quarta-feira, 30 de novembro de 2011

Perfect Prescription with Dead Star Sonics

Antes de mais nada dedico este post ao meu chapa Robson Gomes, guitarras e vocais do grande, digo muito grande The Concept, mas deixando o Concept para outra história (breve por sinal ok), e vou começar o post com uma frase do Robson: "A musica boa se renova a todo momento....".

Eu não só concordo como acredito piamente neste dogma, e para justificar esse sentimento, ou melhor este fato, apresento a vocês Dead Star Sonics, a banda de Nick Watts, um viciante e encharcado lo fi psychedelic sound, muito rock´n´roll classico, garageira 60´s mesclado com a familia Spacemen 3 e o Velvet Underground, impossivel não ficar pasmo com Original Sonic Blues, Spikey ou Velveteen, é grudento até dizer chega.

Ah sim, não há nada oficial do Dead Star Sonics e isso é o que instiga mais ainda, o tesão de fazer musica crua e nua, com amor e com conhecimento de causa, Nick Watts ganhou dois fãns imediatos, este que vos escreve e meu comparsa Robson, simplesmente porque Dead Star Sonics é foda!!!Ah sim, tomei conhecimento da banda através do proprio Nick via TBTCI, é um prazer sabe que o TBTCI tem leitores tão seletos.

E para deixar mais ilustrado e com maiores explicações, abaixo um track by track pelo proprio Nick Watts, enjoy it!!

Original Sonic Blues
I was going for a ‘Waiting For The Man’ vibe with this one. Trashy guitars, a pounding beat and two chords – it’s a good song to walk to. You should always judge a song by how it makes you walk along the street when you’re listening to it on headphones.

I love writing simple pop songs and then trying to mess them up and make them sound dirty. A great way of doing that is to make the guitars sound cheap and nasty. There’s a load of tremolo all over the middle section - I love tremolo. There should be more tremolo in the world.

When I was a kid, computer games came on cassettes that you had to load on to your computer. If you put the cassette in a normal tape player, it made these weird, random electronic sounds. I basically built this song around that sound.

Halfway to Nowhere
A simple, three-chord, trashy rock song. I normally use a drum machine because I record at home and real drums would scare my hamster, but this one has real drums played by a guy called Dan. All hail Dan.

I try to have as few chords as possible in a song. This is all basically an A chord. There’s a droning sitar in there too. Most of the stuff I do has some kind of drone – a guitar or a synth playing the same note or chord all the way through. Gotta love the drone.

Lord, Don’t Take Me Now
Another song built around one chord. I love Spacemen 3 and the way they use drones and tremolo stutters, and I was trying to do something similar but also make it a full, well-rounded song. This is one of my favourites.
Thanks Nick!!


sexta-feira, 18 de novembro de 2011

Dead Souds with Ars Phoenix - An Interview

Dark wave, post punk, electro noise, shoegazer esses são os territórios visitados por Jon e Page ou se preferir Ars Phoenix, combo perturbador que segue os caminhos do predileto SVI porém mais soturnos e eletronicos, o debut Hanging Fire fala por si só, desde a abertura com Hanging Fire a musica até os derradeiros momentos em Engines of Progress (Faith in Machinery Version) a dark wave comanda a grande parte das musicas e credencia o Ars Phoenix a ficar na linha de frente com bandas como Cold Cave e Soft Moon nas que remodelam os estilos escuros do 80´s e os trazem com roupagem atualizada para nossos tempos.

Tomei conhecimento do Ars Phoenix através de uma postagem no FB do SVI onde vi o video dos caras e me interessei de imediato comentando positivamente que havia gostado muito do que ouvi, de imediato recebi o contato imediato de Jon Glover responsavel por tudo na banda com exceção das guitarras e ai conversa vai conversa vem, e o TBTCI aproveitando a oportunidade descolamos mais uma entrevista para melhor apresentar a todos o poderio do Ars Phoenix.

***** Interview with Ars Phoenix *****

Q. When did Ars Phoenix, tell us about the history...
A. Ars Phoenix has a somewhat confusing history due to several relocations, recurrent lineup changes, and a series of unintentional, long-term hiatuses. The most recognizable form of Ars Phoenix, the Hanging Fire lineup of myself (vocals, synths, beats, guitar) and Paige Fowler (guitar), took shape in 2008. Paige and I had both just moved to Gainesville, Florida to begin working on PhDs in English Literature at the University of Florida. I had an album’s worth of material—2008’s Engines of Progress (FDO Recordings)—that I wanted to release and support with live shows, so I was in search of either a guitarist or a keyboardist who could help me perform the recordings live as a duo. We met when Paige overhead me chatting about music with another graduate student at an orientation meeting. Shortly thereafter, Paige and I began rehearsing and retooling the old material as well as writing, slowly but surely, what would eventually become 2011’s Hanging Fire (FDO).

Long before all that, though, I had started Ars Phoenix as a solo project in 2001/2002. At the time, I was in a very ambitious band called Kilborough, in which we attempted to blend post rock, shoegaze, ethereal, and experimental electronic music. It was a thrilling experience as well as a head ache, because the band had too many strong personalities, all competent songwriters with inventive ideas, that inevitably came into creative conflict. We peaked early with a sought after opening spot with The Faint, who were touring in support of Danse Macabre at the time, but the torturous process of completing our second album (recently released on cassette by our friend Patrick Norris) led me to quit.

I then started using Ars Phoenix as a vehicle for realizing my vision of Kilborough, although Ars Phoenix ended up only partially resembling my idealization of that band. The other members of Kilborough have since gone on to do some amazing things, including A Soft Perversion/Leo Ashline and The Nude Scene. Perhaps most notably, ex-Kilborough guitarist Todd Brooks has found substantial and well-deserved notoriety with his Pendu Recordings label and NYC dance parties, both of which became central fixtures of the Witch House genre/movement in 2010.

During the solo version of Ars Phoenix, I was living in Naples, Florida. I didn’t play out much, but when I did, I enjoyed the support of some great musicians: Sean Stevenson and Chris Farren from Fake Problems, Joe Merrill from Daleth, and Terence Hannum, now of Locrian. But Ars Phoenix kind of fell off the map shortly thereafter when I moved to Orlando to pursue a Master’s degree. I wrote and recorded a bit here and there, but Ars Phoenix was pretty much nonexistent until I moved to Gainesville and resurrected the project with Paige’s help. Just recently, the band has gone through another lineup change, the addition of my significant other, Caitlin, on synthesizer. With the new lineup and my PhD now complete, we’re more mobile than ever and hope to make 2012 a year full of live shows.

Q: Who are your influences?
A. I’m pretty obsessed with the early days of 4AD, especially vintage Clan of Xymox and, of course, the Cocteau Twins. Joy Division/New Order, The Cure, and The Smiths are also obvious influences, but I also have a deep fondness for Slowdive and My Bloody Valentine, and it would be a huge oversight for me not to recognize the role that Godspeed You! Black Emperor and Aphex Twin have played on my musical outlook, even though the pop sensibilities of Ars Phoenix might make those more soundtracky/experimental influences less recognizable to some listeners. Speaking of soundtracks, I also love horror and sci-fi film scores—John Carpenter, Goblin, Vangelis, Morricone, and Badalamenti come to mind. So I guess it is fitting that a recent review compares the atmosphere of Hanging Fire to the “psychotronic film genre.” I also love classic synthpop and the more electronics-driven side of British post-punk, including Depeche Mode, Cabaret Voltaire, and old Human League, as well as bands like Danse Society and Fad Gadget. More surprisingly perhaps, my formative years were dominated by Dischord Records, especially the almighty Fugazi, Nation of Ulysses, and Hoover, which explains the trace of post-hardcore some listeners and reviewers have perceived, particularly on Engines of Progress. Lately, though, Caitlin and I have been on a deep Dead Can Dance and Piano Magic kick, and I’m keen to see if those influences will impact the material we plan to begin writing next year.

Q. Made a list of 5 albuns of all time…
A. That is such a tough question, nearly unanswerable. I will do my best, but if you asked me again in a week, the list would most certainly shift a bit! In no particular order my top 5 are:
The Cure – Pornography,
Slowdive – Slouvaki,
Clan of Xymox – Medusa,
The Smiths – The Queen is Dead,
Joy Division – Closer,
John Foxx – Metamatic.

Q. How do you fell playing alive?
A. I’m addicted to playing live. On the drive home from a show, all I can think about is how much I wish we were on tour, because the wait between shows is going to kill me. While in the moment of the performance, I suppose I feel vital and expressive in an uninhibited way that is not quite acquirable in day to day life. During more hypnotic passages of the songs, there’s also a meditative quality to the feel of the performance. The vibrations brought on by extreme decibel levels and the wash of sound brought on by the use of delay pedals and layered guitars and synths almost has an immersive effect that, when at its best, can make you feel subsumed into the sound…like a release from the individuation of ego.

Q. How do you describe Ars Phoenix´s sounds?
A. To my mind, Ars Phoenix is an electronics-driven post punk band with shoegaze-influenced guitar tones, the moodiness of vintage darkwave, the hooks of classic synthpop, and the cinematic edge of post rock, lo-fi film scores, and experimental electronic music.

Q: Tell us about the process of recording the eps?
A. I’ve recorded every Ars Phoenix album to date on a Boss BR8 digital 8 track. After the fact, I usually have someone do some software mastering, but I’ve never used any software during the actual recording of the tracks, only hardware. The recording and songwriting also blend together, with the songs mutating as the needs of recording can lead to happy accidents regarding song composition.

Q. What´s represents the shoegazer classic era to the band?
A. I tend to construe things broadly, so some of my answers might veer a little beyond a purist’s definition of shoegaze. That being said, Slowdive, My Bloody Valentine, Ride, and Chapterhouse immediately come to mind, but so do Cocteau Twins, Catherine Wheel, Lycia, and even The Chameleons, even though some of these bands might be seen more as atmospheric/ethereal pop-rock than proper shoegaze.

Q. Which new bands do you recommended?
A. Of course, Screen Vinyl Image, whom I absolutely love and had the privilege of playing with in an Arlington, Virginia basement in the summer of 2009. I’d also like to recommend a Gainesville band called Averkiou, who are not exactly a shoegaze band, but they do apply a touch of shoegaze influence to a raw and raucous indie pop sound. My two other recommendations are more on the post-punk/darkwave tip, but you must check out Entertainment and Feeding Fingers, with whom we’ve also had the honor of sharing the stage.

Q: Which bands you love to made a cover version?
A. The only covers we’ve ever learned were for a Joy Division/New Order tribute show. We played “The Eternal,” “Dead Souls,” “Transmission,” “She’s Lost Control,” and “True Faith.” We still get requests for our versions of “Transmission” and “She’s Lost Control,” though we’ve got too many originals to choose from now, so adding a cover into the set has become kind of tedious.

We also used to play a cover of "Cold" by The Cure. I was Robert Smith one Halloween, and we played the cover all weekend at a few different Halloween shows--great fun!

Q: What´s the plans for future....
A. Writing, recording, and more shows.

Q: Any parting words?
A. I like to think that if Lynch/Frost had been able to film season 3 of Twin Peaks, Bob would have been exorcised from Coop. Coop is too gentle of spirit and pure of heart to go down in possession from a dark spirit. Usually, I prefer ominous endings, but this is a notable exception, just because I love that charact.
Thanks Jon


quarta-feira, 16 de novembro de 2011

BAD VIBRATIONS At The SWU - A Trip Inside This House

SWU, Paulinia, SP, 14.11.2011

Este foi o Festival, a cidade, o estado e a data do evento....onde o jargão era musica e sustentabilidade (sic) sustentabilidade do que?!?!? Estacionamento mediocre, organização regular, comida bem ruim, tudo caro para cacete ta a cerveja até que estava legal, sujeira para todo o lado, ok ok ok ok, não foi tão ruim assim, só um desabafo inicial para testar a paciência ...ahahahhahahhahahhahahahah....como comentou um brother meu - "tem cigarro?", resposta, "não aqui no SWU não vende tabaco.", replica - "é mesmo, mas vende cachorro quente e cerveja?" digna conversinha de pseudo riponga metido a biologo......bom deixa quieto esta parte....

Pegamos a estrada eu mais Plinio para nos encontrar-mos com os comparsas no sugestivo Blue Lake.....ou seria a Lagoa Azul?!??!Ok ok não encontramos a Brooke Shields, mas os brother Cicero, Andre passaram diretamente ao Hell Boy e no outro carro, Green, Robson, Vagner, Marcão e Eliane seguiram-nos após alguns entraves até Paulinia ROCK CITY?!?!!?hmmmm mais ou menos.....sou mais o ABC ou o ITAIM PAULISTA......ok ok ok vamos lá....

Chegando lá, o já citado pessimo estacionamento e dai em diante começou a trip dos Bad Vibrations no bom sentido é obvio....cerveja vai, blue vem, pink vai, green vem, yellow vai, blue vai, cerveja vem, não necessariamente nessa ordem mas mais ou menos por ai, seguimos no aguardo do inicio, meio sem saber onde irmos, e meio sem querer subimos para os dois palcos principais, e damos de cara com o Dinho Ouro Preto Blonde, ops quer dizer Duffy Blonde, ex Guns, que gritava mais SAOOO PAULOOOOS do que cantava ou tocava, um farsante, um fake que teve que tocar Misfits para agradar um pouquinho e se jogou na plateia, um fanfarrão....dai demorou mas acabou.

De frente a nos entram dois caras e uma garota, diga-se de passagem linda e com cara de pouquissimos amigos e começa 666, é isso ai BRMC, não tinhamos sacado ainda mas logo logo caimos na real e ai o festival começou para valer....Beat The Devils Tattoo veio e ai fodeu tudo, classicos e mais classicos, se bem que eu juro que aguardava mais do BRMC algo mais rocker, mais sujo, mais forte, que só foi concretiza na derradeira Whatever Happen to my rock´n´roll....e essa frase caiu como um manto na nossa cabeça, I GIVE MY SOUL TO A NEW RELIGION.....o ponto é que só alguns gatos pingados realmente venderam suas almas, ainda bem que eu e meus comparsas vendemos no atacado.

Pausa no festival, descemos procurando informações sobre onde seria o Black Angels, eu, Plinio e Cicero literalmente meio tensos, meio ansiosos, meio eletricos, meio cansados, mas no aguardo, dai finalmente a benção, uma alma abençoada mandou, vai ser daqui 20 minutos aqui na frente....opaaaaaaa agora sim....é só nos prepararmos, blue, green, cervejas em ação e a movimentação no palca, amplicadores valvulados, rickenbacker, fender jaguar, orgão a´la 13th Floor Elevators e o clima esquentando e ficando mais tenso....atraso para começar e dai toda a trupe aparece....e a chuva inicia lentamente no mesmo momento do primeiro acorde do Black Angels mas eu meu chapa, a trip começou, aquela musica, aqueles videos, as caras e bocas dos amigos tudo virou uma verdadeira ODE ORGIASTICA de musica, e foi uma a uma, Phosperene Dream, Sunday Afternoon, Telephone, e BAD VIBRATIONS, e ai meus caros, virei para meu brother Cicero e insanamente berrei BAAAAAAAAD VIBRATIONS e ele sorriu de forma gargalhante e dançamos até o fim dos mundos....lisergia, psicodelismo, insanidade, hipnose, tudo são meros adjetivos para descrever o tamanho do estrago que esse show fez em todos nós.

Fim de show, fim do transe, opa SY....muito trabalho para subir, barro para todo lado, e finalmente chegamos e Death Valley 69 tinha acabado de terminar....o cansaço estava nos dominando, mas ainda haviam forças, THIS SONG IS CALL SISTER, mentira era Schizophrenia....e ai a ode foi completa, ainda teve mais, Teenage Riot e o final apoteotico, levantadinha de saia da Kim, só para deixar claro que das 3 loiras das bandas é ELA QUEM MANDA!!!!!

E ai fim de historia, nos encontramos todos, nos separamos, mas todos nos jamais esqueceremos do show do Black Angels uma verdadeira obra messianica que só amigos como todos nos podemos entender....

Nunca esquecerei das palavras do meu grande, digo muito grande amigo Marcão ao me despedir, - "Mestre X, demorei anos para te conhecer mas voce é um grande grande amigo meu de todos os tempos." ....

Isso chama-se amizade ETERNA.....ou como diz a letra I GIVE MY SOUL TO A NEW RELIGION!!!!!!!!!!!

First and Last and Always with The KVB - An Interview

Klaus Von Barrel é a mente perturbada por detrás deste intenso e poderoso mix de darkwave, pos punk, electronoise, shoegazer e tudo que houver barulho e insanidade dentro da musica, o The KVB é assim, insanidade gratuita e durissima, algo desnorteando encharcado de beat tribais, vocais guturais, camadas e mais camadas de guitarras em forma de drones, ou riffs fantasmagóricos que servem perfeitamente para trilha sonora de filmes de Kenneth Anger, alias Anger é influência latente para Klaus. Com uma discografia extensa e complexa, dominada por cassetes, 7", 12" e um album extremamente perturbador intitulado The Black Sun, que para o TBTCI é um dos melhores do ano passado, o The KVB tem sua estréia aqui no TBTCI no melhor estilo, uma entrevista daquelas para não deixar duvida alguma sobre as intenções de Klaus e do que o KVB nos prepara daqui para frente além de influências e o mais importante poder mostrar o quão espetacular esta preciosidade densa e psicotica pode server de trilha sonora para o caos atual, amigos com vocês Klaus Von Barrel e seu assombroso The KVB.

***** Interview with The KVB *****

Q. When did KVB, tell us about the history...
A. I started the kvb in late 2009 by accident. I was already playing guitar in the band suicide party when i wrote and recorded a few ideas with a new synth i had just bought. I figured they didn't really fit in with what the band were doing, so i decided to start something new.
I had previously explored solo recording before then, with a project called ManOnTheMoon, which was more psychedelic & folky - so it was a kind of noisey/darker progression on from that.

Q: Who are your influences?
A. I have so many in all different forms of music, art, life etc. - but the obvious major influences on my music include the likes of; the jesus & mary chain, suicide, fad gadget, loop, bowie, joy division, scott walker, echo & the bunnymen, cabaret voltaire and Love. More recent musical influences have been bands like crystal stilts, aptbs, velvet condom.etc. Outside of music; friends, family and my girlfriend kat are big influences to me and what i do.

Q. Made a list of 5 albuns of all time…
A. Echo & the bunnymen - ocean rain, jesus & mary chain - psychocandy, Love - Forever Changes, velvet underground & nico, joy division - closer.

Q. How do you fell playing alive?
A. From most of my past experiences, Its great fun playing live (and being on tour too!). I am only just getting around to bringing the kvb to the stage as a band now, so it'll be great finally getting to play the kvb tracks to a live audience.

Q. How do you describe KVB sounds?
A. It often gets described as 'dark wave' (and 'shoegaze'), which i guess makes sense, but as its a solo project, i feel i have the freedom to explore a lot of different styles and ideas.
So some tracks may be loud and guitar based, others may be more minimal and synth based, some tracks use samples etc. It all depends on my mood, inspirations and the instruments i'm using at the time.

Q: Tell us about the process of recording the songs?
A. I record and mix everything myself at home. Its normally a pretty quick process, it has to be, otherwise i'll end up analysing a track too much and trying something new. The songs are normally built around a drum machine beat and a bass or synth line. Then the rest gets added, whatever that may be.

Q. What´s represents the shoegazer classic era to the band?
A. Of course i love lots of the bands from the original classic shoegaze era, but i think the current wave of bands in this style are very exciting too, bands like screen vinyl image, stellarium, belong, ceremony and so many more are taking the original aesthetic to new places, via electronica, surf, punk and ambient styles.

Q. Which new bands do you recommended?
A. Pink Playground, Tropic of Cancer, Dirty Beaches, Woven Bones, Ela Orleans, The Vivids are all highly recommended!

Q: Which bands you love to made a cover version?.
A. It'd be good to have a go at covering another current bands song, something a bit different to what im doing...

I have previously covered 'these boots are made for walking', so i might do something like that again too.

Q: What´s the plans for future....
A. Well, i've just released a limited tape on clan destine records called 'subjection/subordination' (http://clandestinerecords.bigcartel.com/product/the-kvb-subjection-subordination) and I have some live tour dates around europe planned for january. Then, there is a full length album called 'pray to the light machine', hopefully coming out at the end of february, which will be followed up by more live dates. Hopefully that cycle can continue, as long as people are into it.

Q: Any parting words?
A. Yeah, if you're into what im doing, please check my other projects Die Jungen (http://diejungen.bandcamp.com) and Suicide Party (www.facebook.com/suicideparty). Thanks!
Thanks Klaus!!!


quarta-feira, 9 de novembro de 2011

3 Years of The Blog That Celebrates Itself

Pois é, quem diria hein, 3 anos, 3 anos intensos que mais uma vez deram uma reviravolta na vida deste que vos escreve, o amor pela musica esta inserido nos posts destes 36 meses onde simplesmente o que aconteceu foi estreitar o relacionamento entre amantes da musica, sejam músicos, fãns ou qualquer um interessado em descobrir e vivenciar novas experiências....

Obrigado a todos que de uma forma ou de outra contribuem diretamente ou indiretamente ao sucesso do TBTCI!!!!

Abraço a todos....

terça-feira, 1 de novembro de 2011

Disco Inferno with The Oscillation - An Interview

Absolutamente intenso e complexo, uma das obras a serem apreciadas ciclicamente, sem desviar a atenção um segundo sequer, um mix insano de psicodelismo em estado bruto, kraut em doses brutais e cavalares, drones, wall of sound, post punk, assim é Veils segundo album dos ingleses do The Oscillation, impecável e inspirado do inicio ao fim, facilmente constara nas listas mais antenadas dos melhores do ano, canções como Future Echo, Sandstorm, Fall, Telephatic Birdman nos conduzem a um grandioso transe continuo unindo som e alma de forma a ser inevitável não ser abduzido pela lisergia intensa gerada por estes magos intitulados The Oscillation.

Não a toa a adoração deste que vos escreve acabou por querer dissecar mais a fundo o porque de tudo isso, e nada mais propício do que sabermos diretamente da banda suas origens, influencias e para onde caminham, com vocês The Oscillation.

***** Interview with The Oscillation *****

Q. When did Oscillation starts, tell us about the history...
A. The Oscillation started under that recording name in 2006 with a single called "New Way To Feel". After that I was recording as The Orichalc Phase which was a bit more krautrock/disco and also another project called Mesma, all got a bit confusing really. They were going to be seperate projects but I decided to combine all under the name of the Oscillation in 2007 for my debut album on DC Recordings.

Q: Who are your influences?
A. There's loads of stuff I'm always coming back too..
Can, The Cure, Popol Vuh, Jesus And Mary Chain, Spacemen 3, Loop, MC5, Blue Cheer, The Durutti Column, Roy Montgomery, Ash Ra Tempel, Tangerine Dream, Neu, Miles Davis, Suicide, PIL

Q. Made a list of 5 albums of all time…
A. Do you mean classic albums? If so at this moment in time I'll go for:

The Velvet Underground- The Velvet Underground & Nico
PIL- Metal Box
The Cure- Pornography
The Pretty Things- S.F Sorrow
The Jesus And Mary Chain- Psychocandy

Q. How do you feel playing live?
A. I feel kind of complete and lost sometimes. You have to surrender yourself to that point in time so you're always in "the now" moment. You can't run away or think ahead, or change what's just happened. You can't predict what the other musicians are always going to do and can never be perfect so it feels quite honest in some ways and really exciting when you feel like something great is happening.. Surfing a good wave (not that I can surf ha ha).

Q. How do you describe Oscillations sounds?
A. I'd like to achieve a feeling of lots of layers all happening at once. Many emotions and feelings contradicting each other, unhinged and but somehow controlled, like some wierd psychological sound experiment where you can forget about reality or at least the structured reality that we all have to deal with and accept. I like the the idea of parallel realities or states of being where you can take a negative and make a positive out of it. Or sometimes a sound/lyric that has no particular feeling of commiting to happy or sad. So you can interpret as it suits you

Q: Tell us about the process of recording Veils, and what´s the greatest difference between the Out of Phase and Veils?
A. Veils was a bit longer to record that Out Of Phase but a bit freer in a way for me personally. Out Of Phase was kind of an attempt to make a clubby(ish) album for DC, whereas on Veils it was more like I just wanted to include tracks that expressed a period of my life at the time. I got to get a lot of negativity out of my system which I didn't realize until it was all finished.
I don't know what to say about the actual proccess of recording specifically for the album as I'm always working on tracks. Also, I had a full-time job for a couple of years while I was recording it that was driving me totally round the bend. So while I was at work I'd just be fantazing about sounds to obliterate that experience. On the weekend and evenings I'd just immerse myself into the music void with as much energy and will power as possible before I had to go back the the bullshit! Veils feels a bit more coherent and balanced to me.

Q. Which new bands do you recommended?
A. Soft Moon I really like a lot. I just (finally) heard some music by The Haxan Cloak which sounds amazing so I got to get that album, it's kind of like Ligetti or Scelsi. Quite dark and mournful but beautiful too.

Q: Which bands you love to made a cover version?
A. I'd love to cover a Cure song like something off Pornography or Faith but I'm never sure which one to do. I'd have to find a way to it different which I haven't thought of yet so for now I just enjoy them as they are.. Also I'd really like to do a song by The Chocolate Watchband or Electric Prunes... you got me thinking again anyway!

Q: What´s the plans for future....
A. Just to be as prolific as possible, play in as many countries as possible..
There's a new Oscillation EP and video coming out in a month and I'm not far off the next Oscillation album. There's a project called Booze with a friend of mine who was in Chrome Hoof so there's an album of that this November too. Also Tom (from The Oscillation) and I have an ambient album we're working on. I feel a big sense of urgency to keep moving forward with lots of music and to make the most of the opportunity to be able to get it out there. I really just want to do as many albums and projects as possible.

Q: Any parting words?
A. First word: Yes.
Second word: Thanks
Thanks Tom Relleen & Demian Castellanos