda ver junto com o cara um track by track só pra ilustrar o espetaculo de EP que é Pink
Skin:

Track by Track

The Last Days of Black
A Loveless-era guitar leads into Ride harmonies on top of "Airbag" then breaks down into a post-punk disco space strut that might have been omitted from Chapterhouse's "Blood Music". This song is amber and tastes of cinnamon, oak and leather.

Staring into the Sun
A two minute feedback-laden Neu! beat swells into 360º textured Brit-pop á la early Oasis and Blur, climaxing to a dirty Mary Chain finale. This song is orange and tastes of rare meat and honey.

Lipstick and Perfect Hair
An immediate squall of screeches and drum fills lead to Teenage Fanclub worthy hooks, massive tremelo chorus and a guitar solo that ends as fast it starts. This song is pink and tastes of sea salt and citrus.

http://rmhendrix.com/

quarta-feira, 19 de setembro de 2012

A Night Like This with The Microdance - An Interview

                                 

As novidades não param aqui n TBTCI, agora é a vez de The Microdance, shoegazer, darkwave, modern rock, tudo mesclado e disparado para todos os lados, Enemies of Love o novo single, pega os estilos e joga o Microdance para um lance bem moderno, que chega a ter uma linha muito tenue entre o indie rock da atualidade, aquele lance mais do resgate do pos punk, nesse caso tem Cure as pencas aqui, mas aquele Cure do inicio de carreira, tem muito de Banshees também, mas tem muito de modernismo no som do Microdance.

O TBTCI como e praxe vem com exclusiva entrevista com Alex Keevill o cara por trás do Microdance.


***** Interview with The Microdance *****

                                   

Q. When did The Microdance start, tell us about the history...
I first came out with the concept for The Microdance in 2009. I use the word 'concept' because there was no band and no means to make anything happen on the scale I wanted to at the time. The concept was to eventually have an umbrella under which I could create music with no boundaries, i.e, include everything that excites me about music as and when I wish, but to somehow keep it cohesive and natural. I had been in bands with our drummer James before and him and I have a fantastic musical understanding, so he was the obvious choice for that role. I had written the 'Her Ride To The Stars' EP to be the first under the TMD moniker and James and I went ahead and recorded it at a local studio. That EP was a real departure for me because although there are a lot of guitars, it was my first stab at something a bit more simplistic, at least as far as band music is concerned. We weren't very good at promoting ourselves, but a few of the songs got bits of Internet radio play and somehow a producer in LA called Frankie Siragusa heard them. Lucky coincidence had it that I was planning a trip to LA around that point and Frankie invited James and me into his studio 'The Lab' to record some music. So we went over there and recorded the 'Yo Yo at 26' single. Frankie and his production partner Jay Dawson are wonderful people to work with and recording those 2 songs was an amazingly edifying experience. A pretty shitty year followed for me so James and I kind of drifted - in which time I did pretty much nothing with the LA recordings. Then one day in 2010 I woke up with a renascent desire to set the world on fire with music. I put together The Microdance LE as a pre-cursor to the real deal - that was just me on guitar and vocals, a girl on synth and a female vocalist. At the same point, 'Yo Yo at 26' was starting to get some recognition and people had started to respond to my ads; so I disbanded the LE version of the band in favour of the 5 piece behemoth!


The band has been through so many line up changes since then, (James has returned to the fold, thank God) and with every incarnation, we've got that little bit closer to realising 'that' sound in my head. We recorded the 'Get Dark' EP with a band that was about 90% of the way to disbanding - Michael Triponel (our then vocalist Bridget Walsh's boyfriend) who currently plays with Darkshaft came in and tracked drums for us off the back of 2 rehearsals, Paul Grant who is a fantastic guitarist and wonderfully matched to what I wanted, was increasingly becoming less involved in the band and nobody really knew their parts. That was really odd and it's amazing that it turned out so well - I'd love to rerecord that EP with a bit more time and a more of a stable line up. Anyway, that EP (And in particular lead single 'We Are made of evil Things') got us signed to the now defunct Xd Records - an association that has introduced us to some amazing people. Only Caleb and me remain from the 'Get Dark' era. The current line-up is the perfect and very rare combination of wonderful musical chemistry and a group of people who don't want to kill each other when things get serious: 'Enemies of Love' was a pleasure to record and we are underway with our debut album which is going to be a whole new level for us, I think it will be the first time that we put something out that I'm more than 60% happy with. That's not to say I'm not immensely proud of what we have put out, but we make very ambitious music and 3 days is not enough to record 20 minutes of it without looking back regretfully and thinking 'I wish we had more time to get that synth right' or 'Shit, my voice is bad there - I could have done with another 20 minutes to get that right'!

Q: Who are your influences?
I'm inspired by so many different things when I write, sonically emotionally and aesthetically I'm constantly absorbing influences. There are probably four or five bands that I would say constitute the core influence on our overall sound but when it comes to detail, it gets really particular.

We have a five second part in a song that we're currently tracking that we call 'the Cyndi Lauper bit' because it's got that eighties chorus new wavey feel to it. When I was writing the track, I had in my mind 'this is going to be a cross between punk rock and that kind of filmic eighties pop'... I don't really like punk music but it still managed to influence me, even if it was just in the 'attitude' of the song. The great thing about this band is that everyone brings their own influence to the sound too. Gavin is a big shoegaze man and is much better at getting those sounds than me and making the songs more expansive. Everyone is kind of on the same page but has their own ideas about where a song is heading. So, influences come from all over the place - it's very organic.

Q. Made a list of 5 albums of all time…
I don't have a top five albums of all time. Music works on so many levels for me that it's impossible for me to distill all that love into five hours! I will never grow tired of those albums which inspired me to make music though; so the classic Pumpkins albums as well as others that I loved from that era - Soundgarden, Pearl Jam, Alice In Chains, The Cure - are mainstays as well as the Prince albums that I grew up with way before I picked up a guitar. Then there's all the other stuff that I love equally but sounds nothing like what TMD is doing like Aphex Twin, Bob Marley and Pantera. Here are the five that I'd say are informing my writing most at the minute but are notmy top five of all time - SORRY:

Siamese Dream - Smashing Pumpkins
Purple Rain - Prince
Give Up - Postal Service
Get Ready - New Order
Swoon - Silversun Pickups
Hounds of Love - Kate Bush

Okay, that's six!

Q. How do you fell playing live?
That depends on two things: 1, the crowd - It can be frustrating when we're playing to a party crowd and they don't want to engage with the more elegiac stuff in our set.We might go 'all quiet' on you after 10 minutes and if there's a crowd who are unwilling to go on that journey, then the response is usually a bit tepid. I suppose that's something we should pay more attention to because we have enough big hitter, hit-type songs to fill a set if that's the way the night is going. And 2, how well we're playing. Although the former has a big impact on the latter. If all is good, it's the most euphoric thing is the world. If it's not, then it's close to the opposite!

Q. How do you describe The Microdance sounds?
Aural confectionery! Going deeper, I guess we try to connect with people's souls on a poetic level, it's intimate, innit!

                                  
Q: Tell us about the process of recording the ep?
Enemies of Love? Lots of demoing at home followed by lots of rehearsing and then a mad rush to get it finished with limited time and money! I think there are about 17 different versions of each part from 'Goodbye Lily Laser' on my hard drive at home! Having said that, this band is great at tracking. By the time we got to the studio with the songs, we all knew our parts and tones and everyone has added something to the mix. For the first two songs, we managed to get the amazingly talented Zoe Konez to sing. She rocked up at the studio, learnt the lyrics and harmonies and tracked her lines in about an hour. The third song 'God's Joke' is a rerecording from before the inception of The Microdance; a song that will always resonate with me and that I wanted to do a bit more with. We had a bit longer for that one and it was the first work we got done in a studio that Caleb now has access to. He did a great job engineering that. Our former vocalist Bridget Walsh came in and sang, and she sounds wonderful - I guess that was her TMD swansong!

Q. What´s represents the shoegazer classic era to the band?
Shoegaze is a tough one for me because I'm not totally sure where the line is! I loved a lot of shoegaze type music when I was 10 or 11 but the tonality of the music created an emotive response in me and I had no idea that I was listening to Shoegaze. I think essentially Shoegaze for me means music that can create an emotional landscape through its sonic qualities alone; notes, lyrics and melodies certainly help, but the sound of those guitars and synths is where it starts. I love shoegaze but find it very hard to listen to a whole album, simply because I like variety - I'm to be whacked around the head by a metallic guitar after 15 minutes of looking at my trainers! Having said that, this band tries to implement the best parts of shoegaze into even its heavier stuff - that's a healthy mix! Gavin is a Shoegaze tonemonster, I call him SGG - Shoegaze Gav!

Q. Which new bands do you recommended?
I just heard a medley of bits from the new A*Star stuff, that sounds as if it's going to be stunning. All of our old label mates from Xd records are well worth checking out actually. I'm not gonna talk about new stuff that people most probably heard because those guys don't need any more help!

Q: Which bands you love to made a cover version?
I'd like 'Tango in the Night' era Fleetwood Mac to cover 'Goodbye Lily Laser'. I'd like to hear Stevie Nicks impart her gravelly goodness on that one. I'd love to hear that one synth popped up by the masters of that art too.

Q: What´s the plans for future....
Put the album out and get the level of renown and acclaim that I think we are well deserved! From there I am supremely confident we can sustain that level. I have spent way too long doing this to not stay there once I've got there. There are some songs that are being considered for the album that I wrote over 10 years ago - they are ridiculously complex, so a whole album of them would be overload, maybe we'll use one or two. In which case, there's probably enough of them for about 11 albums! This, for the first time, is the right collection of people to do those songs justice - and then some.

Q: Any parting words?
Kids, listen to albums! And tell all of your mates about the bands you love. They may appear arrogant, self-important posers but that's all a facade, they need you!
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Thanks Alex

https://www.facebook.com/TheMicrodance
http://themicrodance.bandcamp.com/album/enemies-of-love-goodbye-lily-laser-dont-stop-love

A*Star--Drive It Deep Cut Remix


Perry & Kim strikes again!!!!
a great Deep Cut Remix from the great Matt Flint

segunda-feira, 17 de setembro de 2012

OX4 with Hush Delirium - An Interview

                                          

Arte e Musica reunidas em prol simplesmente do prazer em divulgar e expressar ao mundo o quão valioso a cultura é, independentemente do lugar em qual se esteja, a admiração tanto pela musica como pela arte é valiosa como conhecimento, que aliás, diga-se de passagem, a unica coisa que jamais tirarão de nós, é o conhecimento, seja você rico, pobre, nego, branco, não importa, seu conhecimento adquirido em sua vivência sera levado eternamente consigo.

O TBTCI com máximo orgulho apresenta no Brasil com exclusividade um projeto que esta se iniciando e já de antemão é algo soberbo, algo que certamente ficara marcado na história, reunir Arte & Musica, logicamente que lembramos de Andy Warhol e a Factory, é inevitável não haver essa lembrança, decadas e decadas depois da aurea fase de Warhol, eis que a Arte e a Musica tornam-se a encontrar-se, desta vez, através de alguns nomes tão fantasticos quanto os da fase Factory, imagine você uma reunião com: Simon Welford (artista), Mark Gardener (musico, ex Ride), Dead Garcia (musico, ex Curve, atual SCP ECO), Adam Franklin (Swervedriver/Bolts of Melody), Perry Pelonero e Kim Welsh  (A*Star, bliss.city.eat), Aziz Ibrahim (ex Stone Roses), Ian Brown (Stone Roses)  bandas como Chatham Rise, Her Vanished Grace, The Cult of dom Keller, e inumeros outros, a Arte e a Música unem-se novamente em prol de criar trilhas sonoras e conceber arte e vice e versa.

O projeto chamou tanto a atenção do TBTCI, que a entrevista com Simon Welford e Mark Gardener foi concebida com uma rapidez extrema, obrigado a Stefania Paolini por intermediar, e agradecimentos a Perry Pelonero pelo voto de confiança e expressar a qualidade do TBTCI ao Hush Delirium, fico honrado pelas palavras.

E mais, para os leitores do TBTCI fica a torcida, pois eu pessoalmente tentarei viabilizar a vinda do Hush Delirium ao Brasil, é cruzar os dedos e torcer.


Por enquanto Hush Delirium, e uma soberba entrevista ao TBTCI.

***** Interview with Simon Welford & Mark Garderner - Hush Delirium *****

                                         

Q. When did Hush Delirium start, tell us about the history...and is there a story behind the project´s name?
M - Hush Delirium officially started in March 2012. Simon (Welford) wanted to come up with a project that combines art and music for some time.

S - Having done an art exhibition back in November last year where music legend Alan McGee was the guest DJ for the preview night, I noticed how great it was that I had a soundtrack to the evening as people walked around looking at the art on the walls and I thought there and then that I might be on to something. Mark (Gardener) was also in attendance that night but I didn’t approach him until a few months later about the idea.

M - Simon came up with a name in the same way as a lot of bands think of names I guess.

S - Hours of racking my brain and trying to think of something cool. I wanted two words that almost contradict each other, two opposites almost. After much deliberation I came up with ‘Hush Delirium’. I suggested it to Mark and he thought it sounded great, so that was that.

Q. What´s the concept of the project
M - The concept is simple. Simon approached me to compose some pieces of 'atmospheric instrumental music' for him to use as inspiration to create various pieces of art. Simon then works away creating new art inspired by the music until a complete art / music concept is formed. The music submitted is 'brand new' so not to offer any preconception.

S - In addition to Mark we have now added a whole host of musicians who are all contributing music to the project. On completion the aim is to produce a gallery exhibition of artwork inspired by the music as part of the 'Hush Delirium' project. The exhibition will not only involve traditional art on gallery walls but also large screen projections played alongside the music to give the exhibition visitor the full experience of how the pieces of work come together.

M - We are also exploring ideas such as simultaneous exhibitions at the same time around the globe as well as having the complete experience available as a download so the images and music can be seen and heard exactly how they were intended by the musicians and artists involved. We are also looking to do ‘one off’ events where we will have the music and art on show but also include live performances by the artists involved. The possibilities are endless...

Q. Do you consider Hush Delirium to be a project with a beginning and an endpoint date, or not?
S - No, we have always said from the start that Hush Delirium can run and run. As long as we have musicians who want to supply music to the project then we can make this project last as long as we like and go in any direction we want. Mark and I have big ideas for the project and really want to make it a success so hopefully with hard work and commitment we will achieve our goals. We are chasing new musicians to contribute all the time and we get emails and messages nearly every week from people wanting to be involved so we have the ability to keep this going for a very long time.

Q. Who is currently part of the project? Who else could join the project?
S - We have an amazing selection of musicians involved in the project, all contributing different styles of music. Alongside Mark (Gardener) we have Aziz Ibrahim who has played with Stone Roses, Ian Brown, Paul Weller and Simply Red and is an amazing musician. We have Dean Garcia from Curve involved, Adam Franklin from Swervedriver, Perry & Kim from A Star / Bliss City East and Jaq Gallier who is a singer / songwriter from London. We also have some exciting bands including Chatham Rise and Her Vanished Grace who are both American bands and we have The Cult of Dom Keller from the UK. We are adding new bands and musicians all the time to it’s worth following our blog or keeping up to date with us on Facebook and Twitter to see who is involved.

                                 

Q. What are the main influences of the project?
M - Certain music / art cross over projects such as Andy Warhol / Velvet Underground are often mentioned by interviewers when they talk to us but we feel that we are pretty unique. Due to the era Warhol was around, he was pretty limited in his output. Thanks to the internet we can share our work and interact with people all over the world in an instant. I don’t feel we have any direct influences when it comes to ‘Hush Delirium’ just a mutual appreciation of good art and music.

Q. What are the prospects of the project passing through Brazil? There is a possibility of this happening? I really would love to bring Hush Delirium to Brazil ....
S - We would love to bring ‘Hush Delirium’ to Brazil. We (Simon and Mark) are off to Denmark in November to do a special event for one night only where the music and art will be shown followed by an acoustic set by Mark to complete the evening. Bringing the art and music over to a country like Brazil would be fantastic.

M - The exciting thing with the project is that we can bring any combination of musicians to different parts of the world and every show will be different.

Q. Any parting words...
S/M - Thanks to everyone from Brazil and South America who has shown an interest in ‘Hush Delirium’ and sent us messages on Facebook and Twitter. We hope to see you all in 2013.
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Thanks to Stefania, Simon, Mark, Perry, Kim, Adam and all of you guys from Hush Delirium.

https://www.facebook.com/HushDelirium

ShiShi - Bliss

A Beauty in a Song!!!

Redenção with A Transgressão - An Interview


Darkwave em 2012 soa um tanto quanto fora de moda, mas a primeira canção da A Transgressão deixa clarissima ou como o próprio Raí Men diz, "essa banda só acaba quando eu morrer.". Constrói & Destrói canção emblemática da banda traz seríssimas recordações de um patrimônio da musica nacional chamado Vzyadoq Moe, banda Pos Punk/Industrial e todos os rotulos que você puder imaginar faziam parte do caldeirão do Vzyadoe, e A Transgressão pegou esse legado e construiu e desconstruiu a risca, simplesmente caótico e insano são suas composições, e os shows tem fama de ser uma verdadeira catarse. E não a toa o TBTCI em sua alcunha de Blue Room, no já cult Espaço Cultural Walden, vem jogar na cara do publico A Transgressão e veja bem, não havera como se render a perturbação que sera este concerto.

Também uma entrevista com Rái Men para deixar um pouco mais claro qual é o objetivo da A Transgressão.

 
***** Interview with A Transgressão *****

Q. Como A Transgressão começou, conte-nos a historia
A Transgressão surgiu basicamente de uma idéia de fazer uma banda dark nos dias de hoje. Essa banda só acaba quando eu morrer. A idéia data de meados de 1998 onde eu gravei uma demo-tape com beats de teclado, guitarras com pedaleira digital "daquelas", um mic, uma mesa, tudo enfiado na entrada de mic de um duplo-deck, sobremontando fita-a-fita. Mostrei para alguns amigos que na maioria preferiram não comentar ou acharam uma merda ultra-depressiva. Só o Renato Bizar(Wry) que curtiu e até chegamos a ensaiar com uma baixista, a Geise, mas não passaram de alguns ensaios. De 2002 até 2006 toquei guita na banda The FortuneTellers, e o projeto ficou esquecido por todo esse tempo, até que me mudei pra Campinas no final de 2007 e comecei a fazer várias demos caseiras com beats programados, adquiri novos efeitos e pronto, estava armado o circo dark no centro de Campinas. Em 2008 lancei na web um novo som, pela primeira vez em português "Constrói & Destrói". Quem deu atenção foi o Alexandre Bezzi, que na época trampava no site Fiberonline. Foi o incentivo pra continuar compondo e buscando um formato de banda, que só foi rolar em 2011 com a entrada de um segundo guitarrista (Inacio AMB), baixo(Renan Pereira), sintetizador(Ju-Ju New Wave) e um batera(Giovani). O resultado está aí no EP de demos dessa fase "Um Dia Para o Resto da Sua Vida"[2012] lançado no começo do ano, disponível pra baixar na Tramavirtual. A formação atual conta é: Claudiometric(bateria) e Perigor(baixo), Ju-Ju New Wave(synth) e Rái (guita/voz). Mudar integrantes nunca é um problema. Além de solução, são contribuições de estilos diferentes que acrescentam novas sonoridades à banda. Estamos sempre recomeçando, construindo e destruindo.

Q. Quais as influencias?
Vzyadoq Moe sempre será minha referência maior. Mas entre os integrantes, o que curtimos em comum é The Cramps, Iggy Pop, Mercenárias, Cure, Sisters of Mercy, Ministry, Gang of Four, Patife Band, Nine Inch Nails, garage 60's, glam-rock e pós-punk em geral.

Q. Como vocês definem a sonoridade da banda?
Gosto de pensar que é algo entre o pós-punk e o garagerock.

Q. Como é o processo de composição e gravação?
Geralmente eu programo beats no computador do meu apê, a RAT-Studios. Faço as demos, ou baixista e tecladista comparecem na RAT pra gravarem suas partes nas demos. Assim vamos definindo tudo e vamos direto ao ponto quando for pra gravar. Feito isso, cada integrante ouve as demos à exaustão, então vamos pro estúdio e remodelamos a música do jeito que melhor nos agradar.

Q. Como é a sensação de tocar ao vivo?
Uma sensação rara e sensacional rs...

                                  

Q. Se vocês fossem gravar um cover, qual seria?
"Expansão" do Vzyadoq Moe.

Q. Quais os planos para o futuro?
Gravar um terceiro EP pra começo de 2013, fazer um clipe até dezembro, tocar em outras cidades e capitais, produzir nossos próprios shows/festas em Campinas, tocar com bandas irmãs e conhecer outras, fazer amizade, mostrar que pós-punk não é só um tipo de música sinistra "pra baixo". O tema é sério e não há nada de errado em não soar POP nem de longe. Não estamos preocupados com o que vão pensar sobre o estilo dessa banda. Não estamos preocupados com gravações mirabolantes e mixagens em Nova York. Nosso caminho é torto, e o torto é o nosso certo. É como eu sempre digo: Há transgressão até no inferno. Pensem nisso.

Q. Alguma mensagem para o mundo?
Não sei se o mundo quer ler mensagens minhas, mas sei que posso fazê-los ouvir um dia, e se apenas uma frase um dia fizer sentido, é o bastante pra mim. Essa certeza é a gasolina pra continuar firme no caminho, agradando a nós em primeiro lugar. Temos algo a dizer, e hora ou outra, alguém vai ouvir e entender tudo isso.
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Valeu Rái!!!

https://www.facebook.com/transgressao
http://tramavirtual.uol.com.br/artistas/atransgressao

quinta-feira, 13 de setembro de 2012

quinta-feira, 6 de setembro de 2012

The Man That Celebrates His Muse with Robsongs

  

É inegável o talento de Robson Gomes, guitarra e vocal do patrimônio das guitar bands nacionais o The Concept, por onde quer que o Concept passe causa furor, vide a última apresentação da banda no Lega Itálica, uma catarse generalizada, literalmente o Concept roubou metade da cena porque a outra metade ficou com o RDS. Ao final dos concertos, ouvir coisas como o show de vocês foi melhor do que o nosso (Daniel Coborn, batera do RDS) ou você canta demais (Alex Gehring, baixista do Ringo) ou se você preferir, você é louco mesmo (Elliot Frazier, guitarra e vocal do RDS), simplesmente enaltecem o que já é sabido, o Concept esta anos luz a frente de muita gente, e obviamente eu tenho motivos de sobra para que meu orgulho cresça absurdademente, porque quem me conhece sabe exatamente qual minha opinião sobre o tão essencial é o The Concept, e ponto final.

Mas Bob, para os intimos, não contente com o que sua banda vem fazendo por ai, tem se relevado um eximio mestre em sua outra faceta, agora solo sob a alcunha de Robsongs, Bob vem criando perolas atras de perolas, depois da grandiosa Sitar Song, clássico instantaneo, Robson solta no meio virtual mais uma canção recheada com uma peculiar psicodelia acida, claramente influenciada principalmente por Brian Jonestown Massacre, é incrível a sonoridade que Robsongs atinge, uma sinergia absurda com as novissimas gemas preciosas do psychgazer atual coloca-se lado a lado com Blue Angel Lounge, Cult of Dom Keller dentre outros nomes extremos do submundo dos bons sons, mas Robsongs tem uma característica explicitamente grandiosa, a guitarra de Bob, sob as 6 cordas, são criados mágicos acordes que tocam fundo a alma e o coração, emocionantes e cortantes esses acordes despertam emoções difusas, como canta Robson na letra da canção

                                   

A mais nova preciosidade de Robsongs é Essa Grande Falta de Você, facilmente umas das canções de amor, saudade e desespero mais perfeitas já concebidas, sim a musica é movida pela guitarra de Bob, e loops sequencias, mas a letra explicita que uma canção como esta somente poderia ser concebida se seu criador tiver uma musa, e no caso de Bob a musa chama-se Luca, e como sei a história desse amor a canção tem um efeito mais poderoso ainda, Essa Grande Falta de Você é uma das músicas mais perfeitas que ouvi nestes ultimos tempos.

Robsongs, é assim, quando o talento ultrapassa todos os limites e chega a perfeição.

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Obrigado Bob!!!!

http://soundcloud.com/robsongs-1/robsongs-essa-grande-falta-de

Kill Surf City with The Vandelles - An Interview

                                   
Finalmente, depois de muita espera vem a tona o segundo album dos prediletissimos The Vandelles, simplesmente um esporro sonoro em alta combustão, algo como uma colisão em altissima velocidade entre entre Link Wray, J&MC e Cramps, surfgazer music from hell.

O novissimo Strange Girls Don´t Cry dá sequência ao absolutamente indispensável Del Black Aloha, e chega para chacoalhar mais ainda as futuras listas dos melhores do ano.

Distorções, ruidos, melodias, surf sounds, tudo mesclado com uma furia pronta para levar ao caos, ouvir qualquer canção de Strange Girls Don´t Cry significa aumentar ao máximo para que as caixas vibrem, gritem ou até onde seus timpanos forem capazes de suportar, um album feito exatamente para que seu verão queima em chamas.

Jasno, Christo, Honey e Lulu desafiam a todos para que entrem nesta onda caótica e ruidosa, a diversão ah a diversão o The Vandelles garante.

Sem mais explicações, há tempos que o TBTCI vem esquematizando a entrevista que cai em boa hora, sugiro pegar seu Strange Girls Don´t Cry e ver qual é a do The Vandelles.

***** Interview with The Vandelles *****

                                           

Q. When did Vandelles starts, tell us about the history...
That depends how far back you want to go, in high-school I started getting the feel for a concept band that would try to make rock music to go along with 40's noir movies. I wrote about half the songs for Del Black Aloha including Lovely Weather and Fever of the Beat during that time. There were a couple of incarnations of the group under different names, but in college I met a friend who joined and helped me solidify to the concept and the name. Since then we've had two guitar players and two bass players releasing an album and two eps. Now we're a three piece and our sound has developed into a mash of marychain beach boys ramones pixies etc surf influenced pop rock and roll. We just released the album Strange Girls Don't Cry and soon there will be another album and ep.

Q: Who are your influences?
Obviously we love the jesus and mary chain. When I first heard psychocandy in high school I had been writing a lot already but the way they used feedback as an instrument really changed my approach to putting parts together in the recording process. Also the Brian Jonestown Massacre, Anton paved the way for what I think is good music to come back into the club and internet-sphere. In the early 2000's I was talking to Bomb Records a bunch through emails and thats how I came across BJM. After that I started looking for other bands around the country which eventually led to us going to austin a bunch and california to play with bands we'd met online. Now its become a huge world-wide network of psych bands through the internet which is really awesome.

Q. Made a list of 5 albuns of all time…
Chronological order (and this is my list for the vandelles influences, I know for a fact the girls would disagree with a couple of my choices, and I'm not including the Beach Boys because everything before Wild Honey is awesome, or Dick Dale because he invented "surf music", or the Pixies because everything frank black has done has influenced my writing style)

Davie Allan Apache '65
The Beatles Magical Mystery Tour (the first album I listened to on repeat for a year before discovering jimi hendrix, the beatles changed how music was and is recorded forever)
The Ramones Ramones (possibly the best album of all time, if not for the sex pistols shenanigans this album would've been number 1 on all the charts in my opinion)
Jesus and Mary Chain Psychocandy
Nirvana - In Utero (God I love this album and it has had a huge influence on my use of layered distortion)

Q. How do you fell playing alive?
If you mean how do we feel playing live onstage, I love it. Since becoming a three piece I've been able to build out my live setup with more amps and pedals which I've always wanted to do and I am LOVING.

Q. How do you describe Vandelles´ sounds?
The new record is a bit night and day; about half of the songs are surf-pop tunes, while the others are darker psych style songs. I think the overall mood of the album has this kind of mystery of the ocean feel to it, like standing on the beach looking far out onto the horizon and seeing a storm out in the distance

                                                

Q: Tell us about the process of recording the new album?
Strange Girls was recorded at RAD Studios in Bushwick Brooklyn. Spring 2011 we had just released the summer fling ep and we really wanted to get a new album out so after we got back from sxsw we started rehearsing the new songs heavily and booked time at RAD through some of Christo's friends. We knew a couple great bands had recorded there like Twin Shadow and Hooray for Earth had made records there. Josh Ascalon Engineered, we did a week of sessions in June and then another three days in september to finish everything after our midwest tour. The songs were all tracked drums bass and one guitar together and everything else was overdubbed. RAD has some awesome outboard gear - we took advantage of their analog distortion a lot all over the album. After everything was done we were very very lucky to have the opportunity to have Joel Kass master the album, which took the whole sound to another level, when he was done everything just sparkled in this super-classic way.

Q. What´s represents the shoegazer classic era to the band?
Everyone knows my bloody valentine invented the "shoegaze" sound but the mary chain are my favorite creation records band.

Q. Which new bands do you recommended?
ringo deathstarr, the black angels, the vacant lots, night beats, crocodiles, dum dum girls, bleached, cool serbia, diiv, total slacker, los robertas, I could go on and on actually there is so much good music happening everywhere right now all you have to do is get into the scene and start looking around.

                                             
Q: Which bands you love to made a cover version?
We've done several covers in the past like spacemen 3's loosing touch with my mind and the cramps' aloha from hell, which are both available on our bandcamp for free download. We also used to cover bjm's not if you were the last dandy on earth and soon we'll be putting out the beach boys' surfin' usa as a free download.

Q: What´s the plans for future....
We are in the process of recording the next album and ep to be released as soon as they're done.

Q: Any parting words?
Be yourself everyday, unless you can be a unicorn then be a unicorn everyday.
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Thanks Jasno!!!

quarta-feira, 5 de setembro de 2012

Sound & Vision with Mansions & Junipers - An Interview

                                       


Depois de um hiato devido a turne com o Ringo Deathstarr, o TBTCI retorna e assuntos não faltam, vem coisa fina pela frente, a começar por uma daquelas novidades que é tipicamente a veia do TBTCI, Matthew Filler é a mente por detrás do novissimo Mansions & Junipers, Matthew já tem no curriculo nada mais nada menos do que ter participado do cultuado Mahogany, só por este ponto já tem total credibilidade, mas isso é pouco, Plastic 57 o Ep de estréia do M&J é um verdadeira caldeirão que mescla desde o pos punk, synthpop, dreampop e inumeras outras variáveis com extrema classe, Big city é a carta de apresentação do Ep, mas Paradise Purgatory remete diretamente a Bowie fase Sound and Vision, Cadilac Vision também remete ao camaleão mas já na fase Berlin, o M&J realmente impressiona pela qualidade das composições e dos arranjos, grandiosos e eloquentes.

 O TBTCI retorna em grandioso estilo entrevistando Matthew Filler para que você possa se inteirar e ir a fundo neste seu mais novo predileto da casa, Mansions & Junipers é assim, classe acima de qualquer suspeita.

***** Interview with Mansions & Junipers *****

                                          

Q. When did Mansions and Junipers starts, tell us about the history...
I started MaJ in the spring of 2010. I had been playing in other bands (mainly Monocle and Mahogany) for a few years and I felt a major itch to get back into songwriting. I decided to make a record in May 2010 and it was finished by August (Mansion Beach). I put the band together after the fact, and we performed live renditions of these 'studio' tracks around NYC for a few months.

During this period, the line-up was ever-rotating and I was experimenting with my vocal a lot. It was really just a time where I was trying to hone the identity of Mansions and Junipers. Looking back at this time, it's clear that we hadn't really established MaJ as a real unit yet. The writing, the process, and the energy needed to change. I needed to get a lot of the superficialities that surround gaining traction as a band out of our culture and just get back to playing music with my friends.

And speaking about the joy of making music with friends (tangent), I've been reading a lot of statements, letters, articles, FB posts lately about how the music industry is dead and musicians don't get paid for anything anymore and so on and so forth... or how the 'scene' is over-saturated and there's no demand, or how the public just consumes crap and "success' is based on some arbitrary lottery regardless of the hard work you put forth. Honestly, boo hoo! You either love what you do or you don't regardless of the externalities. And WHEN were these music industry glory days? Before we were born? So, what do we know about it? I was having a conversation with some friends recently about how our generation needs little gold stars and recognition for every little thing we 'accomplish'. Oh well... unfortunately, life isn't a John Hughes film. You either love and appreciate the joy that making music brings you on a daily basis or you don't. And if ok if you don't... be an accountant. Look, there's lots of opportunity out there and we have a vast amount of new resources at our disposal. It's exciting. Enough about what's holding you back. It's depressing!

Ok, where were we? In May 2011, in the midst of line-up changes etc etc, an old acquaintance from my hometown, Sally Boyd, finished school and moved back to the area. I had never really played with Sal but I'd seen him perform and his energy was infectious. Rumor had it that upon his return to the home-front, Sal had built out a pretty serious proper garage studio (Super Owl). This seemed like a good excuse to do a recording project together, so I approached Sal with a new handful of songs and we got things rolling. Over the next three months, we recorded about 30 tracks. I would write new songs weekly for our end-of-the-week sessions, and we'd just arrange them and learn them on the fly, and perform the fuck out of them. During that period, we brought Bob Vaccarelli (drums) and Rich Bennett (keys) into the fold, both of them fantastic musicians who I'd played with in several other bands including Monocle, Friendly Bears, Mahogany, etc etc.
Long story short, of the 30 tracks we recorded, we've chosen 17 (maybe 18) for the 2012 EP trilogy. 'Plastic 57' was released in June along with our first video, Cadillac Dreams. 'Paintress' will be out in September, and the trilogy's anchor (name tbd) will be out in December. This will all be followed by a proper LP, much of which we are already performing live. So, we hope that these songs will be fully developed and rocking to their fullest by the time we hit the studio in early 2013.

Q: Who are your influences?
We have many but I'll try to mention the most relevant. Siouxsie, Bowie, Depeche Mode, Scott Walker, Pixies, Talk Talk, Wire, The Smiths... some pretty classic stuff. There's a number of contemporary bands that we're listening to right now... Deerhunter is an influence, the new Chairlift is awesome, Crystal Stilts, A Place To Bury Strangers. The new Chromatics is somewhat in line with the direction of much of our newest music (for the 2013 LP), that is if you imagine it with more density, big guitars, and live drums. We also tend to draw lots of comparisons to Jesus and Mary Chain and Psychedelic Furs. Although this isn't a conscious thing, we'll take it!

Q. Made a list of 5 albuns of all time…
This is difficult... I'm not going to think to hard about it, but this list would likely change every other day.
1. David Bowie - Scary Monsters
2. The Smiths - Strangeways, Here We Come
3. OMD - Organisation
4. Scott Walker - Scott IV
5. Mr. Bungle - Disco Volante

Q. How do you fell playing alive?
We are in our element when we play live. We just want to connect with the crowd and achieve the holiest of sustained adrenaline sublimeness. We have a blast up there... we're pretty animated.

                                                    

Q. How do you describe Mansions and Junipers sounds?
Mansions and Junipers make vocal and guitar-driven melodic synth-based music.

Q: Tell us about the process of recording the new album?
See above, but here it is... on the rocks is fine.

All tracks were engineered by Sally Boyd and myself at Sal's studio, Super Owl. We initially had no plan for these recordings, so our approach was very loose in comparison with every other record/s I ever made.

We're genrally really energetic and work very fast. Neither of us are really gear-heads or too fine with technique, so we're not going to spend 4 hours moving mics 3 inches this way and that way. We'd just set up, listen to music, get loose, have a beer, and hit record. Don't get me wrong. We're all super focused and meticulous... the studio vibe just has to be loose so we can get that magic on tape! When people are tight and afraid to hit wrong notes, you may as well pack it up and call it a day. For us, it's sort of like trying to document a series of real time snapshots of what someone might be going through emotionally during an orgy or something... all sorts of balance and tension, highs and lows. When I'm mixing and I solo the room mics, I can hear everyone breathing or grunting involuntarily. It's really funny! But it's also fantastic that they're so into it! So, vibe come first and everyone has such a nice rapport with one another that this is quite natural. But we still place a very high priority on process, focus, and repetition.

After these songs were tracked at Super Owl, I'd take them back to my studio, Pralaya Productions, record overdubs, and mix obsessively. And there ya have it.

Q. Which new bands do you recommended?
I guess I already touched on this, but some of my favorite contemporary artists are Deerhunter, Atlas Sound, Chromatics, Crystal Stilts, Ariel Pink's Haunted Graffiti, Unknown Mortal Orchestra... I was literally just turned on to this Seattle-based artist named Erik Blood that I know is going to be my favorite new thing for the next several months. Some of our local peers... Her Vanished Grace and Dead Leaf Echo are crushin' it these days. There's so many more but I'm drawing a blank. Our very own Rich Bennett has some amazing solo material, plus he's just wrapping up a new Monocle LP (myspace.com/monoclemusic). Sally also has some an absolutely amazing collection of original musics that he's about to share with the world, and Bob just started a killer new band with his brother Adam called Razor Blazers.

Q: Which bands you love to made a cover version?
I've never covered anything except for Frank Zappa's 'I am the Slime' with my band when I was 15. That show was on a huge flat-bed truck in a farm barn in the middle of the woods. All I remember is that my friend kept bringing me red wine spritzers on stage... I have no idea why, and it seems a little strange in hindsight! That's definitely the night that I caught rock fever forever.

Oh, and recently I decided that I'm going to do a slowed down piano and voice version of Depeche Mode's 'Shake the Disease', maybe.

Q: What´s the plans for future....
Renewable energy, high-speed rail, upcycling.

Q: Any parting words?
We just wanna thank our cats and Birddog.

Also, check out the new video for Cadillac Dreams. And Plastic 57 is for sale basically everywhere... mansionsandjunipers.bandcamp.com, iTunes, Amazon, and so forth!
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thanks Matthew

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