sexta-feira, 23 de março de 2018

Harmony in Chaos // Beauty in Daydreams with Yún - An Interview

Lembram da Elephant 6? Claro que sim, clássica gravadora que fez o mundo um lugar mais psicodélico e feliz, leia-se, Neutral Milk Hotel, The Apples in Stereo, Olivia Tremor Control, Beulah e muitos outros, pois então, é basicamente nesta fonte que alimentava-se Ryan Foo ou Yún.

Porque alimentava-se? Porque desta vez o TBTCI chegou tarde demais, e o projeto sucumbiu-se a própria existência, como muitos que já se foram ou ainda irão, afinal os tempos modernos são até mais cruéis do que em décadas passadas.

Todavia, sugiro a você apreciador daquele clima de baixa qualidade psicodelicamente envolvente que se delicie com "Either Way I´m Fine" ou "Harmony in Chaos // Beauty in Daydreams" e sim, boa viagem.

***** Interview with Yún *****

Q. When did Yún begin? Tell us about the history...
A. yún began as a home recording project after I realized a lot of the songs I was writing didn't really fit in with the band I was with at the time. I wanted to be able to explore different recording techniques at home without the pressure of needing it to sound super polished.

Q: Who are your influences?
A. The Smiths, Dinosaur Jr, My Bloody Valentine, Sonic Youth, Deerhunter, Yo La Tengo, Joy Division, and Toro y Moi, had a huge influence on me when I was teenager. I remember wanting to recreate the guitar and synthesizer sounds they made. The way their instrumentation created this wall of sound and texture really captured my attention as I had only listened to very sparse guitar-oriented music as a little kid. Local San Jose bands like Eudemon, Ugly Winner, Worker Bee, and Sourpatch really influenced the punk/post-punk-y attitude in my songs and Japanese post-rock/math-rock bands like toe, a picture of her, and mouse on the keys really influenced the chord progressions I use.

Recently, I've become more influenced with very vocal/harmony driven music like Grizzly Bear, Olivia Tremor Control, The Beach Boys, The Beatles, and a couple of 60s girl groups. I love the production work by Chris Taylor, Brian Wilson, and Phil Spector, but I'd say Will Cullen Hart from Olivia Tremor Control is currently the biggest influence on my songwriting, production, and growing interest in abstract art.

Q. Make a list of 5 albuns of all time…
A. (1) The Olivia Tremor Control - Black Foliage: Animation Music Volume One
(2) The Smiths - Strangeways, Here We Come
(3) Deerhunter - Halcyon Digest
(4) My Bloody Valentine - m b v
(5) Ugly Winner - Minutes, Years & Never

Honorable Mentions: Eudemon EP by Eudemon, Painted Ruins by Grizzly Bear, Circulatory System's Debut Album

Q. How do you feel playing live?
A. I haven't actually played live with any of the yún material with a backing band. I've played a couple times acoustically but I don't particularly enjoy playing live alone. I did enjoy playing live a lot when it was with my former band and hope to play live with a group again one day.

Q. How do you describe Yún sounds?
A. yún songs tend to be a wall of dreamy and jangly distorted guitars with simple poppy vocal melody lines and drawn out ambient/noisy interludes. There tends to be a lack of oversaturated reverb on my songs because I feel the infinite reverb tails thing is overplayed now.

Q: Tell us about the process of recording the songs ?
A. It usually starts out with a drum pattern or chord progression I've been working on in Reason. The song builds itself during the recording process with me just layering different guitar parts, instrumentation, and loops on top of the basic track. Separation of parts like verses, choruses, bridges, etc seem to work themselves out during the layering process as well. The vocal melodies/lyrics tend to be made on the spot/using stream of consciousness because I kind of want a raw/very primal feeling to it. The vocal layering of the recording process is the most difficult for me because I'm not a strong singer / it's hard to stay consistent when you make melodies and words up on the spot.

Q. Which new bands do you recommend?
A. This is a hard question because I haven't listened to too many new bands recently... but off the top of my head I highly recommend Washer, Lightning Bug, and The Sweet Boys (all from NY, the latter doesn't exist anymore).

Q: Which band would you love to made a cover version of?
A. I'd love to cover Baby I Love you by the Ronettes or any Ramones songs. Something about the vocal melodies in both groups drives me crazy... they're simple but so catchy!

Q: What are your plans for the future?
A. yún actually looked like it was going to be a dead project for the last year because I had been in a pretty severe writer's block for the last 3 years. However, I suddenly started writing songs that really piqued my interest about a month ago and the progressions, melodies, and ideas haven't stopped since then. The newer material is more vocal/harmony driven, less focus on a wall of guitar sound, and a severe lack of stream-of-consciousness when it comes to lyrics. However, the next release might have to wait a while because I'm also currently in the process of starting another post-rock band in the bay area and I want to focus on learning how to paint abstract art.

Q: Any parting words?
A. Thanks for the interview Renato! It's a thrill that more people are taking an interest in my music.

Basement Showroom with Last Exit - An Interview

O submundo russo continua exportando veementemente seus produtos sem haver o menor indício de pausa.

O mais novo destes produtos é o quarteto de Saint Petersburg, Last Exit, que no mês passado soltaram seu segundo EP. "Basement Showroom" sonoramente seria algo como o Radiohead sem anfetamina e o Interpol sem cocaína, traduzindo, os caras dispensam os experimentos extremos e a dose densa de melancolia, concentrando-se em criar uma atmosfera que paira por entre o desespero e o emocional dosando ambos sem exageros.

Se o indie rock de massas tivesse a qualidade do Last Exit, certamente vivenciaríamos tempos melhores.

***** Interview with Last Exit *****

1)When did Last Exit start? Tell us about the history
First time we (Timur - guitar\vocal , Daniel - guitar\back vocal) were gathered in Makhachkala in far 2007 (very special year for russian alternative scene),just cause we listened same music and had a strong impulse to play guitars and write songs. Members of the band has changed many times over several years,changed even the instrument on which they played,so Daniel ,our guitar player, at first played drums. At that time we played covers and our own very british indie songs. Then Islam (bass) and Ruslan (drums) joined us in late 2015 By this time we moved in Saint Petersburg and wrote a lot of new songs,so that group acquired the current style and sound

2)Who are your influences?
Of course it's a lot of music (from the beatles to the fall, from pink floyd to mac demarco and etc), our families, joint work on the material All the situations that have happened to us over the years of life in two cities, and of course our roots,culture of our native land - republic Dagestan.

3)Make a list of 5 albums of all time
Oh,it was hard but :
- Dark Side of the Moon by Pink Floyd
- Nevermind by Nirvana
- Script of the Bridge by The Chameleons
- White Album by The Beatles
- OK Computer by Radiohead

4) How do you feel playing live?
Live performances is a special kind of pleasure. That streaming exchange of energy by both sides,fantastic feeling. It makes situation as real as possible,breaks any inner barriers so we use any possibility to play gigs

5)How do you describe Last Exit sounds?
We strive to reflects in our music our primal emotional side, cause only in that way you can write something worth for your inner Simon Cowell. We are striving for deep atmospheric sound and for a good melody in every song. Not that we think through this, just that's the way it works at that moment.

6)Tell us about the process of recording the songs ?
All work , like studio payment,producing tracks and released them were on us. There are often new ideas right before the recording or during the record. And it's always experiments,searching for a new unknown pathes,so it's always a priceless expirience.

7) Which new bands do you recommend?
King Krule , Mac DeMarco , Alt-J are our favourites, also DIIV and Beach Fossils and Mourn from Captured Tracks are interesting too

8) Which band would you love to made a cover version of?
It's definitely Nirvana songs,Interpol, we also made covers on Mudhoney,QOTSA,Pixies

9) What are your plans for the future?
Find drummer and keyboard player and start to playing gigs in Saint Petersburg on a first place in to-do list. Also at the beginning of the year we released new EP , want to spread it all over the web and of course continue to write new songs

10) Any parting words?
Thanks for your attention,it's very pleased that you liked our songs, It was interesting to answer your questions,hope you forgive us for a bad english. Listen to our new EP , hope you enjoy it.

quinta-feira, 22 de março de 2018

Slow Decay with Processions - An Interview

San Antonio, Texas, um quarteto, dois EPs, e uma paixão imediata. Assim foi e é o caso de amor entre TBTCI e Processions.

Uma devastação sonhadora e cortante guiada por guitarras que por mais intensas que possam soar, praticam o efeito da levitação. Os EPs em questão, "Blush" e "Slow Decay", ambos lançados no passado captam com extrema perfeição a combinação entre entre barulho, melancolia e delírio.

Mesmo com apenas dois anos de atividade, o Processions soa como uma veterana banda, e o melhor de tudo, com aquele frescor de novidade, escute alto, por favor.

***** Interview with Processions *****

Q. When did Processions begin? Tell us about the history...
Back in late 2016 I recorded a poorly made instrumental demo on my computer showed to my pal Joshua (who we eventually parted ways with) who liked it and the two of us started jamming together and eventually formed a band. We've done so much within our first year hopefully this year will be bigger.

Q: Who are your influences?
Speaking for myself I would have to say: Husker Du, Sparklehorse, Joy Division, and Teenage Fanclub

Q. Make a list of 5 albuns of all time…
1. The Beach Boys - Pet Sounds
2. The Replacements - Let It Be
3. Teenage Fanclub - Bandwagonesque
4. Joy Division - Closer
5. Husker Du - Candy Apple Grey

Q. How do you feel playing live?
I'm a very anxious person so initially the mere thought of playing live is a little daunting.

However, once we start playing and I get on the stage, I get this streak of confidence to perform well and sing. Beer also helps with that too! haha!

Q. How do you describe Processions sounds?
It's all over the place & obviously my influences play a role in that --one minute it's fast and aggressive & the next it's very "chill" and atmospheric. Atmospheric dreampop/post-punk? I dunno!

Q: Tell us about the process of recording the songs ?
Well our first EP "Blush" was recorded primarily on a Tascam 388 which is really cool sounding, but a pain in the ass to record with because it's tape. So we if flubbed or messed up in the most MINOR way we would have to record the whole thing from the top...However, we did the vocals digitally. Our second EP "Slow Decay" was produced digitally which explains the clarity on the recordings. I'm quite satisfied with both EPs.

Q. Which new bands do you recommend?
Foliage--This dude is THE hardest working musician I've ever had the pleasure of e-friending. Definitely keep an eye on him and his work he's going to blow up.

Houseplants--We did a three date "mini-tour" with these guys (& gal) and it was honestly a great experience they're really nice, personable people and their music is absolutely gorgeous. Their self-titled EP was on my top 5 of 2017.

Preoccupations - Their new single Espionage was absolutely amazing definitely top song of 2018.

Q: Which band would you love to made a cover version of?
I constantly try to egg the guys in to covering Husker Du or New Order. hehehe! The former is probably something we'll start incorporating into future live performances!

Q: What are your plans for the future?
We're going to re-record a song from our Blush EP and make it higher quality sounding and make an accompanying music video to go with it be on the look out for that! Also "Slow Decay" is getting 7" record treatment here pretty soon!

Q: Any parting words?
Thanks for taking the time to ask these questions! Texas readers, if you're in Austin March 23rd & 24th come to DKFM's Dreamgaze Fest at Cheer Up Charlie's! Incredibly stacked lineup (yours truly included) and all an around a great time! Thanks! Please stream us on Spotify!

quarta-feira, 21 de março de 2018

Unrivalled Work Ethic with Unpaid Intern - An Interview

Bandas como a inglesa, Unpaid Intern são extremamente dificílimas de se encontrar por aí, primeira pelo aspecto sonoro, os caras perpetuam um pós punk torto, organizadamente caótico e dissonante, por vezes de baixa qualidade, talvez propositalmente, talvez não, mas as conexões com gente do naipe de Wire, Swell Maps, Sonic Youth, Pavement, deixa todas as características acima mais explicitas.

No currículo, um disco essencial pra quem quer e precisa sair da mesmice atual, "Unrivalled Work Ethic", é exatamente tudo descrito acima com doses de gasolina prestes a explodir.

Quando Morrissey profetizou que Manchester ainda nos traria muitas surpresas, ele definitivamente não estava brincando, o Unpaid Intern que o diga.

***** Interview with Unpaid Intern *****

Q. When did Unpaid Intern begin? Tell us about the history...
Patrick: Tom and Chris are brothers. They play guitar and bass, and both sing. They grew up in Rochdale, north Manchester, where Tom went to school with Mooney, who plays drums, and I think they played in bands together when they were teenagers – they can tell you the details. I met Tom in London when we were both studying because I lived with his cousin, Siobhan. We bonded over music and watching sport – mostly football. After a while we started a band called Khaos Alberto (here’s a video we made, I don’t think that band is defunct but we haven’t played together in a while. Khaos Alberto used to have a fake unpaid intern communicate on behalf of the band. Our Unpaid Intern character, rather than the band they ultimately inspired, was a hyper-capitalist try-hard who really wanted to land a big job and make money.

Tom moved back to Manchester where he found out that Chris was joking about starting a band called Unpaid Intern. Chris made a few tracks and so did Tom, they both mentioned it to me and we just thought it was a laugh. Then I moved back to Manchester, where I’m also from but a different part of the city (Stockport), and lived with Tom in Salford. We were talking to people about starting a new DIY space (which now exists – it’s called Partisan Collective), they needed money so some Manchester music people were putting on gigs and we thought Khaos Alberto could play. After we couldn’t get in contact with one member of Khaos Alberto, Tom and I lied that we had started a kosmiche band called Unpaid Intern to our friends Tash (a promoter, O.J. Recs) and Tom (who is in the Fruit Tones – a really great Manchester garage rock band). Luckily, they said we could play with Fruit Tones, Turf (RIP) and Proto Idiot but then we realised that we had to learn five songs in an afternoon then go straight to the gig. The gig went well, that was a surprise to us, and people began to ask us to play other shows. That has continued ever since, people ask us to play or record and we can’t quite believe it. So we were going for some time with our old drummer Max and recorded Unrivalled Work Ethic for Havana Tapes. Then Max moved to Canada (he’s since moved back) and Mooney joined. We’ve been really lucky because a few local promoters (Cold Callers, O.J. Records, and Comfortable on a Tightrope) have put us on some interesting bills and we’ve played with people like Downtown Boys, King Champion Sounds, Priests and loads of other shows that we have really enjoyed.

So, we’re pretty much a joke that has gone too far.

Unrivalled Work Ethic –

A video that Chris made for us –

Mooney: M - my history with this band is relatively short. I’ve known Tom and Chris for over ten years, having met through mutual friends and sharing the same interests, eventually leading us to playing in a couple of bands in our teenage years. We didn’t have much contact when we all went university, but got back in contact when Tom moved back to Manchester. Earlier in 2017, I was asked if I fancied jamming with Unpaid Intern where I then met Patrick. We jammed out the set and then that was that. I think I’m now in the band.

Q: Who are your influences?
Tom: We get told we sound like this band called Duster sometimes, oddly enough I’d never heard them until I was told we sounded like them.

Patrick: Tom and I really like Os Mutantes. Not just flattering the Brazilian audience. I’m really interested in Swell Maps and all the stuff that’s slightly like them (Raincoats, Sonic Youth, Pavement). I’ve been getting into in experimental music for a long time – recently I’ve been listening to Evan Parker, all the British post-60s improvised stuff and read David Toop’s book Into the Maelstrom. Recently I’ve been trying to incorporate this into how I play the guitar more than ever, I’m very enthused by scratching and plucking my guitar in unusual ways at the moment. Our band sings Thin Lizzy in the car. The last album picked by another band member in my house was the Neil Young and Crazy Horse album Zuma. I hope that gives you an insight. Oh, the Irish comedians the Rubberbandits are a huge influence on our band – they started an artistic movement called gascuntism and we consider ourselves followers of their artistic manifesto.

Mooney: Drummers who’ve influenced me would probably be a mixture of Jon Theodore, Thomas Pridgen and Idris Muhammad. Bands would be the Mars Volta, Justice and Sergio Mendes.

Q. Make a list of 5 albuns of all time…
Tom: These are my favourite albums that I physically own as a record.
- Pavement - Crooked Rain, Crooked Rain
- Burial – Untrue
- Slint - Spiderland
- Angelo Badalamenti and David Lynch - Twin Peaks: Fire Walk With Me OST
- The Beatles – Revolver

Patrick: That’s a hard question. I’m going to change it slightly to make it like a long-running BBC Radio 4 show called Desert Island Disks where the guest picks eight recordings and a luxury item to help them survive if they are stranded on a desert island.
1. ‘Manchester United Calypso’ – Edric Connor
2. ‘The Boys are Back in Town’ – Thin Lizzy
3. ‘The Sprawl’ – Sonic Youth
4. ‘Oceanic Beloved’ – Alice Coltrane
5. ‘Dance of the Inhabitants of the Palace of King Philip XIV of Spain’ – John Fahey
6. ‘Non-alignment Pact’ – Pere Ubu
7. ‘Ando Meio Desligado’ -- Os Mutantes
8. ‘X Gon’ Give it to Ya’ – DMX
Item: the green armchair from my living room

Mooney: Impossible to pick so I’ll choose 5 tracks/albums that are currently on repeat
0. Gumboot Soup - King Gizzard and the Wizard Lizard
0. Kali Uchis/Tyler the Creator/Bootsy Collins - After the Storm
0. The Oh Sees - the Static God
0. Flat Worms - Flat Worms
0. Kaytranada - 99.9%

Q. How do you feel playing live?
Tom: Usually pretty good. We tend to grow into it and become more expressive as the set goes on. If we played for longer we’d probably end up hanging from the rafters like Iggy and the Stooges. As it stands we awkwardly hobble about the gaff looking at our feet.

Mooney: Very relaxed before a show. I enjoy playing the songs we’ve made. And I have confidence in the lads as they’re a talented bunch. So it’s a lot of fun for me knowing everything will go fine.

Patrick: Pretty anxious. Amused – if it goes wrong. It can be enjoyable, sometimes, or even slightly exhilarating. The people who come to our shows – I call them ‘our shows’ when we’re usually the support, what a narcissist? – are typically very supportive and welcoming so that really helps to ease the tension that I feel personally.

Q. How do you describe Unpaid Intern sounds?
Tom: To rehash a comment about an old band – somewhere between a dog’s dinner and a monkey’s breakfast.

Patrick: Sometimes bearable or the bar band from the edge of the universe.

Mooney: Purveyors of low-fi psychedelic skronk. Gong meets Television with a bit of Teenage Fan Club thrown in for good measure.

Q: Tell us about the process of recording the songs ?
Mooney: Organised chaos. It’s slightly messy and takes a bit of time, but it gets done.

Patrick: That’s a question for Tom. We’re currently discussing how we’re going to record a single and an album. The album is going to be called Palace Bingo.

Tom: It has been a process of multi-tracking and overdubbing but we are moving now towards more of a live sound. I like the idea of artefacts and mistakes being preserved.

If you listen to some of the quieter moments of the EP that is on Bandcamp (at a reasonable price, I might add) you can hear the 98 bus go past and rattle the windows of our old house. We recorded a lot of it in the living room and tested out the mix and mastering in my fiancé’s car.

I intend to sound a bit more, and also a bit less polished for the album.

Q. Which new bands do you recommend?
Patrick: Fruit Tones, Sweaty Palms, Porridge Radio, Locean, Garden Centre, L. Cat, Breakfast Muff, ILL, Calvadore, Nachthexen, Es, Witching Waves, Molar, Wurms, Viewfinder, Jeuce, Algernon Cornelius, Bird Bath, Irma Vep (isn’t really new), As Onedas, Hot Shorts, Bloody Death, the Tombed Visions records stuff, GUO, NOTS

Mooney: Inland Taipan, Unstoppable Sweeties Show, Calvadore, Mutabase, Nunofyrbeeswax

Q: Which band would you love to made a cover version of?
Tom: ‘Wichita Lineman.’
I should also point out that we do have a cover of a Teenage Fanclub song on Bandcamp here:

Mooney: ‘Whip It’ by DEVO or ‘Witicha Lineman’ by Glen Campbell.

Patrick: Me and Chris have been talking about a cover of ‘Cigarettes and Alcohol’ by Oasis but I’m not sure how keen Tom is and perhaps that’s more a matter of being flippant towards our audiences than any true love of the Gallagher canon. It’s one of the only Oasis songs that I like and, in some ways, we’re not your typical Manchester band – not much of the bravado, although we do wear big coats because it rains all the time. We sometimes play ‘Sweet Leaf’ or ‘the Boys are Back in Town’ in practise.

Q: What are your plans for the future?
Mooney: Maybe go on tour and hopefully record Palace Bingo.

Patrick: Make lots more music and have fun. We’re going to do an album and play some more gigs. We’ve been speaking to our friends (including aforementioned Tash and Fruit Tones, Wurms, Algernon Cornelius, former drummer Max G. Camp and some others) about opening a practice room that might evolve into a gig space – potentially with nice things like days for women to practise for free to address the gender imbalance in music and stuff to encourage young working class people to make music. I’m publishing a history book this year – Youth and Permissive Social Change in British Music Papers, 1967-1983. Plug.

Tom: Release this fucking album.
I’m now quite looking forward to our hotly anticipated live show at the Maracanã.

Q: Any parting words?
Chris (who, as ever, turned up a few days late to the party): Hello to you Renato and by extension Brazil! I’ve just caught up on this but the other fellas seem to have done a stellar job of answering the questions already. I’ve been over in Scandinavia for a few days to watch The Radio Dept, who can double up as my excuse and my answer to the 5 favourite albums question (They only currently have 4 albums but they’re all pretty much perfect and I’m sure their next one will be too!). I’ll also chuck in the G.L.O.S.S. – Trans Day of Revenge EP too cause I’m listening to it again now and it shreds vvv hard. Thanks so much man and RIP MES xoxox

Tom: Look us up if you’re ever in Manchester.

Patrick: Thanks Renato! Nice to speak to you. If anyone wants to fly us to Brazil to play gigs, we’re open to the idea and, if British visas are a problem after Brexit, we all have Irish passports.

Mooney: Thanks for this opportunity. All the best.

terça-feira, 20 de março de 2018

Bizarre Family Drama with Arms Bizarre - An Interview

Desde 2012 o quarteto da Virginia, Arms Bizarre vem despejando sobre nossos tímpanos doses carregadas de um sombrio shoegaze em formato grunge, algo como se o Alice in Chains se fundisse com o Starflyer 59 ou algo do gênero, se é que isso seria possível.

Uma discografia imensa, repleta de singles, EPs e álbuns, onde todos seguem uma linha linear de raciocínio sonoro, ou seja, distorção lenta e dolorosamente angustiante. O novo álbum dos caras, lançado no final do ano passado, soa ainda mais intenso nestes quesitos, o peso ataca a distorção, a sensação de abandono embaralha-se com a tensão das guitarras, assim é "Bizarre Family Drama".

Um conselho, escutar o Arms Bizarre com fones de ouvido e no maior volume que seus tímpanos suportarem é o que deve ser feito.


***** Interview with Arms Bizarre *****

Q. When did Arms Bizarre begin? Tell us about the history...
It all started in Virginia Beach, Virginia playing with my sister, Bekah and a good friend of mine Barry, in the garage. It was around November of 2012. I remember it well because there was a hurricane in town and we had the cops called on us. The police were actually pretty cool about it, just asked us turn down. The band has evolved from there with new members, all good friends and great company to be around. We’re still in the garage and haven’t had the cops called on us since that first time.

Q: Who are your influences?
It’s really hard to pin down our influences. For me, lyrically I’m influenced by Dave Bazan & Robert Pollard a lot. As for the music, there’s no direct source of inspiration. From 90’s alt rock to punk, indie rock and shoegaze. Psych rock too. I listen to a lot of rap. I strive for songs with pop sensibility mixed with thick fuzzy guitar. Big drums and bass. Right now I’m listening to a lot of King Woman & Deafheaven. Leviathan as well. Maybe some of that will creep into new material.

Q. Make a list of 5 albuns of all time…
I’ll never be able to provide an all time top 5 album list. It changes every time I try to. My “current” top 5 would be...
Frank Ocean - Blonde
Whirr - Sway
Mount Eerie - A Crow Looked at Me
Leviathan - Verrater
Guided by Voices - Alien Lanes

Q. How do you feel playing live?
Playing shows is a roller coaster of feelings. Usually starting with extreme anxiety and ending with undulating relief. I think all of tension built up inside makes for a massive release physically. Personally, it’s a rigorous mental process but at the end of it all I’m happy and whole.

Q. How do you describe Arms Bizarre sounds?
Our “sound” is up for grabs. I really only want a big sound that’s drenched in distortion and reverb. Freedom to express that sound flows individually through the band as a whole.

Q: Tell us about the process of recording the songs ?
All of our recordings in the past have been home recordings. Very little quality equipment. As time has passed the process has changed. On our latest release, Bizarre Family Drama, the drums were studio recorded with some guitar, bass and vocals. We recorded all the lead guitar and some vocals at home, with much better gear for recording.

Q. Which new bands do you recommend?
My recommendations for new(ish) bands starts local. I’m a big fan of You’re Jovian, Wandcarver, Norfolk Nightmares, Prayer Group (RVA), Demons and Death Valley Rally. There is so much talent and creativity in the Norfolk/Va. Beach area, I could go on and on. We played with Spooky Cool last night from Richmond, Va. I was absolutely amazed by them. Brooklyn based A Deer A Horse are a personal favorite of mine too. We’re sharing the stage with them next weekend. Check out their EP Backswimmer.

Q: Which band would you love to made a cover version of?
I’m funny about covers. While I enjoy them I’m scared of them. I’m afraid of taking another musicians song and losing the power of authenticity. I’ve always wanted to cover Now to War by Guided by Voices and The Blog That Celebrates Itself already beat me to the Starflyer 59 covers!

Q: What are your plans for the future?
Our plans are to continue making records and playing shows at home and on the road. It’s been DIY from the beginning and it will probably always be.

Q: Any parting words?
Music is personal and communal all in one. The late nights reflecting and writing are its core. Taking it out of the garage and sharing it is the fun part. Especially if you were able reach someone with it. Support your “scene” as much as possible. Love each other, love your partner, love your kids, love your family and friends. We all create differently and the differences are what make music and the world rad.

Los Hombres Grises with Karate Hiroshima - An Interview

Eis que os espanhóis retornam as páginas do TBTCI, agora representados pelo novíssimo duo, Karate Hiroshima. Com pouco menos de um ano, Verónica Mellado e Ismael Redondo criam suas trips sob bases eletrônicas, guitarras hipnóticas navegando por entre um tênue elo unificando o shoegaze e o trip hop.

Melancolicamente, o EP, "Los Hombres Grises" se conecta espiritual e sonoramente com The Cure, Portishead e a fase excêntrica do Radiohead, sugerindo um ar de modernidade.

Para ficar de olhos e ouvidos atentos.

***** Interview with Karate Hiroshima *****

Q. When did Karate Hiroshima begin? Tell us about the history...
A: KH started in the spring of 2017. At first we discussed the idea of playing with traditional bass and drums, but in the end we decided to use electronics for our bases for the freedom and creativity it offers us, and we began to compose and rehearse more intensively in our house.

Q: Who are your influences?
A: We are two persons with a musical very different origin. Because of it it is very difficult to make concrete easily recognizable influences, since we might speak about groups of electronics as Lusine, Gardens and Villa, Hot Chip, Metronomy, happen for Caspian's postrock or even come to Wild Nothing's shoegaze

Q. Make a list of 5 albums of all time…
A: "Kiss me, kiss me, kiss me" The Cure
"Debut" Björk
"OK Computer" Radiohead
"Dummy" Portishead
"Blue Lines" Massive Attack

Q. How do you feel playing live?
A: We do not know. Our first concert together will be next February 16th. Surely it will be great.

Q. How do you describe Karate Hiroshima sounds?
A: Our sound is vital and dark. We still do not know if we are pessimists trying to get ahead or if we are vitalistic and cheerful but circumstances make us feel sad. We always walk between those two extremes, and it seems that it is reflected in our music.

Q: Tell us about the process of recording the songs?
A: Actually everything has been very comfortable. The electronic part we have been doing little by little in our house, allowing us to recreate in all the details that we wanted to sound and optimize the mix, and the analog part we recorded in the studio of Angel Róman, a great friend who has very easy position. The part of final mix and production we have carried out between the three.

Q. Which new bands do you recommend?
A: They aren't exactly new, but they are active we are interested in projects like James Blake, How to Dress Well, Adult, Beacon, Chromatics, Rhye, Blue Hawaii…

Q: Which band would you love to made a cover version of?
A: "I wanna be adored" by Stone Roses, "By this River" by Brian Eno, and the openning of Dragon Ball Super :)

Q: What are your plans for the future?
A: We are working on new songs to be able to do an L.P. in the near future, and play live as much as we can.

Q: Any parting words?
A: Yes, we are very grateful for the interest you have shown in us and in our music, and we hope that some day we will be able to show you our work live there

segunda-feira, 19 de março de 2018

Melter with Helen Kelter Skelter - An Interview

Norman, Oklahoma, é o ponto onde a garageira psicodélica sessentista une forças ao noise dos novos tempos, ou se você preferir uma colisão em alta voltagem entre The Standells e B.R.M.C..

Assim é o quinteto, Helen Kelter Skelter, um jogo de palavras obviamente remetendo a clássica canção do quarteto musical mais famoso do universo.

Os caras soltaram em Janeiro seu segundo esporro, o álbum "Melter", que seja a lógica do debute, o homônimo lançado em 2015. Só que literalmente os caras adicionaram um quesito a mais em toda a fórmula, o suingue parece tomar contornos mais fortes no novo trabalho, o que não deixa o peso e a acidez ficarem em segundo plano, é apenas mais um motivo para aumentar no volume máximo.

Como os próprios sugerem o som do Helen Kelter Skelter é uma perfeita trilha sonora pra pegar estrada afora, seja seguindo por desertos ou o trajeto que for, o que importa é a vibe.

Escute alto e boa viagem.

***** Interview with Helen Kelter Skelter *****

Q. When did Helen Kelter Skelter begin? Tell us about the history...
Helen Kelter Skelter formed in the fall of 2013 and was founded by Tim Gregory (me) and Eli Wimmer. We always wanted to start a band together since high school and once we were out of college we finally had some time to devote to it. We just started recording a record together and then we found other members to play with and make it a full band.

Q: Who are your influences?
Too many to mention, but we love a little bit of everything. Right now we've been into heavier rock such as Metz or Mclusky

Q. Make a list of 5 albuns of all time…
Thats a tough are some that come to mind

Pink Floyd - Darkside of the Moon
The Beatles - Sgt Peppers Lonely Hearts Club Band
Beach Boys - Pet Sounds
Jimi Hendrix - Are You Experienced?
Frank Zappa - Freak Out!

Q. How do you describe Helen Kelter Skelter sounds?
It's the type of music you would listen to while driving in the middle of the Mojave desert.

Q: Tell us about the process of recording the songs ?
For Melter we recorded all the songs as demos at our house and then we would take the tracks to the studio and put drums over them and then take them back over to our house and rerecord all the tracks over the fresh drums so they would lineup better and then take it back into the studio and mix everything to give it the sound we wanted.

Q. Which new bands do you recommend?
Metz, Orb, Natural Child, old Tame Impala, and of coarse King Gizzard and the Lizard Wizard

Q: Which band would you love to made a cover version of?
We usually do a cover or two at Halloween. We've covered Fire & Manic Depression by Jimi Hendrix, Five to One by the Doors, Psycho Killer by Talking Heads, and Vitamin C by Can. We've always talked about doing The Green Manalishi by Fleetwood Mac....maybe thats the one we will pick for 2018...

Q: What are your plans for the future?
Touring, and working on new songs is what we're looking forward to. Maybe a trip to Mars... Go give our new album MELTER a listen!

Q: Any parting words?
Go give our new album MELTER a listen!

sexta-feira, 16 de março de 2018

Volker with Blurred City Lights - An Interview

Quando dois maestros encontram-se é sabido que a genialidade dará o tom do trabalho.

E é exatamente isso que acontece com a junção de Jarek Leskiewicz (Sunset Wrecks / Opollo) , e Dean Garcia (Curve / SPC ECO, entre outros).

Sob a alcunha de Blurred City Lights os dois voltaram a ativa há questão de um mês atrás com "Volker", segundo trabalho deles. Ainda mais enigmático do que o genial "Anamorphic", "Volker" exala uma atmosfera de mistério. Como no trabalho anterior, o disco conta com participações especialíssimas como Rose Berlin (SPC ECO), Fillipo Gaetani entre outros.

O ponto é que, por entre sombras e luzes o Blurred City Lights novamente cometeu um disco perfeito.

***** Interview with Blurred City Lights *****

Q. Hello, first of all, congratulations on the new record. It's really brilliant. What is your analysis after conclusion of record? Are you happy with the result?
Jarek: Thank you, Renato! I'm pretty content with the end result. It's a snapshot of 3 months of us collaborating and shaping out musical ideas. Keeping each other's virtual company. Night crawling. It started with an EP in mind but it gradually morphed into a complete album.

Q. How was the process of creating "Volker"?
Jarek: For me, it started slightly rusty as we didn't do that project for quite a while (4 years!!) but with every new track it became more and more natural and inspiring. I think Dean also needed a bit of warm-up and motivation. From my perspective of working with him, he is most musical when in the right frame of mind - darkly inspired but optimistically creative. Willing to explore sonic pathways and give songs/ideas a chance.

Q. What are the main differences between "Volker" and "Anamorphic"?
Jarek: I feel like "Anamorphic" was created in a different time-space and emotional landscape. We were still bathing in the afterglow of very fruitful co-writing work on SPC ECO's "Sirens & Satellites".To me, it was a very euphoric and creative period. More hopeful. On Anamorphic we composed the tracks as songs with vocals in mind and while working on Volker the vocals became optional and more additional voices-like, accompanying. We fleshed out some of the parts but mostly we left things the way they presented themselves. Warts and all. Although there was a Click Inquisition going on for a bit ...haha. More instrumentals and cinematic vibes were welcomed on the album. The sound and production on those 2 records while unmistakably Dean, is a bit different too.

Q. What were the influences for creating the new record?
Jarek: The cover image was one of the main inspirations. It gave the record an evocative face and vivid sound direction. Musically there weren't direct influences except me using some Fairlight CMI sounds inspired by Peter Gabriel's early records and my usual nods to Eno-Byrne stuff. I also remember Dean mentioning Godspeed Young Emperor somewhere during the process.You still can hear trademarks of both of our styles on Volker but what I like about working with Dean is that he usually won't allow us to repeat ourselves too much. I think that's a great instinct.

Q. What are your plans for 2018?
Jarek: I'm finishing records of my other projects (Sunset Wrecks & Opollo) and hopefully will start working on another 2 after that :). I plan to check out some new music, read a few auto-biographies, make cool photos, watch a lot of movies and spend quality time with my close ones. That's all I need and wish for. Everything else is a bonus.

"Air Traffic" by Maine - Track by Track

Mike Robertson é um dos fundadores do High Climbers, banda já devidamente apresentada e conhecida para quem frequentas as páginas do TBTCI.

Durante a trajetória do High Climbers, Mike foi registrando gravações suas em meio aos trabalhos de sua banda e o resultado disso tudo veio ao mundo há pouco menos de um mês sob a alcunha de Maine, o disco chama-se "Air Traffic" e tem todo seu enfoque na relações humanas, analisadas psiquicamente, tudo envolto em uma atmosfera intimista e beirando o lo fi, apesar da qualidade da gravação ter ficado bem acima do que se comumente se atribui ao aspecto de baixa qualidade.

Um trabalho interessantíssimo que soa como uma experimentação de seu criador com seus "brinquedos", leia-se pedais entre outras coisas.

Uma trip desacelerada e melancólica que merece ser analisada a fundo, e para isso, o TBTCI convidou seu criador para dissecá-la.

Dê play e submerja-se a esta odisseia.

***** "Air Traffic" by Maine - Track by Track  *****

This song came out of my first experience using open C tuning. I found an intriguing melancholy with simple picked arpeggios, so I used it as a canvas to write about the underpinnings of my life at that time- namely, restlessness in a disasstifying routine. It happens so often that we start down a road which is positive but eventually turns. It can then become hard to discern what one's true feeling is, as they slowly descend in quicksand. This is a bit of a thematic introduction.

Low (No Reason)Feeling the push/pull of power verses freedom, all around us and in far-off places we only hear about. I think this was written around the time of the Brexit vote, where two ideological camps (created by the media) were being pitted against each other. Leading oneself down a road of ignorance and exclusion seems to be a tiresome one; their exhaustion is spread across the front page but with such a contradictory inherent power. I instead try and see the colour beyond the chaos.

Can You See It?This track is a conversation with no one person in particular, but perhaps those in a certain ideological camp. I'm no saint, but I can't help but see examples of complacency in dire situations. There is a definite lack of awareness to their submission. My questions are to the broken-hearted and minded; tiresome discontent with no courage to step up.

First PointMy first real song with my Boss RC30 looper. I'd just bought a keyboard for £3 at a local Chinese market and discovered looping the same key would produce different pitches. With this in mind I decided to play the basis of the track live, adding in layers sparingly. The guitar and voice followed and were guided by the loop I'd created. First Point is a homage to the beginnings of a relationship - the launching point to a higher state of being. Any self-doubt is swept away by the love of a newfound significant other.

A trip to the aqaurium prompted this, especially as I saw the elegence in the seahorses there. Coinciding with new love, I began shedding the skin that kept me closed. This beautiful state of purity was mimiced by these little creatures as I watched them swim around so graciously. It's more an exploration of a feeling and transitioning.

Good Go UpThe loss of a friend far too soon was the sole inspiration here. Made in a time of grevience, my head and heart were filled with the deepest sadness I have felt in my life so far. It was coupled with anger, especially as many people carry on living worthless loved. I began thinking about reincarnation also, and concluded that he would be rewarded for his selflessness and purity on earth.

PreoccupationsThis shifts back to an earlier narrative. I was in conversation with myself, trying to recognise my power to initiate change. A cross-roads had appeared and I was to make a definitive choice either way. It stood as 1 of 2 loop-based songs I wrote on a grey Friday - this one being set on advice and recommendations on how to live and be. Maybe a bit like a road map or guidebook with definite things to stay away from.

I Know This Much Is TrueMore of an exploration of a feeling, ignited by certain social relationships. It's about the fakes, untruthfulness and unreliability, and fixated on things not changing. What's more, negative energy is the destroyer of social cohesion and I became set on removing it far away from me.

For This Life (I'm In)An appreciation of lessons learnt, and a dedication to see them clearly. There's an awareness that demons won't die and shadows may not lighten, so we must learn to live with their presence.

quinta-feira, 15 de março de 2018

A Time for Roses with Blood Bells - An Interview

Já nos primeiros instantes de "A Time for Roses", debute do combo de Denton, Texas, Blood Bells, a primeira coisa que veio na minha cabeça foi "Batcave"!!

Um mix soturno, rápido e agressivo do gótico clássico e do punk, em tons ásperos e angustiantes, o Blood Bells desfila os nove petardos  em pouco menos de trinta minutos, sem o menor tempo para qualquer respiro.

Definitivamente os bons tempos da Batcave estão sendo revividos e reatualizados, cortesia do Blodd Bells.

***** Interview with Blood Bells *****

Q. When did Blood Bells begin? Tell us about the history...
A: Blood Bells is in its infancy. The concept started back in early 2015 and came To fruition in spring of 2016. We have been playing music in mostly punk bands for the past 15 years and we wanted to do something more our style that was more fulfilling.

Q: Who are your influences?
A: Definitely early trad goth bands (all the classics that generally come to mind) as well as a lot of 80’s synth pop

Q. Make a list of your 5 favorite albums of all time…
A: This is a hard question.
- Drab Majesty “The Demonstration”
- Cocteau Twins “Blue Bell Knoll”
- Sergio Mendes & Brazil ‘66 “Herb Alpert Presents”
- Boy Harsher “Yr Body Is Nothing”
- The Chameleons “Script of the Bridge”

Nick Cave & The Bad Seeds “Murder Ballads”
Tom Waits “Blood Money”
Townes Van Zandt “Delta Momma Blues”
Earth “The Bees Made Honey in the Lion’s Skull”
The Cure “Pornography”

Q. How do you feel playing live?
A: We’ll let you know after we’ve played more than one show! The stage is a comfortable place for the both of us in general, though we don’t plan to oversaturate Blood Bells with too many shows.

Q. How do you describe Blood Bells sounds?
A: Dark and sparkly with just a hint of dancy razzle-dazzle!

Q: Tell us about the process of recording the songs ?
A: It was very easy and took only one weekend. It’s nice when your album engineers are old friends.

Q. Which new bands do you recommend?
A: Drab Majesty, Boy Harsher, Night Sins, Geneva Jacuzzi, Kontravoid

Q: Which band would you love to make a cover version song of?
A: Strawberry Switchblade

Q: What are your plans for the future?
A: To keep creating music and releasing records.

Q: Any parting words?
A: Have a good time all the time

Don't Talk with Anne Shirley Supersad - An Interview

A hungara Zita Csordas é a criadora do projeto Anne Shirley Supersad que debutou em Janeiro com um belo e contemplativo álbum chamado "Don´t Talk".

Zita cita Erykah Badu como uma de suas principais influências, mas muito além da conexão com Erykah, a sonoridade de Anne Shirley Supersad paira acusticamente por entre um folk dark e o slowcore, tons melancólicos ecoam por entre as canções, mas uma suave sensação de leveza e candura é sentida intimamente.

Música delicada e sensível, que, infelizmente, poucos terão o prazer de saborear.

***** Interview with Anne Shirley Supersad *****

Q: When did Anne Shirley Supersad begin? Tell us about the history...
ASS.: I wrote my first song which was Don't Talk in 2016, after my aunt's death. That was a hard period for my family and me, especially my mother. I was the only one in my close family who could comfort her but because of that i repressed my real sadness and it became a serious anxiety. I wrote this song to ease the pain. The other songs just came up with the happenings in my life. I wrote my thesis and my topic influenced these songs and i broke up with my boyfriend, then had a new one and broke up with him and got depressed (good news, we've been a couple for more than a year now) .. Most of the songs are about him. Being deep in the shitriver gave me an extra power and inspiration to write these songs.

Q: Who are your influences?
ASS.:To be honest at first when i came up with idea of a solo album i wanted to make something rnb and soul influenced like Erykah Badu or Georgia Anne Muldrow but life gave another shape to it. I don't think about aesthetic things i just grab my guitar and sing and then do nothing with the songs just add more vocal layers. And i listened to Inti Illimani which is closer to the music i can make than soul music. After i finished the album i realized how much it shows from all the similar music i like, like Devendra Banhart, early Animal Collective or the choir pieces i sang when i was a child.

Q. Make a list of 5 albuns of all time…
ASS.: Well. I dont know. I can't tell one album that i like from the beginning to the end. I always listened to the songs as just songs and not as parts of an album. I know that most music fans think that the measurement rate is the album but not for me. There are always one or two songs on every album that i dont have the patience for, that i dont like, so I just skip them. But if i really had to pick some i would say:
Somethin' Else by Cannonball Adderley,
IV by Badbadnotgood,
Baduizm (live) by Erykah Badu,
Rejoicing in the Hands by Devendra Banhart,
Feels by Animal Collective
and the Atom Heart Mother by Pink Floyd. (I know this is already six

Q. How do you feel playing live?
ASS.:It's hard but good. I asked our synth player, Emma Nagy (who studies jazz singing btw) from my other band (Mayberian Sanskülotts) to perform these songs with me so they almost sound the same live as recorded.

Q. How do you describe Anne Shirley Supersad sounds?
ASS.:For me it's sounds like songs in a funny and sad dream performed by a choir of magical narwhals

Q: Tell us about the process of recording the songs ?
My boyfriend asked one of our friends Domokos Lázár to help me with the recording. He came to our place, brought some microphones and stuff i sat on a chair in the middle of the room and played all the songs two or three times in the same sequence as they are in the album. I used my first guitar what i got as a present from my godfather when i was twelve. Its a simple nylon string guitar. I prefer the nylon stringed ones because they sound so soft. I sang and played the guitar at the same time so the songs doesn't sounds perfect but we wanted to imitate the feeling when you're singing alone and some ghosts come and sing with you in your room. After we were ready with the songs we recorded the vocal layers and that's all.

Q. Which new bands do you recommend?
Huh. Hm. Yesterday i heard this superhot Marlon Williams guy, and i listened to his new album two times already and last weekend i was in prague on a minitour with Zombie Girfriend (great hungarian band) and i heard a band called 7/9 and i liked it.

Q: Which band would you love to made a cover version of?
For our first official Anne Shirley gig we covered two songs by Erykah Badu and it was such fun to sing and play them so something like this but I always loved to make covers of anything.

Q: What are your plans for the future?
I want to be famous and rich. (Hehe) and i wanna improve my vocal skills and wanna be a better (or a good) musician.

Q: Any parting words?
I don't know. Thank you for reaching out to me. It's really touching.

quarta-feira, 14 de março de 2018

A Cold Gaze with Deaf Dance - An Interview

Talvez a melhor definição para o duo de Los Angeles, Deaf Dance seja o título de seu primeiro disco, "A Cold Gaze".

Sinteticamente não vejo, ou, percebo nada, que os defina melhor do que um shoegaze gélido, melancolicamente guiado por synths e uma atmosfera pra lá de cinzenta.

Sonoramente o Deaf Dance aproxima-se de gente como Drab Majesty, Second Still, Bleib Modern e outros que conduzem suas sombras sonoras por veias que pairam entre o pós punk e o lado melancólico do shoegaze.

Perfeito para acompanhar notívagos noites adentro.

***** Interview with Deaf Dance *****

Q. When did Deaf Dance begin? Tell us about the history...
We played our first show January 2017 in Los Angeles with Choir Boy. I (Jerry - singer/songwriter) was in a post-punk band Flaamingos for a few years then decided to start Deaf Dance so I had more control over the sound and visual presentation. Hannah was keen to start rehearsing and playing shows
so we went for it.

Q: Who are your influences?
There are thousands but here are some: David Bowie, Killing Joke, Johnny Marr, Jesus and Mary Chain, Iggy Pop, Siouxsie and the Banshees, My Bloody Valentine, The Stranglers, Joy Division, Lives of Angels, Deathrock/Goth in general, Scottish postpunk (like Low Life and Josef K), The Germs, Depeche Mode, The Cramps, etc.

Q. Make a list of 5 albums of all time…
Tears for Fears - The Hurting
Depeche Mode - Black Celebration
Iggy Pop (and Bowie) - Lust for Life
Slowdive - Souvlaki Space Station
The Smiths - Queen is Dead

Q. How do you feel playing live?
I feel lucky and excited to play live. I try to escape for an hour, escape the reality of living in the big city and have a healthy energy exchange with the audience. I am sober (no alcohol or drugs) so sometimes I get nervous before haha.

Q. How would you describe Deaf Dance´s sounds?
Death-gaze. Hazy, minimal, dark. Classic early 80's sounds mixed with a touch of 90's guitar noise.

Q: Tell us about the process of recording the songs ?
I write and record at the same time usually. I often use a favorite song as a guide for structure or arrangement ideas. I write the bones of the song usually on acoustic guitar. Then work on the rhythm track and bass. Experiment with guitar/synth lines.Throw it all together and edit the structure. Then usually add the vocals last.

I record everything in my apartment onto my Pro Tools rig via my API A2D interface.

Q. Which new bands do you recommend?
Drab Majesty, The Tissues, Choir Boy, Human Leather, Bleib Modern, Exit Order, Terminal A

Q: Which band would you love to made a cover version of?
hmmm, maybe "Lie to Me" by Depeche Mode, or "She Sells Sanctuary" by The Cult

Q: What are your plans for the future?
Playing a lot of shows this year for the first time. First tour hopefully later this year then 2019 heading to maybe Mexico City and Eastern Europe, where they love good post-punk and darkwave.

Q: Any parting words?
Thank you very much for your interest in my music and my process. I love making this art and I'm glad it is slowly beginning to reach people all over the globe!

Daydream Cathedral, "Every Drop a Different Color" - Track by Track

Shawn Michael ou Daydream Cathedral para os mais íntimos é figura conhecida aqui no TBTCI.

Desde "Ancestors" primeiro trabalho do cara em 2016, o TBTCI acompanha a trajetória do Daydream Cathedral, que além do EP tem no currículo uma série de singles e covers que por honra fizeram parte de alguns projetos do TBTCI,

Mas ainda faltava o primeiro disco cheio, e ele enfim chegou, no meio de Fevereiro, "Every Drop a Different Color" conheceu a luz do dia, e as tonalidades a partir daí tornaram-se mais coloridas.

Porque o Daydream Cathedral apesar que pairar por entre o dreampop e o shoegaze carrega doses generosas de uma psicodelia dançante misturada a tudo isso. Ecos de Madchester certamente.

No álbum é possível fazer comparações com The High, os Roses, entre outros, "Every Drop a Different Color é um doce psicodelicamente sonhador.

E para decifrar os significados ocultos desta pequena pérola, o TBTCI convidou o Shawn para dissecar sua própria obra, e o resultado é digamos, delicioso.

Boa viagem.

***** Daydream Cathedral, "Every Drop a Different Color" - Track by Track *****

First and foremost I am grateful and humbled to be presented with the opportunity to share a deeper glimpse of my debut album, ‘Every Drop a Different Color’.

This is an album that has always been and almost never was. Meaning, this is a collection of songs that have been circulating within my ears for years, but for various reasons, personal and professional, never saw the light of day.

The delay in revealing my music was due almost entirely to the introverted and perfectionist personality I was gifted with as a Virgo. This has always been a strange paradox for me as an artist. I thrive on the creative energy from crafting songs, melodies, lyrics and harmonies, and yet rarely feel comfortable enough to share them with others (including my closest friends and family). In some ways this album is also a bit therapeutic, it represents purging these self-imposed hurdles that have been weighing me down for so long. Enough was enough, I had to get this music out there, in my own voice, and in my own way.

The tools available to a solitary musician are unimaginable these days. I was able to produce this entire album with minimal gear in the privacy of my own home, free from the distractions and pressures of others. It’s not that I don’t enjoy or appreciate the input of others, but I needed at least this first album to be written, produced and performed in an entirely solitary fashion to give it a sustainable personal value -- it just needed to be that way.

For those interested in where these songs come from, their inspiration and what they could be attempting to convey, the following track-by-track breakdown is for you.
- Shawn

. ...- . .-. -.-- / -.. .-. --- .--. / .- / -.. .. ..-. ..-. . .-. . -. - / -.-. --- .-.. --- .-.

‘Take Time’

The album begins with this short, intentionally incomplete piece of music bearing a simple message: “Take me far away, time drags today”.

This is dedicated to everyone who utilizes headphones as a means to escape -- which ended up being a appropriate mood-setter for the entire album.

The swirling sound effect over the intro and outro is taken directly from the cassette that contained the original demo of this song -- it’s the sound of the fast-forward button not being pressed all the way down causing a scrubbing sound upon the tape head.

‘Symbols and Candles’
Originally a much darker and morbid personal lyric about leaving flowers upon a grave, I decided to lighten it up a bit -- it was just too heavy a scene to revisit with each listen.

Goal was to rewrite the lyrics around something more uplifting and inspiring. I found it in the various encounters you can have with astrologers, fortune tellers, psychics, witches, occultists, and mystics at the Renaissance Faire.

There is a lot of imagery contained within this track. Kind of a blend between Milton’s ‘Paradise Lost’ and legends of the Knights Templar is about as direct as I can be while remaining intentionally vague.

During pre-production for this track we lost the great Craig Gill, drummer for the Inspiral Carpets. This immediately transformed this song from it’s originally folky roots to a heavier bass and drums approach in tribute to the Inspirals’ rhythm section.

To round off the tribute, a few nods to the Carpets’ were inserted into the lyrics. The line, “Memories of you, delivering memories deep in the hues we drew.” is one of them.

‘I Live to Love with You’

Nothing over-complicated or mysterious, the theme is about realizing the beauty and benefits of love and commitment. I admit I had some fun tracking the California-inspired vocal harmonies.

‘Melt into the Blue’
I honestly never expected this tune to make the cut when picking through demos of songs to include. Second only to ‘Watch the Waves’ in being one of the earliest of tunes I had collected over the years in my do-something-with-someday pile.

Originally it began as an attempt to do something heavy with what I like to call chainsaw guitars. Since the early version contained such horribly goofy lyrics it was always avoided when considering tunes.

But then inspiration struck and an entirely new theme manifested itself. The song instantly went from its original teenage lament about being ‘As Cool as You’ (the original title), to a song seeking a return to those days as the remedy for the blues.

‘On the Way from the Earth Today’
I included this on the album as a sorta take-a-break or mood-resetting song. The original demos always featured vocals but I decided against tracking them with this version. I’m sure future versions of this will appear someday re-imagined with different approaches. There is a lot that can be done production-wise with drones like this.

‘Stuck in Between’Lyrically one of the more direct, say-what-you-really-mean, songs on the album. Musically it represents my attempts to create a push and pull between harmonic dissonance and beauty during repeated refrains, “Stuck in between you and the machine”.

The extended instrumental solos are some of the my favorite sections of the album. Originally what began as a two-chord back-and-forth outro-jam ended up becoming multiple journeys around the ‘Cycle of 4ths’ (familiar terminology for fans of music theory).

‘Got Hypnotized’
Written on ukulele during my years of life in Hawaii while a member of a the band Kanekoa (who have since resurrected several great versions of this song after my departure from the band).

I was hesitant about including it on the album for being ‘too catchy’. There seems to be an unspoken rule that indie music should avoid being too catchy, groovy, or commercial -- I never really quite wanted to acknowledge or understand these restrictions.

If seeking a meaning this song will likely come off as a bit unfocused -- which is intentional -- it’s more about word-association and word-play.

Honestly I’m not sure what I was thinking, I was just writing down came to me at the time -- which is in keeping with the whole ‘got hypnotized’ thing. The chords and melody just fell into my lap on a lonely rainy day in a matter of moments.

‘Gazing in Gratitude’
The most recently written, and most organic of all the songs that appear on this album. This song represents exploring new directions and revisiting past influences.

There were vocals that followed a traditional, almost stereotypical, 80s gothic approach that were accidentally left muted during one of the mixdowns. After a few listens I decided to keep the mistake and leave it as an instrumental.

‘Everything’s Round’This is the only track included from a marathon writing session I had which resulted in nearly a dozen songs written and rough tracked in about as many days -- none of which made the cut for this album, but will almost certainly appear in the future.

Lyrically it’s about when sparks fly between new lovers, or within our own minds.

One thing special about this track for the musicologists is that it has several changes in timing and progressive beat-counting cued by the syllable counts of the lyrics.

‘Watch the Waves’I remember the day I wrote this while wandering the beach dwelling on all the loves and lives I’ve lost in my life.

“Lost within the sand, lost without your hand”.

It’s one of the few moments where I felt I really accomplished everything I wanted to express in a song.

- .... .- -. -.- / -.-- --- ..- / ..-. --- .-. / .-. . .- -.. .. -. --.

And with that, I thank you for reading this extended novel I wrote while sipping coffee tonight. I remain humble and grateful for all the support, friends, and fans this music has made along the way. There is still so much music, so many ideas and projects ahead for Daydream Cathedral. I am excited to continue to share all of them with you.

I appreciate each and every one of you for taking this journey with me and energizing the scene with vitality and life -- the scene that celebrates itself, on the Blog the Celebrates Itself.

- Shawn
Daydream Cathedral

.-- .. - .... / .-.. --- ...- .
-.. .- -.-- -.. .-. . .- -- / -.-. .- - .... . -.. .-. .- .-..

terça-feira, 13 de março de 2018

Spectroscope with Vymaanika - An Interview

Liberte sua mente e aperte bem os cintos, ou melhor, o senso, pois a partir desse momento, o TBTCI convida a todos a embarcar em uma viagem alucinógena, repleta de drones, repetições, alterações psíquicas, mesmo com ausência de psicotrópicos, neste caso, a música cumprirá todas as funções de delírios.

Em seu primeiro trabalho, o EP "Spectroscope", o Vymaanika, quarteto psych de Barcelona, Espanha, transcende, até mesmo o mundo psych atual, apenas duas canções, que somadas geram uma viagem de quase vinte minutos. Seguindo duas doutrinas, primeiramente o krau, principalmente, NEU! e Can, e por outro lado as experiências sônicas do Spacemen 3 e do do Bardo Pond, assim concebe-se a síntese do que o Vymaanika, criou.

O ticket desta viagem o TBTCI oferta gratuitamente, agora a volta, dependerá apenas do seu estado psíquico.

Boa viagem.

***** Interview with Vymaanika *****

Q. When did Vymaanika begin? Tell us about the history...
Vymaanika began as an Idea for a project between all of us. Through out the the last couple years of the2000's we all had been playing in bands around Barcelona. Some of us actually played together in other projects. Some Bands of the underground were really forward thinking and for Spain, a bit out side the typical status quo rock or electronica. Barcelona is a great place for finding a mix of international and Catalan musicians. So as some of the past projects broke up or fell into oblivion, the idea of Vymaanika (although it did not have a name yet) was only a seed around 2015. It was an idea to take our influences and the best elements of our past projects and bring it together into a band that continues the projection of all the ideas we really wanted to explore through sonic journeys. Basically using two guitars to weave together textures through minimal playing (no shredding) pushing the envelope of what guitars could sound like using lots of effects pedals and extended techniques. At the core of that was to have really primal drums that would, when you listen close are very complex but at a distance, would drive the songs into frantic rhythms or intricate waves of textures. Of course to bring all the elements together, we wanted the bass to lock down the beat and bring a groove to the clouds of sonic atmospheres and to be the pulsating heart.

Q: Who are your influences?
Spacemen 3 : Can : Velvet Underground

Q. Make a list of 5 albums of all time…
Spacemen 3: Dreamweapon: An Evening of Contemporary Sitar Music (Ben)
Oneohtrix Point Never: The Fall Into Time (Jose)
Boredoms: Vision Creation Newsun (Carles)
Portishead: Third (Lander)
Can: Tago Mago (Vymaanika)

Q. How do you feel playing live?
Playing live is one of the best feelings ever. It is very addictive. It is like creating a Sonic trip for people to get lost in. Intentionally our songs are longer then conventional rock songs... So as we typically play 9 plus minute songs, we use repetition to kind of allow people to loose track of time and from that point it is a great point at which to create a sonic journey. We really like to use visuals and smoke machines to help enhance the atmosphere, allowing the audience and ourselves to get further adrift and outside oneself within a kind of communal trance.

Q. How do you describe Vymaanika sounds?
Space Mantra Drone Ritual Music :maybe a little Krauttrock from an ideological point but not much more, in the sense that we our trying to create new sounds from our instruments and create different ways of approaching rhythm and song structures. At the same time minimal and in moments drone sounding. Also I would mention loud, but not for the sake of being loud.... it is just a great state at which the guitar amps begin to feedback and all the instruments begin to morph into one giant multi-colored panorama.

Q: Tell us about the process of recording the songs
In the pre-production stage we spent about 2 to 3 months choosing the songs and working out the structures and textures.

 We found ourselves really lucky because we had some friends studying at a sound engineer school called SAE and they wanted to record us for their final project for school. We’ve recorded in 2 days.
After that we had 4 long and enjoyable sessions of mixing at Jose’s Studio and finally Jose did the master.

The artwork from the Ep it’s made by the great Pablo Roman

It was a pleasant work to do, and we’re really happy about all the good things that came out from it.

Q. Which new bands do you recommend?
10.000 Russos , Follakzoid, Kikagaku Moyo, Minami Deutsch, Dreamweapon, Thurston Moore, Beak, Amsia, Rayo-60, June or July, Christina Vantzou, Camera.

Q: Which band would you love to made a cover version of?
John Cage 4:33

Q: What are your plans for the future?
Right now we are in pre-production for our next LP. We really want to get back in the studio and record new songs. The other main goal we have right now is to find as many gigs as we can. We really want to set up as many shows as possible to play live and to Tour around Europe and the UK. After that we would love to go around the world to play live.

Q: Any parting words?
Check out our music at and if you like it, support us and share it.
Thanks for the interview Renato and to the Readers of The Blog that Celebrates Itself.

Humdrum with OS NU

Para quem possa estranhar ao entrar na página dos britânicos/dinamarqueses radicados na Alemanha o trio, Astral Tide, e notar que agora os caras se chamam OS NU, não fique assim tão espantado, os caras deram uma repaginada sonora onde o último suspiro da antiga fase foi justamente a participação deles no Tribute ao Wire organizado pelo TBTCI no ano passado.

Agora, o OS NU, em seu primeiro single, "Humdrum" deixa a barulheira pós punk com menores traços em sua sonoridade dando enfase a uma proposta mais eletrônica, algo como eles próprios definem como "drumgaze".

E para melhor exemplificar toda a mudança o TBTCI convidou o trio para dissecar essa proposta em "Humdrum".

Escute alto e em noites escuras.

***** "Humdrum" by OS NU *****

Nona: Making “Humdrum” gave me/us the possibility to develop our production skills. I learned a lot from the process. It's good to have a new start and a fresh beginning.

Matt: It's about cycles of time passing by and progress. Whether we learn anything on a personal level, as communities or as a species, or if we just repeat all the same mistakes over and over again, or even regress in all kinds of ways. Like the concept of 'de-evolution'.

Mark: The challenge was trying to convey the sense of monotony that “Humdrum” encapsulates without the song becoming monotonous itself. New direction has brought new energy. Invigorated. So many possibilities no borders no boundaries. Next track trad sludge jazz!