sexta-feira, 18 de maio de 2018

Ten Million Lights, "Sour Oranges" - Track by Track

Para quem acompanha o TBTCI, o quinteto de Portland, Ten Million Lights não é nenhuma novidade, certo?!

Certíssimo...e os caras retornam as páginas do TBTCI por conta do seu segundo álbum, "Sour Oranges".

Um discaço de guitarras altas e estridentes, mas sem extremos, aqui tudo é concebido sob medida, o barulho é melodioso, as melodias são grudentas, e grudam mesmo, e aí é impossível parar de ouvir, simples assim.

Seguindo uma lógica noventista com roupagem atual, o Ten Million Lights, pega o termo guitar bands e dá continuidade no que já é sensacional e alonga ainda mais o amor pela década dos excessos, mas sem aquela nostalgia barata, o negócio aqui soa sim, contemporâneo.

E como é costume aqui no TBTCI, para obras grandes como esta, o conteúdo tem que ser decupado e dissecado na íntegra, e ninguém melhor do que seus criadores para explicitar o que é "Sour Oranges".

Escute alto, e sem limites.

***** Ten Million Lights, "Sour Oranges" - Track by Track *****

Wide AwakeRyan: This is a call back to our first song from our last record which was called Fast Asleep. It was inspired by the self-immolation that started the Arab Spring and all the uprisings that have been happening around the world. One could assume that makes it dark, and of course there is some darkness there, but overall it's a song of hope. It's big and powerful and we felt like would make a great opener.

Red TornadoEmily: This was an experiment for me to do some kind of stream of consciousness lyric writing. We had this percussive melody already, and that really lent itself to lots of words packed in and lots of consonant sounds. So I went with it. In the end, it's a somewhat surrealist song with tons of nonsensical lyrics that create images of puppets, wrinkly beds, and mechanical creatures that fit well with the energy of the tune.

Eric: We had this song kicking around for years, but it never really clicked until Russ added his awesome bass groove. The chord progression in the chorus is inspired by Lush, but with an interesting bass run underneath that makes it it's own unique thing.

SmotherEmily: Ryan started the concept for this one with the lyrics to the chorus, which were all about a kind of overwhelming, visceral love. I interpreted it partially as someone who is deeply in love, but they are trying to get so much from another person that they smother them in the end. So the verse lyrics played on this concept and tried to create images of really intense physical and emotional experiences that verge on crossing a line into unsafe or unhealthy.

Eric: This is another one that has been around forever. There's an alternate version of Smother floating around that's a couple years old at this point, with programmed drums, synth bass and a completely different guitar part. Totally different and cool in its own way. We deconstructed that when we changed direction and added a live rhythm section, and it turned into something really powerful.

Ryan: A mayday is a cry for help and in this song I am struggling with the reality that people aren't allowed to choose when they die. We will put an animal down to end its suffering, but we make humans suffer until they die. In reality we are all dying all the time. I look at how we are all made of carbon atoms that originally made up a dying star and talk about how I choose to forgive people for dying before their time.

Emily: This is my favorite song on the record, partly because the lyrics are so dark but it's also one of our more dance-able songs, and Ryan and I get to do this super playful back-and-forth with our vocals. I've always loved that type of musical contrast.

Night Lines

Revolt Ryan: Revolt has a kraut rock feel in the intro and verse with a big chorus and an epic, wall of sound, sonic guitar adventure in the middle. They lyrics are a story about hijinx and escape; a love story that culminates in an inevitable Bonnie and Clyde ending but with final transformation through death into a dragonfly.

Eric: This is one of my favorites. It takes a very long time to get to the chorus, where the tension that's been building is finally released, and then the bridge takes it even higher. This was also one of my favorites to record. There are a couple tracks buried quietly in the mix at the start. Ryan added a rhythmic piano part, I added a fuzzed-out keyboard drone with an old Casio run through my guitar rig, and Scott played a pattern using some old pieces of scrap wood that were laying around our studio. You can barely hear these parts, and they stop when the verse starts. Almost like a refrigerator hum that you don't notice until it's gone.

Falling ApartRyan: Lyrically this is a pretty literal song about my stepdad's heart problems and how he was able to come back from death's door and remake his life into a picture of health. It juxtaposes the concept of modern open-heart surgery, where they literally take out your heart and use a machine to keep you alive, with the Bible story of Lazarus who was raised from the dead.

Waiting ForRyan: This song is a reflection on modern day society and how most people want to get things now with as little work as possible, while all the while hoping things will be better in the future. I say, don't wait for the future, enjoy the now, let things go, and stay in the moment.

Eric: Really beautiful and simple song. We tried to make this really sparse in parts, so that the wall of vocal harmonies that come in late feel huge and dynamic. We were probably inspired by the xx to try to do something with so much room to breathe, even though it sounds nothing like the xx.

Writing On The WallRyan: This song is a tongue in cheek call-out to machismo. Its all about being tough enough, loud enough, and fighting your way to the top.

Eric: I'm hoping that musicians can appreciate all the odd time signature changes in this one, and that non-musicians can still tap their toes.

Sour Orange, Sweet LimesRyan: In this song, I'm reminiscing about waking up in the cool cloud forests of Nicaragua, seeing Toucan's, smelling the morning dew, hearing nothing but the wind. A place that's close to my heart called Mil Bosque, that I can't be at very often, but if I close my eyes I'm already there.

Emily: This started out as two distinct songs and we blended them together with Russ' lovely bass breakdown and turned the second song into basically a three-minute energetic build. It's super fun live.

Eric: This one didn't end up at all how I'd envisioned it, but I love it. I was trying to write a memorable guitar riff like She Sells Sanctuary from The Cult, and we had built a song around that riff, but then we stripped that out and simplified the guitar part to give it some space. My original riff pops up on guitar and bass in the big breakdown in the second half. I love that the opening guitar line gets referenced at the very end. And it closes out the record on a positive and hopeful note.

Steel Wool For The Brain with Palewave - An Interview

Atmosférico até a médula, o projeto Palewave é basicamente direcionado para apreciadores de experimentações dissonantes, guiadas por guitarras recheadas de efeitos.

"Steel Wood For The Brain", novo trabalho do Palewave, certamente agradará xiitas aficionados por Telescopes (fase atual), Astrobrite, Flying Saucer Attack, Windy & Carl entre outros.

Intensamente introspectivo, o Palewave é companhia certeira em noites sem fim.

***** Interview with Palewave *****

Q. When did Palewave start? Tell us about the history...
A. Palewave started out in early 2016 as a passing joke that pondered the existence of a subgenre of music called christian harsh noise. I posed the idea that modern christian music is too tame and polished against the absolute madness depicted in the Old Testament and that as the purest form of music, is God's go to genre. I rode the joke seriously for five seconds before it just became its own thing. As a genre, noise music is very abstract in a way that leaves it open for interpretation. I went into the first two albums with this in mind, constructing a loose narrative that the listeners could fill in the gaps to spin their own story unique to themselves. As someone who lives in a small town where all my fellow musicians have little time to spare due to work, I decided to attack it solo, doing a little collaboration on one track with an old high school pal. The goal was to get my hands wet on the production side and to experiment with sounds to incorporate into more structured and guitar driven songs down the line.

Q: Who are your influences?
A. For this project, My Bloody Valentine is the obvious one, but there are many more. Cosmicdust's earsplitting, rocking take on shoegaze made the biggest impression on me in terms of pure sound. Local Teen (formerly called Shopping) inspired me with its lo-fi, one man band punk attitude. In fact, both Cosmicdust and Local Teen were and are solo projects, a testament to the possibilities any one person could achieve on their own. Fishmans influenced me in the way I approach playing bass guitar, an aspect I would like further hone down the line.

Q. Make a list of 5 albuns of all time…
A. Neutral Milk Hotel - In the Aeroplane over the Sea
Fishmans - Long Season
My Bloody Valentine - Loveless
Hyacca - Hanazono
Soutaiseiriron - Hi-Fi Anatomia

Q. How do you feel playing live?
A. I have only played live with one of my old high school bands, but it was a rewarding experience and I would definitely love to have another go. I'm not sure how I would tackle some of palewave's stuff live though. Perhaps I could loop samples from the software files, or I could just free form it and create live bootlegs. Either way, I'd need some members to pull that off.

Q. How do you describe Palewave´s sounds?
A. Intensely warped bedroom shoegaze. And noise.

Q: Tell us about the process of recording the songs ?
A. It can start anywhere, from coming up with a general concept and exploring it, to old works in progress that get sampled. Sometimes I'll go out to do some field recordings or even just around the house, other times I find a good guitar riff while practicing and record one or more takes. One concept that struck me during the first album was the distorted, warbly sounds of some poor vinyl record being scratched and beat on the turntable, so I ran with it. That one turned out to be one of the more simple and straightforward processes with fewer audio tracks in the mix. Some of the songs have enough tracks and length to put my computer through the ringer which was the case more on the first album. With the increased presence of the guitar, I decided to keep it simple for the second one. As I'm recording each layer, I'll usually toss it through the blender of modulation in Audacity, rendering many of the original sounds to be unrecognizable or barely hidden in the wall of noise. This whole process can take up to a year to complete enough tracks for an album; more of a time management and motivation issue than anything else.

Q. Which new bands do you recommend?
A. I don't really dig around for new music too often, but I would certainly recommend the aforementioned Cosmicdust and Local Teen. Hanno Soda has some great vibes; that one is new.

Q: Which band would you love to made a cover version of?
A. Mass of the Fermenting Dregs and Midori have great energy in their songs and would be very fun to cover.

Q: What are your plans for the future?
A. I would like to find some people to collaborate with and get a proper band arrangement started. That could allow me to play live, in addition to adding in different creative influences to the mix. I've always intended for palewave to be a personal project; an ongoing timeline that shows change in style, lineup, and so on. There's no limit to what it could be in the future.

Q: Any parting words?
A. Thanks for giving an outlet for many small and upcoming bands.

quinta-feira, 17 de maio de 2018

Kate Blanchett with Crystales - An Interview

Em um clima totalmente ensolarado com borrões barulhentos os caras do Crystales soltaram há pouco mais de um mês, via Burger Records o primeiro sopro de seu surf dream noise.

O disco homônimo é delicioso como uma brisa a beira mar com aquela cerveja gelada, e o cigarrinho mágico ao lado, sem excessos, apenas curtição, sem querer mudar o mundo, apenas trazer o que é bom dele para perto, e assim flui o acetato.

Se você não vê o mar faz tempo, pegue a estrada assim que puder, coloque o Crystales no som, e boa brisa.

***** Interview with Crystales *****

Q. When did Crystales start? Tell us about the history...
A: We've been playing together for most of our lives. We're made up of two brothers (Nick, guitar and backup vocals, and Billy, guitars), our cousin (Tony, bass) and our neighbor growing up (Jason, drums and lead vocals). So we've been playing together since pretty much as soon as we all learned how to play something, since our teenage years. It was never that serious in the beginning, people went away to school and whatnot. Later, we went through a few iterations before settling on Crystales and honing the sound to what it is today.

Q: Who are your influences?
A: We have lots of them! You might have gathered we like a lot of shoegaze and dream pop groups like My Blood Valentine, the Cocteau Twins, Jesus & Mary Chain, Ride and Slowdive, but also other artists of that era — Stone Roses, The Smiths, The Cure, Prince, R.E.M., New Order, Orange Juice, Madonna, The Vaselines. We grew up on oldies radio, so that's in there, the Beach Boys, Neil Young, Nina Simone, Stevie Wonder, The Supremes and all the Phil Spector stuff, and classic alternative rock like the Pixies and Smashing Pumpkins. We're also mostly Cuban, and we try to call to mind a bit of Latin and Brazilian music without being super overt about it, artists like Buena Vista Social Club, Os Mutantes, Trio Los Panchos, Caetano Veloso, the list goes on...

Q. Make a list of 5 albuns of all time…
A: This is really hard. I'll think of ones we can probably all agree on:
The Velvet Underground & Nico,
Beach Boys' "Pet Sounds,"
Television's "Marquee Moon,"
My Bloody Valentine's "Loveless"
and Big Star's "#1 Record/Radio City" (technically two albums, but oh well).

Q. How do you feel playing live?
A: I feel like we kind of zone out. It's sort of over before we know it. We love playing live and although it's sometimes a challenge to get across that combination of texture and rawness that we seek to achieve, we've gotten better by thinking about it a little less and letting it happen.

Q. How do you describe Crystales´ sounds?
A: Probably like that — a mixture of texture, melody and raw noise. One thing we always loved about Sonic Youth was their ability to explore and leave in mistakes and perceived excess that might be trimmed away by other bands. I think you kind of collect that stuff and learn to use it as decoration for the songs, so you might hear a slightly out of tune guitar, off note or feedback underneath everything that gives it some depth and feeling. We love layering guitars and adding synths when it makes sense but making sure everything is serving the song. So I don't know if that answers your question, sometimes less is more, sometimes more is more!

Q: Tell us about the process of recording the songs ?
A: Most of the time, it's very straightforward. The songs are written ahead of time, and we've usually edited them down to where we want them by the time we record. Other times, we wait to really figure it out in the studio. Songs like "Donkey" and "Honora" have a lot of layered parts that we sort of did on the spot to allow for some improvisation. You can hear me hitting Nick's guitar with a spoon at some point. Then "Agrias" was written ahead of time, but we had no idea really how we were gonna record it. We just laid down a basic acoustic track and then threw stuff at it till it was where we wanted it — guitar ambient effects, jingling house keys, some bongos Joel Jerome played. All of those sounded like bad ideas on paper, but we were really happy with the way it came out!

Q. Which new bands do you recommend?
A: There are so many great bands and artists in L.A. right now! We love Moaning, Lunch Lady, French Vanilla, Winter, Colleen Green, Froth, KING, Ablebody, Pearl Charles, Post Life, Peach Kelli Pop, Tomemitsu, Haunted Summer, Chasms, Michael Vidal, Quitapenas, Santoros, Feels, Shannon Lay, Bart Davenport...there are so many. Pretty much any band on Burger is gonna be great, too!

Q: Which band would you love to made a cover version of?
A: We've never landed on a good cover where we felt like we could bring something new to it. We often play "Everybody Wants to Rule the World" by Tears for Fears in practice because it's so good, but it's maybe too obvious a song to play live and we don't do it well enough! We have done two full-cover live shows though where we covered all Big Star or all Smashing Pumpkins songs, that was a lot of fun. I think stripping down and roughing up some sort of new wave hit might work well for us.

Q: What are your plans for the future?
A: We really just want to record more. We love playing live, but on record I think is where we come through best. We already have a lot of new songs in various stages of readiness, I think we could record another album as soon as late this year or early next year. We'd still love to tour. It's a bit tough; two of our members have babies. Maybe one day we'll come to Brazil! That would be a dream.

Q: Any parting words?
A: Thank you for listening and for the kind words. Nós amamos todos vocês! (I hope that's right.)

quarta-feira, 16 de maio de 2018

The Rhythm Of Ooze with Pretty Lightning - An Interview

O duo alemão, Christian Berghoff e Sebastian Haas, ou, Pretty Lightning para os iniciados, tem como cartão de visitas, cinco álbuns, send o último "The Rhythm Of Ooze", parte do catálogo da Fuzz Club Records. Só por ai já dá pra sacar o que vem pela frente, sim, o supro sumo do psych moderno.

O Pretty Lightning é garagem suja, nos moldes do Oh´Sees, Wooden Shjips , os primórdios do Black Keys, e tudo que ouvir fuzz, ácido e piração.

Fritação da mente por completa é o que você vai experimentar degustando a obra do Pretty Lightning, então, só posso lhes desejas, boa viagem!!

***** Interview with Pretty Lightning *****

Q. When did Pretty Lightning start? Tell us about the history...
A: It was quite a time ago when we began playing together, sometime in the mid 2000s...
We both really started from scratch at that point and that way we´ve "learned" our instruments in some kind of mutual process, I guess. Actually we´re bad musicians, I mean at least technically, but somehow in the same way. Our limited skills make a good fit. But we´re still practising btw, I promise ;)

We´d been playing together for some years before we recorded our first real record in 2011, that was some kind of a beginning.

Q: Who are your influences?
A: There are a lot for sure. I guess the crucial point is that our musical tastes and preferences have always been very close. We always (mostly) agree when it comes to descisions, so no matter where it´s going to lead us, both of us will be fine with it. I suppose.

Q. Make a list of 5 albuns of all time…
A: Master Musicians of Bukkake - Totem Trilogy
The Black Angels - Passover
Natural Snow Buildings - Waves Of The Random Sea
The Monks - Black Monk Time
The Dirtys - You Should Be Sinnin
Between - Dharana

Q. How do you feel playing live?
A: Great when all is fine. Awful when it´s not.

Q. How do you describe Pretty Lightning´s sounds?
A: This is best left for others to do. Thanks in advance.

Q: Tell us about the process of recording the songs ?
A: We´ve always did that by ourselves, at least the recording itself. That way we have plenty of time to experiment and to try things we possibly wouldn´t do in a professional studio session where the clocks are ticking. Fortunately we now have a spacious rehearsal room which is quite suitable for the sounds we´re trying to achieve. Most of the songs are live sessions, but during the recordings for The Rhythm Of Ooze we tried some reamping for the the first time. It gave us the possibility of gaining more of the natural room and space, which was really impressive and surprising in some cases. And it´s always funny and interesting to experiment with things like opened doors to loooong corridors of stone, where mics were placed on different spots etc. As our room is next to others, we have to record everything during the night time, when no one else is around in this huge building. Recording time
means night shift, which can also be adventurous if you´re not used to it.

Q. Which new bands do you recommend?
A: 75 Dollar Bill, Moths and Locusts, Yagow, and the belgian minimal-lofi-synth-sample-drone magicians like Bear Bones Lay Low, Orphan Fairytale, DSR Lines etc. (KRAAK, Aguirre Rec. stuff). These are all not necessarily new, but either new to us or maybe new to others.

Q: Which band would you love to made a cover version of?
A: We´ve never seriously tried to do that. Making a good cover is such a hard task, we´d better leave that well alone. Even though covering The Shaggs My Pal Foot could be fun!

Q: What are your plans for the future?
A: Keep going, together we persevere.

Q: Any parting words?
A: Thanks for your questions!

terça-feira, 15 de maio de 2018

Twice a Million with Hooray for Humans - An Interview

E na música tudo vai sendo recriado, revitalizado e muitas novas conexões vão sendo postas lado a lado.

Esta nascendo uma nova geração de bandas que vem sendo influenciada nitidamente pelo Nothing, mas, o que vem acontecendo agora, é um pouco diferente, ao invés de buscaram as mesmas referências da banda de Dominic Palermo, essa nascente recente pega, além, é claro, do próprio Nothing, clássicos como Codeine, Low, dando aquele ar de tristeza extrema mas alternando-se como explosões estridentes, leia-se SY, ah, o shoegaze vem junto na receita.

É assim, mais ou menos assim, que o trio Villavoid, Espanha, Hooray for Humans debutou há pouco mais de um mês. O EP homônimo dos caras, é slowcore, é shoegaze, é pós qualquer coisa, e é sensacional, o que é muito mais interessante.

Perfeito para ocasiões extremas, sejam de tristeza, melancolia ou puro diversão.

***** Interview with Hooray for Humans *****

Q. When did Hooray For Humans start? Tell us about the history...
We started about a couple of years ago. It was just thought as a side project to pass the time when we were not rehearsing or playing with our other bands, specially, the main one, Frieda's Still in Love, in which Fran and Juan play. We liked what we were making and we decided to keep on working to record some songs and play them live, and here we are.

Q: Who are your influences?
We are three people and this is not very easy to answer. We love many different bands and genres, from electronic music to hardcore. We grew up listening to 90's american indie rock different genres: emo, slowcore, shoegaze, noise... It's hard to be accurate.

Q. Make a list of 5 albuns of all time…
As we told you in the previous question, it's almost impossible to answer, but we could think about five albums that might have been important for us as a band.

* Nothing: Guilty of Everything
* My Bloody Valentine: Loveless
* Slowdive: Souvlaki
* Sonic Youth: Sister
* Codeine: The White Birch

Q. How do you feel playing live?
The most exciting part of being in a band is playing live, definitely. We haven't played much with this band as we have just released our first songs, but we love it. We really like playing loud and making it intense.

Q. How do you describe Hooray For Humans´ sounds?
We try to transmit things that matter and feelings through very loud and intense songs, but we also like to be delicate at some point. That's why we always draw on that quiet-loud-quiet-loud structures that have been used by millions of bands throughout the last 30 years.

Q: Tell us about the process of recording the songs ?
It was quite simple and fast. We didn't want to think much about that process. We had very clear ideas and wanted to translate them in the easiest way. We are happy with Pablo Giral's work. He made things easy and made us feel very confortable.

Q. Which new bands do you recommend?
Maybe some of them are not so new, but we really like and recommend a band from Barcelona called Espacea and any of our bands and our bandmates bands from Valladolid: Frieda's Still in Love, Winden, Karate Hiroshima, Casa and My Friendly Ghost.

Q: Which band would you love to made a cover version of?
We have never tried any covers and we think we won't, but we love The Cure and The Smiths. We really love them.

Q: What are your plans for the future?
Cure our minds, have fun and play as much as we can.

Q: Any parting words?
We are really thankful for answering an interview from Brazil. We hope you enjoy our music. Thanks a lot!

TV Queen with Gloom Cruise - An Interview

Oklahoma sempre ficará conhecida mundialmente por ter dado ao mundo os Flaming Lips, mas muito além dos Lips, vive o submundo dos bons sons por lá.

Tanner Watkins é o criador e o faz tudo por traz do projeto Gloom Cruise, que muito diferentemente da freaknice atual dos lips ou do barulho psicodélico de outrora, passeia por outros caminhos sonoros. Tudo em baixa fidelidade extrema, muito propositalmente, diga-se de passagem, o mundo particular de Tanner é como sua música, um sonho melancolicamente preguiçoso e borrado por synths e andamentos letárgicos.

"TV Queen" o debute do Gloom Cruise é feito sob medida para aqueles momentos em que não pensar em nada e ficar a toa, com a cabeça vazia, faz mais sentido do que qualquer coisa.

***** Interview with Gloom Cruise *****

Q. When did gloom cruise start? Tell us about the history...
Gloom Cruise actually started around the new year! I’ve been writing stuff for about 3 years now but I just recently got into my own groove and developed my own sound. All of the songs on TV Queen were written from around mid March to early early April.

Q: Who are your influences?
My biggest influences are Current Joys, My Bloody Valentine, Beach Fossils, Tears for Fears, New Order/Joy Division and LCD Soundsystem

Q. Make a list of 5 albuns of all time…
This is actually super hard but my top five are

To Pimp A Butterfly by Kendrick Lamar
Loveless by My Bloody Valentine
Natural Bridge/American Water by Silver Jews
Wild Heart by Current Joys
The Moon and Antarctica by Modest Mouse

Q. How do you feel playing live?
I’ve actually never played live! I have a band together for Gloom Cruise and we’re going to start practicing for live stop as soon as we can all get in one place together

Q. How do you describe gloom cruise´s sounds?
I’m not sure how I would describe the sound? I guess like hazy sleep pop haha

Q: Tell us about the process of recording the songs ?
The recording is pretty easy but tedious at times. So I record full songs into my looper pedal and then run it through an interface into the recording software. I usually put around 3-4 hours in per song since I usually do double takes for instruments and then I do like 5 layers of vocals

Q. Which new bands do you recommend?
Moaning, Vansire and Loving

Q: Which band would you love to made a cover version of?
I would love to cover Random Rules by Silver Jews or Perfect Disguise by a Modest Mouse

Q: What are your plans for the future?
The only solid concrete plans I have for GC right now is just to practice the hell out of the material and start playing as many shows as possible

Q: Any parting words?
Uhhh take care of each other and yourself, drink water, listen to Wu Tang Clan I love you all

segunda-feira, 14 de maio de 2018

Unexpectedly with Megumi Acorda - An Interview

Vem das Filipinas, uma sopro de suavidade, ondas cristalinas, clima perfeito para desacelerar-se e acalmar corpo, mente e alma.

Tudo isso aí, é cortesia do Megumi Acorda, nova banda da moça que dá nome ao projeto, que, diferentemente de sua banda principal, The Strange Creatures, que pende para travejos mais melancólicos e gelados, muito por conta do fantasma de Robert Smith, aqui, em seu novo projeto, a banda Megumi Acorda, segue a trilha de gente como The Sundays, Radio Dept. e similares, o pop perfeito em suas inúmeras facetas, mas que no final, o resultado tem sempre gosto de candura.

Relaxe com o Megumi Acorda, fará-te bem.

***** Interview with Megumi Acorda *****

Q. When did Megumi Acorda begin? Tell us about the history...
I was trying to get in a school that offers a music production course when I recorded and uploaded my first song on Soundcloud. Pop songs are the easiest to work with so I wrote pop songs and recorded pop covers until it was close to the sound I wanted. At the time, I was also playing for a band called The Strange Creatures and saw other bands play. Eventually, I had enough songs to release an EP so I asked some of my favourite musicians to play my songs with me. I wish I used a stage name pretty early on though so I don't have to see my real name around haha

Q: Who are your influences?
Off the top of my head: The Beatles, The Radio Dept., Ride, Carpenters, The Smiths, The Cure, Yuck, Alvvays, Cocteau Twins

Q. Make a list of 5 albums of all time…
In no particular order:
The Magical Mystery Tour by The Beatles,
Lesser Matters by The Radio Dept.,
Nowhere by Ride,
Louder Than Bombs by The Smiths,
Stranger Things by Yuck

Q. How do you feel playing live?
Performing has always been nerve-wracking for me but I'm getting used to it! Since I've only been working with my new bandmates for a few months, there was a need to know them more both professionally and personally to create an environment that's comfortable for everyone because if we're uncomfortable inside the studio by ourselves, it will definitely show when we play live. So far, I think we're getting better every time we perform; as long as everybody's comfortable and we sound amazing, I'm happy!

Q. How do you describe Megumi Acorda´s sounds?
Musically, warm and fuzzy. Kind of like a band-aid hug from someone you love after a really long day; it helps a little bit but you still cry yourself to sleep.

Q: Tell us about the process of recording the songs?
I showed my ideas to RJ, my producer and a good friend of mine, and he helped me throughout the whole process. Recording the individual parts was quick and painless, the mixing part was where I had trouble conveying my thoughts. We scrapped a lot of the mixes which led to those you can hear on Bandcamp now.

Q. Which new bands do you recommend?
Do you mean bands I recently discovered or bands I like who were formed only recently? Can I share local bands I like instead (Manila-based bands): Ciudad, Identikit, Ourselves the Elves, The Geeks, PNZR, The Strangeness, Memory Drawers. Most of them are on Spotify!

Q: Which band would you love to made a cover version of?
I've always loved covering songs by The Cure, live with my other band, The Strange Creatures, or just on Soundcloud!

Q: What are your plans for the future?
Been dreaming of playing my music abroad since I was a kid, so that's part of the list. The ones I'm working on presently are physical copies of the EP, releasing on other platforms besides Bandcamp, and more songs. In a more distant future, maybe a music video.

Q: Any parting words?
Thank you for these questions! I had fun answering them, a much-needed introspection.

Parlor Walls, "EXO" - Track by Track

Depois de lançar uma dos melhores discos do ano passado, no caso, "Opposites", o trio do Brooklyn, NY, Parlor Walls, comandado pela insana Alyse Lamb, voltou a despejar intensas doses de no wave, e art punk em estado bruto em nossas cabeças.

"EXO", novo EP do Parlor Walls, é a sequência lógica de "Opposites", tão freak, desconexo e caótico quanto, porém ainda mais voltado para algo como se as Slits colidissem de frente com James Chance.

Parlor Walls é des(orientação) sonora para quem ainda teima em dizer que nada é feito de instigante atualmente na música, e se por ventura, você precisar de detalhes mais sórdidos sobre o que é "EXO", a proópria Alyse, a convite do TBTCI, deixa mais explícito a você.

Não recomendando a indie kids e hipsters de plantão.

***** Parlor Walls, "EXO" - Track by Track *****

Neuromancer - So much hatred and negativity has bubbled to the surface. Neuromancer is one of these toxic monsters - a big gross machine churning out harmful images and vernacular we are expected to swallow and digest.

Love Complex - Being presented with a beautiful red apple, but thinking it's poisonous so you search for every excuse not to eat it.

Isolator - Traveling further into the maze and becoming disoriented. Up is down, down is up, and there is only you and me to tell the story.

Low Vulture - Encountering the beast. Purging everything the fuck out.

quinta-feira, 10 de maio de 2018

Awkwardwards by Frana

Os esporros gritados dos italianos do Frana retornam em grande estilo, ou melhor, em potência alterada. 

"Awkwardwards", primeiro disco dos caras, expele raiva, angústia e barulho, barulho gratuito e sem limites. Usando todas suas conexões como inspiração, leia-se Husker Du, Fugazi, At The Drive In, Unwound e tudo que for irritantemente estridente, fazem parte do cardápio dos caras.

Se você quiser, e eu aconselho, que deve, conheça mais sobre o Frana aqui.

Sobre, "Awkwardwards", os próprios caras explicaram do que se trata essa martelada no centro do crânio.

"Awkwardwards" by Frana

Awkwardwards, self-invented word which sounds terrible and it should mean sth like towards the awkward, it has been written in 10 months more or less, it talks about social awkwardness, communication problems and severl kind of personal discomfort.

On top, with this record, we tried to leave, musicwise, our comfort zone, trying to do something which we haven't done before, expecially with the songwriting, and expecially for me with the vocals.

As influences I would mention, the Greys, Meatwave, Metz but there's much more than that, but I definitely "suck" at influences.

- Frana

Arrows with The Longcut - An Interview

Para quem esta ambientado com as histórias e sonoridades do submundo dos bons sons, não deverá estranhar o nome The Longcut, que existe desde os primórdios dos anos 00´s e teve seus dois primeiros álbuns, "A Call and Response" e "Open Hearts", lançados respectivamente em 2006 e 2009, sendo amplamente indicados pela crítica especializada como preciosos objetos da nova música.

Mas, quase dez anos se passaram e o The Longcut entrou em um hiato gigantesco, deixando em fase de hibernação seu mix de eletrônica caótica atrelada inserções espaciais, algo como se Fugazi, DJ Shadow e Spiritualized se unissem e tivessem um rebento.

Mas, uma luz foi lançada em Fevereiro, o The Longcut soltou um EP com remixes diversos de seus trabalhos, um sinal ao que viria acontecer, até os primeiros dias de Abril chegaram e com eles o The Longcut apresentou "Arrows".
A demora, valeu extremamente a pena, o trio parece estar ainda mais conectado com as novas concepções da música contemporânea, sem perder a essência, o que faz de "Arrow" ainda mais instigante.

Se por algum descuido você não conhece o The Longcut, a hora de corrigir esse erro enfim chegou.

***** Interview with The Longcut *****

Q. When did The Longcut start? Tell us about the history.
We have a very long history by now but I’ll stick to the early years…we all moved to Manchester as students in 2000, half the reason for coming to Manchester was because of the music scene and the opportunities for meeting like-minded people that you don’t often get in the towns where we came from. I’d met a singer and we’d tried playing covers with a few different guitarists, but we were struggling to find anything that really clicked or felt exciting. After about six months another friend of mine gave me a demo tape of a song Lee had written (Spires from our first album), and I thought it was great, it reminded me a lot of Storm In Heaven era Verve that I’d only recently discovered. Our singer had met Jon around the same time and we rented a room in Ancoats to try playing together. The first time we played through Spires as a band it just came together completely naturally, and we continued to work on new ideas and write our own music from that point. Eventually it became clear that it wasn’t working with our singer and we parted company with the three of us intending to continue as an instrumental band, but we started to experiment more with drum machines and synths and I started to sing in a few brief places, eventually doing more and more until we ended up writing some songs without any live drums at all. It’s strange how something so unusual developed so naturally, but we didn’t stop to think at any point whether what we were doing was ‘correct’ or not, or to care whether people thought it was weird, we were just enjoying writing and playing together.

Q: Who are your influences?
We all came from quite different musical backgrounds, although there’s probably a fair bit of crossover. I grew up listening to more metal/hardcore but had recently started to listen to more nuanced bands like Sonic Youth, Fugazi and Sleater-Kinney, Lee was more into UK bands like Stone Roses and Spiritualized, and Jon listened more to older music, from Neil Young to Led Zep to the Beach Boys (with some Wu Tang thrown in). When we first met we shared a lot of music and our tastes became a lot more broad, some of the albums I remember us all getting into at around the same time were Agaetis Byrjun by Sigur Ros, Dirty by Sonic Youth, Endtroducing by DJ Shadow, Relationship of Command by At The Drive-In and Young Team by Mogwai. We’ve always also shared a love for Oasis and Radiohead. When we first started there were a few Manchester bands playing in the smaller venues that hugely influenced us, bands like The Sonar Yen, Tsuji Giri and Oceansize, who gave us the confidence to try something different.

Q. Make a list of 5 albums of all time.
This is a very subjective question and my answers would change on an almost daily basis, I can't say that these are the ‘best’ albums (there’s a whole history of music that I’d have to exclude) out some of my consistent favourites are (the afore-mentioned):
Relationship of Command by At The Drive In
Come On Die Young by Mogwai,
The Shape Of Punk To Come by Refused,
Ladies and Gentlemen We Are Floating In Space by Spritualized
and OK Computer, naturally.

Q. How do you feel playing live?
It’s incredible, I wish we could do it more often. We practice regularly, but a lot of our songs are quite fast and intricate and we’re not amazing technically, so often we’re teetering on the verge of collapse, which is where it’s really exhilarating. When you manage to make it out the other side into a less tight section of the song in one piece and you can really go for it it’s such a rush, especially when the crowd reflects that tension and release. Over the last few years we’ve been putting some of the new songs in the set to see how they work, and it’s always tricky when you’re playing new songs that people won’t have heard before. Now that Arrows is out and we’ve been getting more comfortable playing the new songs I can’t wait to play them live, along with the old favourites. We have a great balance and we’re really excited about getting into some sweaty venues again.

Q. How do you describe The Longcut sounds?
You could ask twenty different people and get twenty different answers to this question. For anyone that’s never heard us I normally go for the midway point between New Order and Sonic Youth, but obviously there’s a lot more going on than that. To me the new album has a bit more of a psychedelic edge, with the structures being a bit looser and the sounds looping and building the way that they do, a lot of that we take from post-rock and a lot of euphoric dance music. We spent our formative years veering between different clubs in Manchester so I think we’ve absorbed a lot of lessons in how to build intensity in music from a load of different sources.

Q: Tell us about the process of recording the songs?
Each of our three albums has been recorded very differently. Call and Response was recorded in very high end studios with an amazing producer (Johnny Dollar), Open Hearts was recorded in our practice room in Salford with our good friend David Jones from Nine Black Alps producing and mixing, and Arrows really had a very long and complex recording process, with most being done by ourselves in snatches where we could. A lot of the songs are built up from the original demos, and it’s not always clear where the demos end and the final versions begin. We’d recorded and mixed a first attempt at the album ourselves in 2012, but this was (rightfully, in retrospect) rejected by the record label. About half of the songs ended up on Arrows, but at the time they were underdeveloped and our inexperience in recording/mixing was a bit too obvious. Over the next few years we continued to write and record where we could until we had what we thought was a good enough collection of songs, and luckily at that point our old live sound engineer Chris Snow managed to bag us some free studio space and offered to spend a week recording drums for us, which kicked off the final batch of recordings. We recorded a few more guitars and vocals at Jon’s house (often fuelled by whisky and with very understanding neighbours) but we realised that we would need someone else to mix it. We’ve known Tom Knott from the Earlies for a few years and he’d previously co-produced some B-sides and sessions. We sent him Deathmask to try out as it was the song we’d always struggled most to get right, and the first mix that came back just sounded immense. After that it was such an easy process, he just made everything sound great. The final flourish was the trumpet that he added to Popic - we’d recorded some rudimental brass emulator on the final section but he’s a trumpet player himself and he added his own arrangement, which just completely blew us away.

Q. Which new bands do you recommend?
Unfortunately we don’t get the chances to see as many new bands these days, but we always like to recommend our friend’s band Claw The Thin Ice, who just write fantastic songs and are a lot of fun live. Their new album Wanderlust Of Venus is out soon (, well worth a listen. Kagoul from Nottingham are a great young band making some very interesting guitar music. Through trying to book Glasgow gigs I’ve also recently discovered a Scottish band called A Sudden Burst Of Colour, who deal in a very muscular brand of post-rock. Another band I’ve recently really got into, who actually broke up a few years ago, are Low Low Low La La La Love Love Love, two brothers from Buxton who made very heartfelt folk music backed with walls of feedback and saturated drums. Bliss.

Q: Which band would you love to made a cover version of?
We have some vague plans for recording a few covers in the near future, to clear the slate a bit before we start working properly on new songs. Some popular songs, some very obscure, a few surprises, keep an eye out. A few years ago we recorded a cover of John Cooper Clarke’s New Assassin, for a tribute album that never ended up happening. I love and and it’s never been released properly, but it’s available as a free download on our website.

Q: What are your plans for the future?
At the moment it’s very open, we have a few gigs lined up in late April/early May but no concrete plans following that, we’ll see how the album does and what we can afford to do but hopefully some more shows and festivals later in the year. We don’t want to spend another nine years making a new album, we have some good ideas that we’ll start to pull together. I’m hoping we can surprise some people with the new material, it’s taken us a bit by surprise at how different it is from the Arrows material.

Q: Any parting words?
Just to say thanks to everyone who has stuck by us for all the years that we’ve been struggling to finish this album, and given us the encouragement to keep going even when it seemed like there was very little chance of it ever seeing the light of day. We hope it was worth the wait!

quarta-feira, 9 de maio de 2018

Interview with NONN

O sueco, Christian Eldefors é conhecido nos meios ácidos do psych moderno por conta de sua banda, o The Orange Revival, que grava através da mecca do estilo mundial, a Fuzz Club Records.

Mas, os ares frios e gélidos da Suécia, certamente devem ter guiado Christian para aventurar-se por outras batidas, muito mais sombrias das que sua banda principal passeia.

E assim surgiu o NONN, com Christian encabeçando uma trupe de freaks que agora, buscam referências na escuridão melancólica do pós punk. Mas o NONN vai além, somado aos synths minimalistas, os caras inserem batidas krautianas e toques de acidez, o que gera um resultado ainda mais sombrio e caótico.

O debute deles nasceu ano passado, também via Fuzz Club, e é um convite a regressão, é facilmente possível ao ouvir o disco se sentir na Londres dos 80´s, ou Berlin, ou São Paulo e seus porões escuros.

Esqueça as flores e as cores, aqui, a única coisa que você achará é sombras, assim é o NONN.


***** Interview with NONN *****

Q. When did NONN begin? Tell us about the history...
It began back in 2015. I moved down to Stockholm for a while. And rented an apartment with a small studio in it. There I worked on sounds without any plans on a new project or album. But by the time I moved out I had pretty much everything done on what become NONNs debut album. But it took until spring 2017 before anyone heard it.

Q: Who are your influences?
Don't know really it can come from wherever. But mostly it's from all the talented and creative people around me. When you see or hear people make great thing that gets me inspired to make thing on my own.

Q. Make a list of 5 albums of all time…
Thats a hard one, lets make a list of album we in the band listen to at the moment:

Amen Dunes – Freedom
Suuns – Felt
Taylor deupree & Marcus Fischer - Twine
Dope Lemon – Honey Bones
Alabama shakes - sound & color

Q. How do you feel playing live?
At first I never thought I would play live with this project. But when I got great people joining me, Hannes Nyling and my brother Alexander, then it felt good. They are so talented so they made it easy for me. Now I really like it, and I love to travel, so that great!

Q. How would you describe NONN sounds?
I say its quite dark but still melodic. It's all about a feeling. We are all listening to so uch different type of music, and no one listen to the kind of music we end up making really. We just trying do make something that feels new and interesting to us, its all really spontanius.

Q: Tell us about the process of recording the songs ?
As I said its spontanius, for the first record I was alone, just trying to find a sound that feelt interesting to me. I had no idea of what I was doing, and that was a very fun process. For this new album we are making now, we are the 3 of us. And it usually starts with an idea for a beat, when that is set you kind of fast get a feeling on where the song needs to go.

I like to write as we go, build the song bit by bit. When it feels right, then it is a fast process.

Q. Which new bands do you recommend?
I don't listen to that much music. But I can recommend my friends great bands: Medistation, Lejonsläktet, Vulture Vulture, Dead Vibrations

Q: Which band would you love to made a cover version of?
Oh I have no idea. We are playing this The Cure night soon, thats the first cover we will ever do.

Q: What are your plans for the future?
We are finishing up our second album right now. Then we are touring again this fall.

Q: Any parting words?
Hope to see you all soon!

terça-feira, 8 de maio de 2018

Drain the maker with uuskhy - An Interview

Por entre toques de modernidade sem perder os ares nostálgicos, o projeto uuskhy, escrito em caixa baixa mesmo, existe desde 1999, e não se identifica, creio eu, com nada feito atualmente, ok, pode até se conectar em determinadas passagens mas o resultado final soa estranho se a intenção for rotular o trabalho do uuskhy.

"Drain the Marker" é o mais recente trabalho, sucessor de T+d (ego-d suuite) do ano passado. A grande diferença aqui é a adição mais intensa dos vocais, e o uso cada vez mais carregado de samplers. Tudo é combustível para o uuskhy, seja o industrial oitentista, seja baladas quase bregas também da década perdida, a escola Wax Trax chegando até beirar algo como Moby.

Inclassificável, complexo e instigante, assim é o uuskhy.

***** Interview with uuskhy *****

Q. When did uuskhy begin? Tell us about the history...
uuskhy began in 1999, with a composition entitled 'the hunt' (which was never released). the project has generated musical material under myriad monikers, but materialized as uuskhy once the mixing/mastering engineer decided to refrain from claiming personal responsibility.

Q: Who are your influences?
uuskhy's main influences are 'the conspiracy against the human race'by thomas ligotti, and empathy.

Q. Make a list of 5 albuns of all time…
uuskhy will never have enough knowledge to decisively create such a list. however, 'luxury problems' by andy stott is playing right now.

Q. How do you feel playing live?
uuskhy has performed once. it felt cathartic. it was both the greatest and worst show they ever played.

Q. How do you describe uuskhy´s sounds?
a pastiche assembled thru growing up in midwest america and being very confused by the weather.

Q: Tell us about the process of recording the songs ?
all uuskhy songs are recorded in the dark with nothing but a computer, logic pro 9 (academic version), and a strict set of parameters. only a webcam microphone was used in the recording of 'Drain the maker'.

Q. Which new bands do you recommend?
uuskhy listens to 'nemui pj', 'the department of anytime', and 'iverson 2.1.4'

Q: Which band would you love to made a cover version of?
uuskhy would love to be covered by tara the android

Q: What are your plans for the future?
additional videos will be created for 'Drain the maker'. the next one will take place at a chicago cubs baseball game.

Q: Any parting words?
thank you for listening to 'Drain the maker', and for your interest in my words.

Double Dark with Cody Noon - An Interview

De Reading, Inglaterra, vem o duo, Charlie Butler e Suzy Antoniw ou Cody Noon para os iniciados.

Pairando por entre um slowcore melódico e instrumental, soando como um intrínseco cruzamento entre Codeine e Slint, o Cody Noon depois de singles e EPs, chega a seu primeiro disco, o intenso e intimista, "Double Dark".

Nuvens e camadas escuras dão o norte do trabalho. Sufocante e angustiante o disco chega a ser perigoso, principalmente se você ouvinte, não estiver com sua estima em níveis equilibrados.

Slowcore em letras maiúsculas.

***** Interview with Cody Noon *****

Q. When did Cody Noon begin? Tell us about the history...
S: To answer this properly is quite long. Charlie has been writing and playing music for his entire adult life. We met at a music festival, Charlie spent a long time trying to put moves on me that I was just emotionally incapable of registering, then he asked me out, and that worked out really well. A few years later I got a bass and very soon after that we played our first gig, during which I slipped a disk in my lower back. For years we struggled, either to hold an instrument or to find rehearsal space. But two years ago we moved out of London to Reading and finally go it together enough to release our first album this year. Now we can’t imagine stopping — its just part of who we are as a family - ugh that sounds so corny.

Q: Who are your influences?
CN: We like a lot of music and we’ve been inspired to write big emotional songs by many great instrumental and stirringly emotional bands: post rock (Mogwai, Slint), slowcore (Codeine, Low), US Indie rock & emo (Yo La Tengo, Appleseed Cast), shoegaze (My Bloody Valentine) and sparse doom (Earth, Boris). More often than not we get compared to completely different bands - its one of the great things about putting music out there - it’s different for everyone.

Q. Make a list of 5 albums of all time…
CN: Vee Vee, Archers of Loaf
Spiderland, Slint
Young Team, Mogwai
Frigid Stars, Codeine
I Can Hear the Heart Beating as One, Yo La Tengo

Q. How do you feel playing live?
S: Nauseated. I am hypercritical of my playing live and worry about every mistake but afterwards it always feels worth it.

C: It can be nerve-wracking as our music is sparse and slow. However, once we have started and eased into a song it feels hypnotic. It feels great when you know you’ve made a connection with the audience.

S: Once a fan threw a tampon at us - it was the best!

Q. How do you describe Cody Noon's sounds?
CN: We’re definitely minimal and emotional. Since we developed our sound very organically and unintentionally, we never put much thought into what we should sound like. So now every time someone else describes us it makes us realise a new aspect of our sound. One favourite is that we sound like a slower, heavier Yo La Tengo, another is that we sound like a Cat - maximum effect, minimum effort.

Q: Tell us about the process of recording the songs ?
CN: For “Double Dark” we recorded the songs almost entirely live in an awesome studio/converted barn in Oxfordshire. This made the recording process more ‘high stakes’ than all our previous releases (where we recorded things separately and did more overdubs) but the extra tension resulted in a more intimate, atmospheric and raw sound.

Q. Which new bands do you recommend?
CN: We listen to these artists a lot lately, it feels like they’re doing interesting things with words, music, feelings: Car Seat Headrest, The Spook School, Human Hands, Self Defence Family, Doe, LVL UP, Cayetana, Helms Alee, Sumac, Arkless, Healing Powers.

We’ve also played with these guys quite a bit and really love their sounds: Typical Hunks, Sun Skeletons, Workin’ Man Noise Unit, Monster Movie.

Q: Which band would you love to make a cover version of?
CN: We recently recorded a cover of Bruce Springsteen’s Dancing in the Dark (we’re still looking for a way to release it). It’s fun to play with artists we love that don’t have that much in common with our sound. Sometimes it leads to surprising new directions, like when we covered the Lavender Town theme (on the Bobowler EP) from Pokemon Red and Green. We found an emo riff hiding between the notes like a ghost.

Q: What are your plans for the future?
CN: We plan to play some gigs this Summer - in the longer term we would love to tour further afield. And we are about four songs into writing our next release - so far its about wrestlers, motorways and having sex with ghosts.

Q: Any parting words?
CN: Thanks for taking an interest in our music and asking us to do this :.) Feel free to check out our music here:

segunda-feira, 7 de maio de 2018

Existential Anxiety with Reveries - An Interview

Walla Walla, Washington, 2016, e barulhons melancólicos começaram a nascer sob a alcunha de Reveries. Jonathan, Jesse, Ryan e Jose formam a coluna vertebral da banda.

Seguindo a cartilha, já conhecida, de barulho, melancolia, angústia e raiva, com o grande expoente atual chamado Nothing, os caras chegam ao seu debute, o EP homônimo é guiado exatamente por todos os sentimentos colocados com uma grande propensão a paredes e mais paredes de barulho e experimentos.

No caso do Reveries a fórmula do shoegaze mesclado ao post hardcore ganha em vários momentos contornos mais extremos, flertando por vezes com as atmosferas do post rock, mas sem as armadilhas do gênero, aqui o Reveries se apropria apenas das partes estimulantes.

Um debute de extremo respeito concebeu o Reveries, e obviamente, o artefato deve ser apreciado alto, bem alto.

***** Interview with Reveries *****

Q. When did Reveries begin? Tell us about the history...
(Jesse Flores) ​Mid to late 2016​, ​Jonathan hit me up to jam and he had a handful of song ideas already recorded on GarageBand so we decided to work on those. The style of these songs were almost NOTHING like the stuff we have out now. Originally the plan was to start an indie band that would be suitable to play local wineries since that’s what is HUGE here in Walla Walla. We jammed once or twice with a drummer which went well but some artistic differences and lack of musical chemistry led to a quick fizzle-out, so Jonathan and I went back to the drawing board and focused more on our writing. As we accumulated more and more effect pedals, a different sound emerged from our songs which consequently began to shape the sound of Reveries. Jonathan took to online searching for a drummer via Craigslist, I believe. Not too long after, we got a response from Ryan of Richland, WA and we set up a time to jam with him in Jonathan’s basement. Being a good fit, and being down for anything Ryan became the next member of the crew regardless of the 1 hour commute to each band practice and local gig. (Thanks, dude!) We needed some low end to our set so we reached out to a long-time buddy/ex-bandmate/Cousin-in-law (is that a thing?) to see if he had the time to commit to a project as he is in Nursing School, had a baby on the way, and also lived an hour away. Despite being as scheduled as he is, Jose agreed to come and learn the songs with Jonathan so we could play a local house show in Walla Walla. Ever since, he’s always carved out the time to make practice and shows and became a staple member of Reveries. (Thanks, dude!) After a handful of house shows and an open mic gig, we set sights on getting our songs recorded and did so beginning late September 2017 which eventually came to fruition just a few short days ago on 4/14/2018. And here we are!

Q: Who are your influences?
(Jonathan Avila) I am heavily influenced by 80’s Pop music and 90’s Alt-Rock/Shoegaze. Sade, Robin Guthrie, Kevin Shields, Stevie Nicks, Kurt Cobain, Tom Petty, Johnny Marr, Matt Talbott, and Chino Moreno.

(Jose Zaragoza) Chi Cheng, Dan Briggs, Carlos D., Thundercat, Fredrik Thordendal.

(Ryan Cuillier) John Bonham, Blake Richardson, and Steve Clifford

(JF) ​Bands that influence my playstyle for Reveries would probably be: This Will Destroy You, Moving Mountains, Hammock, bands like that. Anything with Post-Rock/Ambient characteristics really. Vocally, I like the styles of Whirr, Citizen, Hundredth, and Nothing.

Q. Make a list of 5 albums of all time…
(JA) The Cure - Disintegration. MBV - Loveless. The National - High Violet. Third Eye Blind - Self-Titled. Deftones - White Pony.

(JZ) This Will Destroy You - Self-Titled. Deftones - White Pony. Meshuggah - Catch 33. Interpol - Turn On the Bright Lights. Miles Davis - Bitches Brew

(RC) BTBAM - Colors. Circa Survive - On Letting Go. Scary Kids Scaring Kids - The City Sleeps in Flames. Fear Before the March of Flames - Any album. The Used - Self-Titled

(JF) ​Young Mountain- This Will Destroy You; Waves- Moving Mountains; Handmade Cities - Plini; The Earth Pushed Back - Have Mercy; Self-Titled - This Will Destroy You

Q. How do you feel playing live?
(JA) Playing live almost makes me feel like falling in love again. I get stage fright, unsure of what to say, the feeling of uncertainty/anxiety (the good kind?), and at the same time knowing that this is where I want to be.

(JF) ​I love playing live. It gives such a good feeling. Even just practicing, the loud sounds, the rumbling of the bass that you can feel, the hits of drums, together it brings me a certain happiness that only music can provide. It gives me an opportunity to let loose for 20+ minutes or so. Plus hauling our tube amps and Jose’s speaker cab is a good workout so there’s bound to be some physical health benefits to it as well :)

Q. How do you describe Reveries´ sounds?
(JA) I think we’ve set our foundation right between Shoegaze and Post-Hardcore, erected walls of Post-Rock, and insulated thoroughly with the R-value of Dream Pop. Something like that.

(JF) ​I’ve heard the terms “Spacey” and “Dreamy” thrown around at our shows.

Q: Tell us about the process of recording the songs ?
(JA) I contacted Bryan Henry because he had recorded a few bands here in town. He knew what to do and wasn’t afraid to let us know what worked and what didn’t. Our sound wasn’t quite there yet, and our effects didn’t reflect as much in the original mixing. Mind you our style is foreign to most people here in town. We wanted more control over the sound we were trying to achieve. When we got a hold of the files we went with the design-build method on half the songs. “That sounds great, but what if we played it like this…”. It’s not something I recommend unless you’ve got your own recording gear. We re-recorded our guitars, and made the effects really stand out. And for that I would like to thank Jesse for investing his time. He poured hours and hours into this EP.

(JF) ​A lot of writing was done in the recording process. We had a small setlist somewhat formulated at the time of our first show. But our songs have developed into so much more from our first gig to the time the EP was done. The recording process gave us a “canvas” to put our songs on and shape them to our liking. We initially laid down 4 of the songs we had “completed” in Jonathan’s basement with a guy we know, Bryan Henry, who engineered the majority of the demo.

After listening to the tracks, we realized there was more writing needing to be done before we put these tracks out into the world. Bryan hooked us up with the stem files of the recordings we did with him and thus, the rebuilding began.

I, at the time was taking an audio engineering course out at our local community college and was investing in recording equipment of my own so as the writing and re-tracking progressed, I felt motivated to tackle this thing head-on and DIY our EP. Over the last several months, individual members of the band would come over to my place and record their instrument parts in my makeshift home studio set up in my spare bedroom.

We kept the original drums tracks recorded by Bryan and I replaced the snare and kick tracks with Virtual MIDI samples, and did a blend of the original and MIDI on the first track of our EP, “Hits My Eyes.” Vocals were also recorded over a length of time, usually knocking out one song’s worth of parts per session. After Jonathan would lay down the main melody and go home, I would try and come up with and record the harmonies a day or two later.

As for the instrumental tracks on the EP, those were a result of just playing around with looping on my Boss RC-30. After solidifying the parts, I then recorded those as well. I really wanted to incorporate some interludes that served as a segway into another song, as you can find on “Still” foreshadowing the opening riff of “Here With You”, as well as a transition onto the next album with “Passing”.

After tracking, I would send the progress of the mixes via Dropbox to the other dudes until all were happy or until I didn’t get any further input (haha).

Q. Which new bands do you recommend?
(JA) Madeline Kenney: I think she’s the next big thing. Start with her song “Witching Hour”. Cloakroom: they’ve helped me break out of writer’s block. Eliot Sumner: I’m hoping for a new release this year. Information was a great album. Not new, but I think everyone should give Anne a listen. They’re not together anymore. They put out “Dream Punx” while I was living in Portland, Oregon and in a sense they’re the ones responsible for introducing me to Dream Pop and Shoegaze.

(JF)​ I’m usually late to the party with music discovery and find bands after they’ve been out a while. So some bands/artists (not necessarily new/Not necessarily similar to us in any way) that I would recommend giving a listen to, would be: Prawn, NRTHRN, From Indian Lakes, and They Say We’re Sinking.

Q: Which band would you love to make a cover version of?
(JA) Silversun Pickups, Neil Young, and The Cure.

(JF) ​Lazy Eye by Silversun Pickups would be fun to cover.

Q: What are your plans for the future?
(JA) We want to keep releasing new ideas, and sharing them.. We’re talking about doing mini-tours throughout the west side of the USA. Eventually we hope to make it to the East Coast.

(JF) P​lay more shows, Write more songs, record more songs, meet other bands, maybe play a festival if possible!

Q: Any parting words?
(JA) Respect each other and your planet. It’s our job to keep improving and move forward. Set the example. It’s a start and the easiest contribution. Thanks to Renato for reaching out to us! Thanks for taking the time to listen to our new EP. Take care!

(JF) ​Thank you for interviewing us! Our Self-Titled EP is out now and can be found on iTunes, BandCamp, Spotify, and more to come soon!

Bars Beneath Your Skin with Guillotine Sunbeam - An Interview

Yoni Collier é o a mente por trás do projeto Guillotine Sunbeam, sua mais nova aventura sonora que difere da tendência eletrônica de sua ex banda, Deuce & Charger, a qual Yoni abandonou em Setembro do ano passado.

Com o Guillotine Sunbeam, Yoni explora atmosferas sonhadoras, por entre o dreampop e o shoegaze, camadas de guitarras e eletrônica guiam seu primeiro single, "Bars Beneath Your Skin", que recebeu atenção inclusive da BBC.

Por entre luzes e escuridão, o Guillotine Sunbeam nasce, e que cresça e floresça, pelo aperitivo inicial, os sabores que virão apontam para algo deliciosamente saboroso.

***** Interview with Guillotine Sunbeam *****

Q. When did Guillotine Sunbeam begin? Tell us about the history...
I was in an electronic act – a trio called Deuce & Charger – until last September. At that point we went our separate ways, as I think we all had different ideas of where we wanted to go musically. Guillotine Sunbeam was basically born the morning after I left Deuce & Charger. When you’ve been making music with people for a long time and then you suddenly stop, it’s a bit like going through a breakup! It felt very strange, but also liberating, to be writing songs completely on my own. I wrote and recorded a full song that first day – ‘Bars Beneath You Skin’ came a few weeks later.

Q: Who are your influences?
I grew up listening to guitar music, but around 10 years ago so much of the guitar music that was popular was so boring and derivative, I started listening to and making mainly electronic sounds… Over the last few years I’ve been gradually falling back in love with the sound of the guitar! Re-discovering old bands and discovering amazing new bands too. In terms of who has influenced the Guillotine Sunbeam sound… Slowdive have been pretty big for me the last couple of years, and I’ve got back into listening to those early Verve albums too. The electronic music I’ve made is still with me too – I love really deep sub-bass and interesting soundscapes, so I guess artists like Burial and Blanck Mass also have an influence.

Q. Make a list of 5 albums of all time…
This list changes for me pretty much every day. Today, it feels like these 5:

David Bowie – Low
Scott Walker – Scott 4
Nas – Illmatic
Nick Cave – Abattoir Blues / The Lyre Of Orpheus
Daft Punk - Homework

Q. How do you feel playing live?
I haven’t actually played live for a couple of years – when I last toured with Lone Wolf. That was a really special run of shows, and it ended with the last ever Lone Wolf show at the Brudenell Social Club in Leeds – my absolute favourite venue in the world. It sounds cheesy, but there are moments playing live when you get completely lost in the music and that’s what I like most about it – I’m going to try and get a Guillotine Sunbeam live show together before too long!

Q. How do you describe Guillotine Sunbeam´s sounds?
I like really dense guitar textures, but really deep bass and electronic soundscapes are an important part of my sound too. Contrasts are important to me – dark and light, loud and quiet, I want things to sound dynamic.

Q: Tell us about the process of recording the songs?
I record everything in my studio. The process varies a lot. Sometimes a song starts when I’m sitting at the piano, sometimes I get a synth sound in my head, and the first step is trying to recreate that with my equipment, and the song starts there. I play everything myself, and I produce and mix the tracks too. I’ve never done anything like this before – I’ve always been in bands so the process has been much more collaborative. Guillotine Sunbeam is more about me getting the sounds out of my head and onto record!

Q. Which new bands do you recommend?
Is Bliss are a band from my home town (Portsmouth in the UK) that I think readers of TBTCI will like a lot.

Q: Which band would you love to made a cover version of?
I don’t think there’s much point in doing a cover unless your new version is very different to the original – so I guess it would have to be someone that sounds very different to me. So maybe Sister Sledge. Maybe Slayer.

Q: What are your plans for the future?
I should be bringing out an EP in the summer, and I’m going to be working on an album as well. It would be nice to play some live shows as well, so I’ve got to look into getting that side of things together!

sexta-feira, 4 de maio de 2018

Startled Waking Heart with Isn´t - An Interview

O lado cru, sujo, pesado e rápido do shoegaze, aquele que se assemelha muito mais a guitar bands americanas, sempre foi objeto de adoração mundo agora, logicamente que adorado por um seleto grupo de iniciados, bandas como Swervedriver, Sebadoh, Dinosaur Jr, e mais recentemente Cheatahs, Infinity Girl entre outras pegam suas guitarras e aceleram a barulheira.

E endossando este coro, chega agora as páginas do TBTCI o trio de punksgazers, Isn´t, e junto com eles o primeiro EP, "Startled Waking Heart". Quatro petardos em pouco mais de 12 minutos mostram o poderio de ataque dos caras. Riffs esporrentos, guitarras estridentes, tudo acelerado, soando como descendentes diretas de "Son of A Mustang For".

Isn´t é pra escutar alto, bem alto seja em seus fones de ouvidos ou no carro, preferencialmente andando no talo. Foda!

***** Interview with Isn´t *****

- Q. When did Isn´t start? Tell us about the history...
- Isn’t began as a bedroom project in 2016, but I really wanted to turn it into a proper band. At first I had a hard time finding the right people. Members came and went for a bit, but it finally coalesced into the current line-up late last year. We clicked almost immediately and headed into the studio for 3 days in March to record some songs as a band (as opposed to me doing everything like the previous demos). The result was “Started Waking Heart”.

- Q: Who are your influences?
- I was into shoegaze the first time around, heh… so I am still influenced by the greats like MBV, Ride, Dinosaur Jr, Sebadoh, and especially Swervedriver… but these songs are probably equally influenced by the new crop of bands like Cheatahs, Deafcult, Kestrels, Infinity Girl, Rei Clone, etc.

- Q. Make a list of 5 albums of all time…
- Rather than of all time (too hard), here are the 5 albums I was listening to the most while writing this album:
- Cheatahs - Cheatahs
- Kestrels - Kestrels
- Infinity Girl - Somewhere Nice, Someday
- Rei Clone - Wet
- Deafcult - Deafcult

- Q. How do you feel playing live?
- I guess we don’t know yet! This band isn’t taking the usual path. We recorded the EP first before even playing a live show. I guess that’s the influence of transitioning from a bedroom recording project. We are planning on playing live soon, it just wasn’t as important to us as recording.

- Q. How do you describe Isn´t´s sounds?
- We jokingly refer to ourselves as “three punks playing shoegaze”. Chris (drummer) and myself have mostly played in punk/hardcore bands in the past, and Phil (bass) is from that scene as well. We think it informs our sound in more than just the volume and the tempos of the songs.

- Q: Tell us about the process of recording the songs ?
- We wanted to re-record the songs with the actual band instead of just me in my bedroom… so we booked three days at Echidna Studio. We finished all the drums the first day, and the bass, guitars, and vocals on the second. Things went great. Then on the third day we tried mixing the recording with the engineer that recorded it. That didn’t go as well. It was just hard to communicate what we wanted mix-wise. The next day I collected the recordings from the engineer the next day and admitted that I am a massive control-freak. Over the next two weeks I mixed the recordings myself at home. I had a lot to learn vs my bedroom recordings, but I think in the end we got what we wanted. I am very happy with how it all turned out and I think it’s how we will record from now on. Track at a studio, then mix it ourselves.

- Q. Which new bands do you recommend?
- I have already talked a lot about some of the newer bands I love, but since Australia has some of the best bands in the genre in my opinion… I would wanna call out: Terra Pines, Blush Response, Wild Meadows, Deafcult, Lowtide, etc

- Q: Which band would you love to made a cover version of?
- Swirlies! They have been one of my favourite bands of all time since first hearing them back in 1992.

- Q: What are your plans for the future?
- To play some live shows! Seriously though, I just really want to get our music out to people and enjoy doing it. We make music cause we like music. We just want people to put on our records or whatever because they feel like listening to it.. the same way we put on other bands ourselves. Simple as that.

- Q: Any parting words?
- For sure… to start with, a huge thanks to Renato and The Blog That Celebrates Itself! Feels pretty special to be in such illustrious company. Also, thanks to anyone that helped support me or the band up to this point. We hope we can bring you a little musical joy!