#transitional tour where they play each album and have elements of each album in the set it’s so much it’s so overwhelming

[aturnoftheearth]

okay i’m home the chasm can open now

#that fucking instagram reel they posted is NOT helping #i feel Soooo much right now i think it’s a mix of the effort we put in to get there plus the fact that my dad went plus the fact that the #show was so incredible plus the mountains plus the fact that the long lost era is now technically over and they’ve moved on to this #transitional tour where they play each album and have elements of each album in the set it’s so much it’s so overwhelming #this era is coming to an end and our trip just came to an end and everything changes and ends eventually i love this band so much but #my god do they punch you in the chest !!! with the most emotion known to man !!!!!!

[kindahoping4forever]

It always makes me so sad when I see people demand different songs that are not on the setlist to the point where they almost bully the band into playing them 😬 I went to see them in Düsseldorf and it was such a great show! My friend and I were so happy with the setlist because it felt inherently 5SOS (idk if that makes sense haha we just felt like it represented who the band is very well) ☺️ I get that people have very strong emotional connections to certain songs, but so does the band and it seems like they are very deliberate with their song choices. The shows of this tour especially are so thought through and everything seems to be connected with the visuals and everything, that it somehow feels wrong to disrupt that. And it’s not a bad show just because they don’t play the songs you might want them to play 🤷🏼‍♀️

Yes, I agree with all of your points! From the very first show, I was so blown away by the set list - I feel like it's an impressive overview of their entire discography thus far and it's incredible how well the songs flow and transition together, even ones from different eras! And yes, the staging elements like the lights and visuals make it even more apparent just how tailored and fine tuned the whole production is. I really do think it's their best show yet and I say that as a hard YB/MYT era stan 😌

It'd be impossible for them to make everyone happy all of the time, so complaints about the setlist come with the territory and I think they know that - the thing that's wild to me about the people who flipped out when Talk Fast/Beside You/Lover of Mine started fluctuating is that you can bet those songs were removed with good reason (The combined total time of those three songs is about the same amount of time of their live arrangement of Blender plus Me Myself and I, both mid-tour additions to the set. Obviously we don't know if that's the reason for that switch over but it would make sense that with the set approaching 30 songs now, they would want to start evening it out, especially in light of Ashton's hospitalization, I'm sure they're being mindful of how much energy they're exerting during an already exhausting show 🤷🏻‍♀️), it's not like they just stopped playing them on a whim.

My whole thing with the Pizza debacle is just how disrespectful it is? Like yes, we have a Very Specific relationship with this band and we like to tease each other back and forth but yelling over them (even after they adamantly tell you no we're not playing that) to the point that they can't get thru their speeches is rude and inappropriate in any context. (Not to mention how awful it must be for them as artists who have two full albums of songs they're proud of, that they've never gotten to play live and people are still more interested in demanding a joke song from when they were kids 🙃)

They gave in and "spontaneously" played Pizza 5 times on this tour (before Cincinnati) and each time with increasing reluctance in my opinion. (I watched a live stream of Chicago and I believe the way I described the performance to someone was "defeated") Adding it to the set isn't a fun victory or a bit, they clearly decided that sacrificing the 40 seconds it takes to play the song is easier than the show being disrupted for minutes on end while people riot for it. And that... kind of sucks lol 🤷🏻‍♀️

#i get so tired of this fandom lmao but i have the luxury of being able to tune us out - they can't and tbh i feel bad about that sometimes #don't even get me started on the heartbreak girl thing tbh #it's like #idk #people are just so desperate to feel that connection with them #which i get #and as far as the tour goes #everyone is so desperate for their show to have A Moment #so they can tweet 'i was at the show where X happened' #but it's not the same when you force it #these shows are special enough without this weird energy the last few weeks have had idk #the barking thing too tbh lmao #like it was organic and funny in Irvine #but then everyone wants their show to be That Show so it becomes a thing and it's just so exhausting for all of us idk #I'm glad we're getting a break soon tbh we all need a time out 😂🤷🏻‍♀️ #ask #anon #take my hand tour

[thepriceofbeingaroseisloneliness]

TOSHIYA PERSONAL INTERVIEW SPECIAL HEADBANG VOL.27 TRANSLATION 2/2

The upcoming new chapter of the bassist who established himself while evolving his playing style in the middle of fierce battles he experienced overseas. “When it comes to digital releases, it just feels like data” “I don't think there is another album that makes me want to die so much inside while I’m listening to it as this one (laughs).“ “If I have the opportunity to do music out of DIR EN GREY, this is the genre I want to try “ “If there's a world in front of you that you didn't know before, look at it, and if there's something you think that would be even better, you can pick it and bring it home.”

Notes before reading:  This is the second part of personal interview of Toshiya from the magazine Headbang Vol.27 released on 18th August.  The interview is 11 pages long, this part covers the last 5 and a half. You can read the first part here. You can get the magazine at Amazon Japan or CDJapan.  Feel free to correct me if you spot any mistake or any confusing parts.  

----- ----

Text by Hiroko Goto (First part here) - Even as the start of a new chapter, I think it will be a great time for those who have been waiting for it. I’m looking forward to the reactions towards the new single.

T: That’s right. Also, this time, it’s the first time we are releasing a single in this way, so I wonder how is going to feel. It’s a little wait-and-see.

-Because Dir en grey have never been available in almost any music streaming services before too. This time, are you releasing the single in this format due to Corona?

T: That’s right. Originally, we tried to put it out as a physical one.

-I see. Do you see this digital release format as something positive?

T: I have no choice but to think positively for the time being (laughs)  Because if we release a single, and it’s not going to listened, there is no point on doing it but, after all, as we do it, if there is a way for people to listen to it, I think it should be used. However, to use any method to release it because there is a way to do it, I think that’s different for me. While we were carefully checking those aspects, I think I would like to take into consideration several things. Simply, because I’m a coward (laughs). It’s kind of scary because I feel like the songs are all over and the songs are our best asset. After all, I want to cherish/value them. Of course, I think there are many positive things in distributing them but now that we are doing it, I think we must distinguish between plus and minus sides of it. -Especially for Dir en grey, the package is usually elaborated and you can also feel the sense of commitment/pickiness on it.

T: That’s right. When it comes to digital releases, it just feels like data. So that’s why it’s a matter of the value of the things. The value that you can give it them, or the level that you can take it at. I would like to think about the future as I’m looking at this release.

-After this single, what direction do you want to move towards from now on as a part of Dir en grey?

T: As a band, while constantly incorporating what seems new to us, we want to challenge both, our activities, and songs. Right now, once again, we want to try it with the feeling that Dir en grey can do anything。

-I see. Comparing yourself to the Toshiya from the past, you have a better judgement about what you can do and what you can't, and you want to think about it properly. Each member thinks that way as well, so I think it would be nice if you could absorb each one’s good points and bring it to the band. Nevertheless, as everyone simply has a different age, a different personality, and the environment in which you grew up is different, I think there are different things that each of you want to do. Among them, for me, I don't think it's necessary for each of you to achieve 100% of what each one of you wants to do. Combining several % well, I think you are a band that eventually will reach the 100%. If you can keep that way, there  will  simply always be an interesting taste and you can keep being an exciting band.

“The first band I came across was Guns N' Roses. It was an encounter that felt like ‘what on Earth is this?”

-From here, I would like to ask you about the 'Inspirational albums'  you have selected and approach your personality when it comes to music. Personally, I feel that your musical tastes are less visible than the other four members.

T: Hahaha. I get that a lot (laughs).

-Are you aware about the things that are not appealing to you?

T: I am. I mean, I know what I like, but I don’t know why I like it (laughs) Basically, I like music.

-You chose 20 albums in particular, what was your criteria in order to choose those?

T: I simply chose these ones because I think these might the ones, I was listening to at the time I was more sensitive/impressionable by music.

-There are a lot of works from the 80's and 90's as a whole, Were you listening to these before you got in the band? T: There are also some that are after the formation of the band and I also include some that I was listening to before playing in the band. There are many from the time when the band was formed, and we made our debut.

-The genres are quite wide, it’s firmly pressed line-up to of iconic masterpieces. In what specific areas have you been affected by them?

T: For example, Guns N'Roses 'Appetite for Destruction' (1987), when I was in middle school, I was like ‘What on earth is this?’ when I came across them. It was a time when LA metal (80s metal/glam metal) was popular. Van Hale was also very popular, and Europe's "The Final Countdown" was being played all around. That's how I met Guns, but the first thing I heard was 'Use your Illusion I','II' (1991). Then, I heard there were more amazing (from them) albums before those, so I listened to 'Appetite for Destruction'.

-When you came across Guns N’ Roses, did you think "the band is cool"?

T: It’s a very stupid idea but, it was a time in which music was equal to delinquency, and live houses had the image of being a sink/den of iniquity* (laughs). At first, I was like ‘What is this?’ and then I got interested. Including such an atmosphere, I think it was cool and I had a strong sense of admiration.

*a place where immoral or illegal things are done.

-When you go from there in chronological order, what kind of transition are you going through?  In your selection, there are a lot of grunge (albums) too.

T: That’s right. Exactly after that, the wave of grunge came. But if you say which one is the one ruling the movement,  for me it’s not Nirvana. When I dug down while listening to that genre, I personally fell in love with Pixies. It was a time in which listening to one artist made us feel more connected. Here and here there would be good friends, here and here there would be people that you don’t get along with. I got worried about that when I listened to them. I went to see Pixies’ performance in Japan a few years ago and it was really good. If I have to say something about that time, at the Pixies live, the lighting goes red through one song and it's just red.I was impressed by the effect of only using that colour in the scene. After that, when we talked about what kind of production we wanted to do on our tour, I said "I went to see Pixies and I  said “ I want to do this in the same way because such lighting was interesting" (laughs)

-Is that so?

T: It's a band that's influenced me from that perspective.

“I had a friend who liked thrash metal. He told me that this kind of music existed”

-While there is a trend from hard rock to grunge, on the other hand, there are also metal elements  you are interested in such as Metallica's “Master of Puppets” (1986) and Pantera's “Vulgar Display of Power” (1992), which are known as masterpieces. When did this kind of metal music get into your life?

T:  When I was in high school. At that time, I had friends who liked Metallica and slash metal such as Pantera and Slayer. I learnt  this music existed, and I started listening to it.

-This didn’t come to my mind until now but, in fact, some of them can be called the roots of metal.

T: Yeah, I really liked it. I also liked to listen to the band that guitaris Steve Vai made as a solo band under his name (Vai). When I was in high school, I had a lifetime friend who was shredding his guitar and looked like a bakateru* guitarist (laughs). I had a lot of fun. *Bakateru (A Japanese made-up word from  “baka” and “techniques”) is a person who plays an instrument using simple/stupid techniques that made them look like professional players.

-That’s good (laughs) While there are hard rock and metal in your choices, the overall impression is that there are many bands and works with a slightly downer atmosphere.

T: Certainly, I think I like downer style a little (laughs).  Stone Temple Pilots has also a part of hard Rock and a strong grunge effect, bit I like the indescribable downer feeling. Then, I chose Alice in Chains for the selection. Alice in Chains is another downer band that I like. When I first heard it, I couldn't understand it at all. I didn't even know what was good about them (laughs) From them, I like Dirt (1992) which I chose this time for the selection.

-By the way, it has the same name as your apparel brand….

T: It has nothing to do with it (laughs).  But, as it is an album I like (even if it has the same name) I guess it’s fine.

-And, when it comes to downer works, you listed “OK Computer" (1997), from Radiohead. T:I don't think there is another album that makes me want to die so much inside while I’m listening to it as this one (laughs). When I was in the states with Yoshiki producing the single, I have the impression I listened to it a lot.

-Radiohead also has had several changes through their career, but if you have to choose, is this one?

T: If you ask me which one from Rahiohead I would pick, as expected it’s this one. Maybe I like feeling like dying (laughs)

“If I had the chance to play music elsewhere, I would like to try an industrial band”

-(Laughs). As for genre, you also included industry albums such as Nine Inch Nails and Ministry.

T: I like industrial because I have the strong impression  it’s not only about the band sound. For me, it has something, like asking for the impossible. If I have the opportunity to do music out of DIR EN GREY, this is the genre I want to try, an industrial band.

-I definitely want you to try to do it.  I can tell you are listening to music with several components but, what are your roots as a bassist?

T: After all, I like Guns's Duff McKagan the most. The one who shocked me like “This…. this is bass!” was Japan’s bassist Mick Karn. I felt like ‘What’s this?’.  He had the magical image of a man that lived in Greece (laughs). I also like the bassline of Alice in Chains or Stone Temple Pilots, which I mentioned earlier.

-I see.

T: Also, in terms of bass, Pantera's 'Vulgar Display of Power' was made in a way that the original cd was only vocals, guitar and drums (laughs). But in their 20th Anniversary Edition (Deluxe Edition In 2012) I was happy to be able to hear the bass properly.

-When it comes to types of bassist, rather than someone who slaps the bass, comes to the front, and stands out, many artists (bassist) have the image of keeping the groove.

T: That’s right. Originally, I didn't really like finger playing or slap bassists. My first motivation was Guns, so I had the image of rocking, like holding the base down and playing with a pick. To me slapping had an image of a fusion style.

-In fact, considering your own play style now, I think they are connected.

T: They are. However, there was a moment when my thoughts changed a bit in that aspect. When I went abroad and went together on tour with Deftones and went to festivals, the bassist Chi Cheng looked very cool. KORN was on the same tour, so I was watching Fieldy’s playing as well.

-It was at the "Family Values ​​Tour" in 2006.

T: That’s right. That was the moment in which there was a change of era not only musically but also of my self-consciousness. Of course, I still liked my play style then, and of course I still like it now, but the idea that I can only do that, and I can only do that…. I started to want to see more things (that I could do). Compared to that time, there is a lot of information, isn’t it?

-Indeed.

T: There are a lot of ways and you choose yourself from that huge amount of information, so you can pick only the good things. But at that time, there wasn’t that much information available, so all I knew was from my own experience. It was like that for things, the length of my ruler was fixed. That…. it overlaps with the story of 'Clever Sleazoid' that I mentioned earlier, when I starter to look overseas, I realized that I could clearly see that “this kind of world exists”. I started to think differently about it, hating without trying it. If there's a world in front of you  you didn't know before, look at it, and if there's something you think would be even better, you can pick  it and bring it home. Looking back at it again, I think my playing style has changed since we made a full-scale expansion overseas and  I turned my eyes to overseas.

“Deftones are the band that influenced me the most once I saw them playing live and went on tour together with them”

-From Deftones, you chose White Pony' (2000)

T: I was shocked when I first heard them. As I said, at the time I saw them live and went on tour with them, if I had to say an album that I felt strong about and affected me, it would be this one.  I think their latest work at the time of the tour was the 'Deftones' (2003) or 'Saturday Night Wrist' (2006), but when they played the songs of 'White Pony', the audience went crazy. I was very impressed.

-From that perspective, many of the bands you chose have co-starred with DIR EN GREY. Are there other bands that impressed you?

T: We were with Metallica together at overseas festivals, but after watching it live, I thought it was really amazing. Since Pantera stopped before I could see them, it was nice I was able to see Metallica. In that sense, I was very excited to be at the same festival when Faith No More restarted their activities. I originally liked it and thought I couldn't watch it anymore, so I was excited when I realized I could see them live.

-That sounds good.

T: Also, we had been with Alice in Chains in a festival.Then, I heard from the dressing room that the guitarist was playing the guitar all the time. I remember thinking “Ah, I like that guitar” (laughs)

-As expected, you have many stories with the bands you were appearing together.

T: That’s right, that's a good thing (laughs)

-You've appeared together with Tool at OZZFEST JAPAN 2015.

T: That’s right. At that time, Tool was active, so we also have appeared together at overseas. I didn't actually watch the live then. Thankfully, I had the opportunity to watch them from a wing* of the stage later, which was really amazing. It feels like being on a trip. Thinking that way, I think I might like bands that makes me go a bit on a trip.

*The wings are the hidden areas to the left and right of the stage

-Also, since Japanese bands were not going abroad as much as now, that you were actively expanding and constantly playing overseas, looking at it, it seems like a good era.

T: Now, I think we were able to go abroad at a really good moment, so it was really a good era. I think it's normal for nowadays bands to go abroad but there are bands you can't see live now; at that time, I could see the music scene. It was good that we were able to go there at that moment.

-Tool’s '10,000 Days' (2006) is the newest work you've mentioned. Since then, there has been a big change over time, and now there are more choices such as music streaming services. Has the way of listening to music, or the variety of it, changed?

T: At that time, you couldn't hear a CD unless you bought it. Furthermore, in the old days, you couldn't afford to pay about 3000 yen each time you buy an album. There are many works that I was interested but I couldn't listen to. In that sense, I think it's a good time to listen anything. But at that time, I paid for listening to that one album, and since I bought it, it was nice to listen to it for a long time. When it comes to streaming, it sounds like "something  you are playing while doing another thing”. Going back to what I talked about, that's why it's a scary part, and I'm still a little behind the times.

-As you are in the artist creator side, you feel like you want people to face your work firmly.

T: As expected that’s it. Well, it’s the selfishness of a creator (laughs). That’s the truth of these things, to be honest, I think that music and magazines are just for entertainment. Because, if had to think about if I will live or die tomorrow, I think I would pick food, not music or books (laughs). If you think about it in that way, I wonder what really entertainment is.I think that because of the entertainment, it is possible to obtain the richness of a human heart. It has become more difficult than it used to be, to determine what kind of value to add there.

#dir en grey #toshiya #interview #translation #Headbang Vol 27 #toshiyatranslations

[youngboy-oldmind]

DISCOGRAPHY REVIEW: 1) THE INCREDIBLE TRUE STORY ft. My Girlfriend

“Tell me what I wouldn't wanna give for a life like this, arm and a leg quite like this/ Fuck around wanna fight like this, take a hike like this/ I might just, might just, I don't know/ Reinvention, that's my intention/ Want so much more than this third-dimension/ That's not to mention my true ascension is a bigger picture/ No metaphor, I’m being real with ya”

Overall Thoughts

After the success and impressive display Under Pressure, Logic follows up with his sophomore album The Incredible True Story: A perfect embodiment of Logic as a person, rapper, and artist. Here, he is at his most creative, telling an entire story through the lens of a futuristic fictional sci-fi story. Filled with narratives, skits that give insight to the crew’s personalities, and an overall message that resonates even after the album concludes, The Incredible True Story is the perfect reflection of Logic as an artist.

If someone asked me to introduce them to Logic, I’d start with this album. If you start with a deeper, more experimental album like Everybody or a project not quite as unique like Under Pressure, they may be left unsatisfied or unimpressed. But it’s near impossible to dislike his most rounded and well-constructed project.

I’ve said this with every project of his, but the production was excellent. The techy, spacey instrumentals perfectly parallel the theme and tone of the project. The vocal inflections on “Fade Away”, “Young Jesus”, “Run It” and the choir in the first half of “City of Stars” were all brilliantly executed. Also, Logic allowed collaborations on some tracks and they were some of the highlights on the album: Big Lenbo on “Young Jesus”, Lucy Rose on “Innermission”, and Jesse Boykins III on “Paradise”. Overall, the construction of each song on this album was near perfect. It can’t be overstated.

Logic branched out stylistically on this project. On Under Pressure, each song had a relatively similar tone, which made that project very consistent yet unspectacular. The fixed tone was good for the purpose of that project but restricted him from reaching a high peak. Here, his delivery, instrumentals, and lyrical style varied and was less consistent, allowing him to reach highs like “Fade Away” and “City of Stars” while also allowing him to reach lows like “I Am The Greatest”. Despite that flaw, the unique style of the album improves its overall ranking and separates him from the issue of his last project; the issue of being indistinct and being a carbon copy of his influences. 

That’s one of the biggest strengths of this album. While I can think of other artists that could do Under Pressure or No Pressure, I don’t think anyone can do The Incredible True Story. Logic has a niche combination of lyrical talent, production skills, and geekiness that shines profusely. 

The main theme of this project is doing what you love and finding life. This theme paired the fictional nature of the album’s structure loosens the restraint on Logic. Before, he was limited by discussing his experiences and thoughts in an autobiographical way, whereas now he’s allowed to discuss things from an outside perspective and speak more prophetically.

Album Breakdown

Side Note: I will be adding comments and thoughts from my girlfriend who also loves this album. Her comments will be bolded.

1. Contact

This was extremely creative. I was instantly drawn into the music. Sounded like a soundtrack I'd hear in a movie. And the introductory conversation between the two men established a very interesting and compelling start to the album and makes it feel like I'm getting ready to start a story book. Solid start, can't wait to see what happens.

2. Fade Away

Off the rip, this track had me excited. As I mentioned earlier, the composition and instrumental is excellent. He also comes through with an intense flex of delivery and rhyming and syllable scheme construction. This is the first song I’ve ever heard from Logic and it still gets my hype every time I hear it.

The flow in this song just hit me like a truck. The lyrics were pretty good and not necessarily a brag, but more of a showcase of pride. The music was also very catchy and had my bobbing my head before he started rapping. But the flow! Absolutely loved it. Def a hype song for me.

3. Upgrade

This track transitions well from the previous song discussing kai upgrading his system. Logic discusses “upgrading” from his old life and mindset. The space background with a simple drum pattern is satisfying.

Loved how the intro music played off of the space theme established by the intro. The music was already banging, and the countdown had me anticipating what's to come. Liked how the lyrics also incorporated space elements. Somewhat simple song with somewhat basic lyrics, but overall still quite enjoyable.

4. White People (Scene)

This was super fun to listen to and I was laughing when the black guy made fun of the white-man-horror-movie stereotype. I was almost wishing for them to investigate. I am really liking this album so far. Who knew Logic was such a innovative storyteller.

5. Like Woah

Although this song doesn’t say much content wise, the vocals were pretty slick and the instrumental was constructed well. Verses were average and I found the chorus a little iffy. But overall, it’s one of the more mid tracks.

The others definitely fit the theme of the space, but this song felt more of a Top 100 hits song. The flow was not as stellar as the songs so far, definitely no Fade Away, but still steady and impressive nonetheless. Nerdy comment, but the music reminded me of something I'd hear in a video game with the female singing--maybe Zelda or Fire Emblem.

6. Young Jesus

Although this song isn’t in my top 3, it’s still one of my favorite on the album. The boom bap 90s throwback mixes well with the modern, techy sound of the album. Logic and Big Lenbo both flow perfectly; this some of the best chemistry Logic has had with another rapper, the only other contender being Big Sean. Instrumentally this song stands out the most because its composition derives so much from the rest of the track list.

This throwback to the 90s flow with a slight modern twist was fresh as hell and a very fun listen. I actually very much enjoyed Logic's flow in this song. "See I'm a self diagnosed hypochrondria/ Either at the crib, or on the tour bus, is where you'll find me at" was a fun, funky flow that had me smiling as I listened to it. Would have definitely enjoyed if he did this flow and slight drawl in words a bit more. Big Lenbo was perfect for this song. His voice has that 90s feel and his lyrics fit the bragging feel seen in old hip hop songs.

7. Innermission

Another top track on this project, “Innermission” features Logic discussing his life’s purpose and “inner mission”. Lucy Rose on the chorus is beautiful. The mellow beat allows Logic to truly dive into his thoughts without being overwhelmed by the instrumental. And I loved the skit at the end.

Not gonna lie, the music initially reminds me of elevator music, but the lyrics hit hard. Hearing his story of his home life and his friend in prison was...heartfelt? It made me introspective of my role in my friend's lives and my own background. This song has a nostalgia to it as Logic retrospects his life before reaching fame, yet an almost hopeful undertone as he contemplates why he wanted this lifestyle and how he managed to actually accomplish it. And, of course, ending the song with a child continuing the space them fully establishes the air of wistfulness as I hear the kid's innocent tone reminiscing about his home. Genius move.

8. I Am The Greatest

There are few songs that make me rush to the skip button. “I Am The Greatest” is one of them. I hate this song. The different voice clips have no rhythm or syncopation, seemingly haphazardly tossed together. The beat is underwhelming and the yelling is obnoxious. And logics lyrics and delivery are really bad. I strongly believe this should’ve been cut or put on a project like Bobby Tarantino.

9. The Cube (Scene)

As someone who can rap and solve a Rubiks cube, I found this very funny. But also ironic, since I pulled exactly 0 girls from solving it. But, Logic is a nerd and this skit fits his personality well.

So this didn't make much sense until I looked up "logic the cube" and saw some videos of him solving a Rubik’s cube. Cute that he inserted a past time into this.

10. Lord Willin’

Logic has a very distinct flow throughout this album. It's very similar in each song with similar rhythm--I find myself bobbing my head at the same speed as his other songs. Not a bad thing, but just an interesting note. I actually quite like it, though. It makes the songs in this album more harmonious and makes it feel like one long story, rather than several songs thrown together onto one album. The lyrics themselves were actually quite inspirational. I felt a sense of pride in myself swell as I listened to him overcoming and living a full life and encouraging me to do the same. 

11. City of Stars

Arguably one of the best on the album, “City of Stars” features Logic discusses his negative/toxic relationship with the hip hop industry. The spacey beat and echoey chorus vocals area AWESOME. The echo on the snare paints a visual of singing in a wide open space. Logic’s singing is above average, his use of auto-tune isn’t bad either. The beat switch to an intense boom bap and going in sent shivers down my spine. Although this has been done before, its definitely an excellently put together concept.

Also, only hip hop fans will notice but Logic incorporates patterns and lyrics from other songs: Drake’s “Forever”, Kanye West’s “Last Call” & “Two Words” of The College Dropout, and Talib Kewli’s “Get By”. Logic isn’t one to shy away from nodding to his influences, but here it feels like paying homage instead of stealing. Top 3 track.

12. Stainless

This song is 100% dope. From the vocals on the chorus, complex background in the instrumental, Logic’s intense flow and delivery, along with the content. Another top 3 on the album.

Bruuuh, this song slapped from the moment it started. The music had a flow different from the other songs, and his energy from the first few lyrics was solid as hell. I was hype and smiling not even 20 seconds in. This is a riding-with-the-windows-down-with-the-volume-blarring-on-the-highway-as-you-flaunt-your-youth-and-just-jam-hard kind of song. I would have def played this before a basketball game to get myself hype.

13. Babel (Scene)

“Babel” was the best skit by far. I think this plays well into the theme of the album: The concept of doing what you love and finding life. This skit mentions how “paradise” may not be something you find, but something you make and maintain. And on the flip side, you can also turn paradise into “purgatory”. So this journey is about creating the best and making your own incredible life instead of trying to find it. It also transitions well into the next song both musically and thematically.

14. Paradise

This was an interesting song. When he described Paradise initially, he spoke of it as a land of racial equality. I had not expected race to play a major role in this story, but it makes sense, given his background, why he would consider this Paradise. As a fellow biracial person born without a silver spoon, I can relate to his struggle. So hearing him describe this planet called Paradise, I can see why it earned that name. But the beat change. I find it interesting that he switched the message behind his lyrics up. It changed to perseverance and strength to overcome haters and obstacles and doubt. It gives me this feeling of self-worth as I push through the negativity to achieve Paradise. Interesting that he decided to include this message after describing what Paradise looks like. Did he do this to highlight the struggle it would take to get there? The challenge? Saying how "Of those around me that down and pray on my demise/But it only makes it that much better when I rise" definitely encapsulates his ability to attain Paradise. I'm not sure, maybe he did so as proof that he finally reached the top.

15. Never Been

Years ago, I used to be a hater of Logic. I used to despise when people complimented or praised him. So this song about remaining positive and persevering while blocking out negative hits even harder. He battles with fears of being inadequate while projecting a message of not letting those fears control your life and potential success. Amazing message. Musically, the track is very solid. The sped up, high pitched vocals on the chorus and outro remind me of Kanye’s style, and the simple beat isn’t distracting emphasizes the introspective nature of the song.

"Talk all you want about me homie, I'mma let it live/Hater this, hater that, say I sound repetitive/ Hatin' in your blood, you was born to be negative" now THAT is how you diss someone. If someone said this to me, I'd just walk away because what do you say to that? I appreciate that he is able to both dis and praise in a song, yet not come off as cocky and arrogant and braggy. Listening to him, it truly sounds like he worked his ass off to achieve his fame, so hearing him brush off haters and telling me I can do it too actually makes me feel like he's right. This songs has an introspective vibe as he recounts his insecurities of failing, yet how he can't afford to "let the devil in."

16. Run It

“Run It” is another very good track on the album. The flow and beat were dope and simple yet effective and pleasing. I think this song’s placement was strange. After hard hitters like “Stainless”, “Paradise”, and “Never Been”, “Run it” feels underwhelming by comparison. I could see this after between “Like Woah” and the White People Skit. But this late into the album, this song’s tone sit right. Ultimately a great song though.

17. Lucidity

“Lucidity” gives good insight on the theme of the album. Thomas describes taking for granted people on Earth having dreams and wants instead of living to find paradise. I like the concept of one’s life and story being defined by pursuing what you want. Mostly a set up for the final song, it’s still a solid scene.

18. The Incredible True Story

This track can be defined by one word: epic. From the first half with Logic’s vocals and singing, encapsulating the whole question in this album “Who Am I?”. The instrumentation is beautiful. Then the second half with the crew landing on Paradise is so powerful and well constructed. As a listener, I feel like I’m there with the crew. You can feel everyone’s fear, nervousness, excitement, anticipation, and hope.

What. An. Ending. I had no idea how Logic was going to end this and he did not disappoint. His lyrics in the beginning. The sub-sequential inspirational message of following your desires. The 2 men as they get ready to land on Paradise. All of that was flawless. My favorite part was the music change as the female finished her countdown of the landing and it changed to this soft, exploring sound full of hope. Hearing the 2 men talk in wonder as the sounds of nature slowly encompassed the music before hearing the woman say "Life" literally made me so fucking emotional, I'm tearing up thinking about it.

Final Thoughts

The Incredible True Story is the embodiment of Logic as an artist. It is strengthened by being unsafe. Under Pressure felt like bowling with the rails up. You’re definitely gonna score, and you may hit a strike on your own, but it’s just not as good as bowling without safety rails. And yes, you may hit gutters (”I Am The Greatest”), but putting everything on the table and living/creating unrestrictedly allows you to reach highs in life/art you wouldn’t otherwise reach. And I think by allowing himself to create riskily and unhindered, he fulfilled his own theme.

As an avid bibliophile, I will tell you that most sequels are shit. But damn, this album was fucking amazing. I have been sleeping on Logic. Honestly, 12/10 ending. Logic wanted to leave a statement that he could still be one of the best even after his debut album and, trust me, he proved it. This ending alone proved that he knows how to do this shit. I feel like I just finished reading a great book. Who knew rap could be like this?

Top 3 Tracks:

1) City of Stars                      1) Stainless

2) Paradise                            2) Paradise

3) Innermission                      3) Incredible True Story

Overall Grade: A+

Album Link:

https://open.spotify.com/album/5dOpbgAmJeyoakKQ0QLWkR?si=bAQ0FEA4RMupkUEspycH1Q

#music review #album review #hip hop review #hip hop #logic

[noramoya]

#MichaelJacksonTheMoonwalker

MICHAEL JACKSON’S “MOONWALK”.

“Moonwalker” was an experimental anthology film starring Michael Jackson. Its name was inspired by Michael’s most famous signature move, the moonwalk and it means the one who moonwalks. It was released in October 29th, 1988. The film is built around his personal and professional life and career, troubles with the media, relationship with his fans and a story regarding drugs.

The film had seven segments. The FIRST segment was “Man in the mirror”. It was a combination of Michael’s live performance of the song during his Bad World Tour in Europe and in the Wembley Stadium along with the montage of clips from the official music video, which included several historical figures and events like Martin Luther King Jr., Mother Teresa and Nelson Mandela among others. It also features reactions from fans during his performance where his impact as an artist and performance becomes pretty obvious. The SECOND segment is called “Retrospective”, it lasts almost 10 minutes and it is somehow biographical, as it covers Michael’s life from his early years with the Jackson 5, his childhood performances, becoming famous, “Off The Wall”, “Thriller” until his Bad World Tour, which was in progress at the time. The THIRD segment is named after Michael’s released album at the time but with the addition of a comparative form “Badder”, to show its comical aspect. It is a parody of the official music video for “Bad” and it features children filling in the roles of the adults. Brandon Quintin Adams depicted Michael and it is important to mention that many of the kids who appeared in the video later became famous actors and actresses that played in many of today’s well-known series. Comic elements included the protagonist “Michael” sticking his tongue out as a way of mockery, one of the “dancers” popping a bubblegum and all of them copying the moves of the roles they were depicting as this is what a parody stands for. That showed a humorous side of Michael, who was not afraid to somehow mock himself and be self-sarcastic. It ends with “Michael” and his bodyguards moving out of the subway as kids and coming out in their regular age after walking through a cloud of smoke. This was used to make the transition to the FOURTH segment, which is “Speed Demon”. We see a bus full of tourists who came to visit the studios, when a boy and his grandmother spot Michael and urge the rest of the tourists/fans to get off the bus and chase Michael for an autograph. In his attempt to escape, he stumbles upon the shooting of a western film with a desperate director resembling Steven Spielberg and as a result the gunslingers from the film join forces with the rest of the fans and chase him all together. He disguises himself as a rabbit named Spike, in order to escape but ends up taunting the fans to continue the hunt as soon as they realize it is him. Throughout the song, he is transformed in various things like a jackhammer or a water ski but he is not able to get rid of his hunters. Eventually, the fans crash in a giant animated cop (as are all the characters) and Michael rides on into the desert. As Michael and Spike get into a dance competition, a cop appears showing Michael that the area is a “no MJ dancing zone” and sarcastically asks for his autograph, instead of his signature, on the ticket. The rabbit’s head forms in a rocky crag and they both smile. The fifth segment is the music video for the song “Leave me alone” which indirectly continues the narration of Michael’s life. It illustrates his life as an amusement park where he is constantly being chased and hunted by paparazzi, tabloids and people that don’t seem to leave him alone. It also addresses several rumors that were written about him like the shrine that he supposedly built for Elizabeth Taylor, the hyperbaric oxygen chamber photo and the supposed purchase of the elephant man’s bones. In the end, he destroys the park breaking what was keeping him down and stands tall ! “

The sixth segment is “Smooth Criminal” through which we are introduced to the main story of the film. It begins with 3 homeless children (Katie, Sean and Zeke) who walk across the city to meet their friend Michael out of his apartment. As he stands in front of the outside door, he sees a falling star and is immediately attacked by mobsters with huge and destructive machine guns. We then get into a flashback of the happier times Michael and the children had along with their dog Skipper. The dog runs away and as Michael and Katie search for it, they discover a hidden hideout which belongs to Mr.Big whose real name is Frankie Lideo as an allusion to Frank DiLeo (Michael’s longtime friend and then-manager). Joe Pesci exceptionally plays the role of a drug dealer who wants to rule the world through getting each and every person on Earth addicted to drugs, starting with children. He likes to eat nuts and spiders are his trademark. When talking about his future drug empire, he presents his henchmen with a model globe full of spiders to show the impact his operation is going to have and the way he is going to conquer the world. Michael and Katie overhear his plans and become disgusted. Before they get to leave, a spider terrifies Katie and they flee while Mr.Big discovers that he has been spied. We return to the scene of the shooting where Michael escaped thanks to the wish he made on the falling star. Mr.Big becomes angry and demands from his henchmen to find Michael as soon as possible using dogs. When he becomes trapped in a corner he wishes upon another falling star, transforms into a luxurious and modern sports car, puts down several of the gunmen and loses them afterwards. Meanwhile the kids go to “Club 30s” where Michael had told them to meet him but all they see is an abandoned and somewhat creepy night club and so decide to go to the roof of the nearby house and wait. Katie sees Michael’s silhouette transforming from the car back into himself and walking into the club through a powerful wave of wind. Michael finds himself in the middle of the club which is filled with men with suits (gangsters) and dancers who although seem hostile in the beginning, later they all together engage to “Smooth Criminal” and the kids gather outside the club’s window to watch them. In this song, Michael successfully presents us with the famous and innovative “lean forward” move for which we will extensively talk about in a latter article. Mr.Big kidnaps Katie, Michael with the 2 boys desperately search for her and he ends up being surrounded by Big’s henchmen. Big appears hitting and punching Katie who tries to escape while also threatening to inject her with some highly addictive narcotics. As Michael tries to break through the henchmen, he is being beaten and kicked. Before the henchmen are able to please Mr.Big’s order of killing both Michael and Katie, Michael sees a falling star and immediately turns into a giant robot killing all the gunmen and later into a spaceship which completely shatters Big before he completes his attempt of killing the children via a cannon. The kids return to the city believing that Michael is gone forever but soon after he appears through the fog, leading them to “Club 30s” which is now the backstage area of his concert. As the film comes to an end, he performs a cover of the Beatles’ song “Come together” with the kids cheering and dancing along.

What was always important to Michael was for his art to convey messages and he tried to do that through all the platforms he had available: songs, music videos, films, etc. So, in “Moonwalker” he showed the world that drugs are dangerous, addictive and catastrophic for everyone. That there are many evil people whose plans are to “sedate” the population either literally or metaphorically so that they can do whatever they want without any reactions. And that children are the most sensitive target since they cannot protect themselves from the viciousness of their surrounding adults. Michael always fought for children, for a better world for them and the next generations so that they would be capable to fight for what they want and deserve.

#MichaelJackson #Moonwalker

[tisthenightofthewitch]

It’s been an eventful past year, to say the least, for singer, songwriter and multi-instrumentalist Tobias Forge.

Up until recently, his band, Swedish occult-rockers Ghost, had been operating under a shroud of secrecy, with the multiple masked instrumentalists referred to only as Nameless Ghouls, while Forge, as frontman, assumed the role of Papa Emeritus (and Papa II…and Papa III), a sort of anti-Pope.

Over the course of three albums, Ghost rose to become one of metal’s hottest bands, with successful records (2016’s Meliora hit the Top Ten on the Billboard 200) and sold-out tours, multiple awards (including a 2016 Grammy for the Meliora track “Cirice”) and a worldwide fanbase that includes the likes of Dave Grohl, Phil Anselmo and the members of Metallica.

But in early 2017, the anonymity that seemed so vital to their story and music got stripped away when four former Ghouls filed a lawsuit accusing Forge of financial misconduct. As the suit became public knowledge, so did the identities of the parties involved, revealing Forge as the mastermind of the operation.

But rather than harming the band, this public unmasking seems to have only made Forge stronger. In addition to a new Ghost album, the excellent Prequelle, Forge (now in the guise of new frontman Cardinal Copia) and a new group of Ghouls are back out on the road, and the stages and theatrics have only grown bigger. Rather than pulling back, Forge has regrouped and redoubled his efforts.

“That was the point all along,” Forge says, speaking to Guitar World the morning after a show in Chattanooga, Tennessee, on Ghost’s U.S. headline tour—their first ever in arenas. “I mean, I am following my plan that I’ve had years before any of those guys were in this. So why would I change? That would be stupid. I swam way too far out. My whole life, my family’s lives, we’re all so invested in this and have sacrificed so much and are depending on this. Why would I sacrifice that for a bunch of fuckups? No way.”

Indeed, one listen to the new Prequelle makes it clear that Forge will not sacrifice his vision for anything or anyone. Not only has he not lost a step, but he’s continuing to push out on the Ghost sound and story. To be sure, there’s still plenty of vintage-hued metal to be found on Prequelle, including the riffy, anthemic first single, “Rats,” and the stomping and shreddy “Faith,” but there’s also swelling, string-laden piano ballads (“Pro Memoria”), poppy, disco-metal confections (“Dance Macabre”) and a pair of incredibly catchy instrumentals, one of which, “Helvetesfönster,” features flute and nylon-string guitar (the latter played by Opeth’s Mikael Åkerfeldt ) and the other, “Miasma,” that builds to an explosive saxophone-solo climax.

And Forge is only getting started. “The agenda has always been very rigorous and there’s always been a lot of ideas and concepts, and I still have not realized half of it,” he says. “I still have a lot to accomplish in the years coming. Believe me, there’s a lot in the pipeline going forward.”

The anonymity of the musicians in Ghost always seemed so important to the overall concept of the band. But now that the veil has been pierced, you seem almost reinvigorated.

Well, this is the thing—it was never like I was just waiting to be unmasked and then I was going to do this as per normal. Never. I don’t want to do Ghost as a normal, unmasked band standing around in, like, denim jackets. That was never the plan, regardless of whether people knew who I was or what size shoe I wear. So it doesn’t matter. For me, it’s the show that’s important. The make-believe part of it.

As far as the “make-believe” side of things, each Ghost album seems to revolve around a theme. When we spoke at the time of the release of Meliora, you said the album was about the “absence of god.” What is Prequelle about?

The return of god. And, for lack of a better way to put it, the day of doom, when god’s hand sort of reaches down upon the people. Like the Black Death. I wanted this album to have a sort of doomsday theme. But then it’s also themed around the idea of mortality and survival through turmoil, where you’re being judged and a doom has been cast upon you. How do you maneuver out of that?

When you’re composing songs, do the lyrics or the music come first?

The music comes first. Final lyrics are usually written very close to recording the vocals. It’s always been like a pulling-teeth situation for me, where some songs are definitely a knife to the throat on the day of singing. Like, “I need a lyric to this…now!”

Was there anything like that this time?

There are things like that every time. It’s endless. Because I always want to change things. But I usually come up with the important bits when I first begin writing. Like with the song “Rats,” I knew that was going to be the title and there was going to be the part that goes [sings riff] “Rrrats!” And from that it went through a lot of different shapes. But I very rarely start a song just with a riff. It’s usually a melody, and then it’s, “Here’s the verse, here’s the chorus.” And once I have that sort of transition, that’s when I have the song. Then I write riffs around that. That way there’s this steady melodic base. I might also write it with some bullshit vocals, and then I have to find my way with the lyrics around that. It’s varying degrees of pain.

You’ve hinted in the past that, even though you’re surrounded by Nameless Ghouls onstage, on the studio albums you play the majority of the instruments.

At some point or another I’ve played everything. But then to give you an example, you have heard the new album—I can’t play saxophone. But I can hum how I want a saxophone solo to be played. And I’m an able drummer, I can play Top 40 rock okay, but I can’t record hard-rock drums in a studio situation. That would be a waste of time. So I had a real drummer come in to do that work, even though I wrote the drum patterns. And that goes for all the records and all the songs. Even the songs that were co-written, I always played all the instruments at one point. So, when you hear Ghost, it’s my drum style. It’s my bass style. It’s my keyboard style. It’s my guitar style.

Are you playing all the guitars on Prequelle?

Yes. I performed all the guitars and all the bass. With one exception—in the song “Helvetesfönster,” there was a nylon-string part. I originally recorded it with electric guitar but it sounded weak. It didn’t sound cool. So I wanted it to be played with a nylon string. Now, I stopped playing nylon string when I was seven years old, so I called a friend of mine, Mikael Åkerfeldt from Opeth, who is very good at playing nylon string, to do it.

What was your guitar setup on the new album?

We did four rhythm tracks on everything. On one side we had a Les Paul gold top with P-90s that went through an Orange amp, and also a white [Gibson] Explorer from, like, ’82 or something like that—that typical James Hetfield sort of guitar—that went through an old Marshall rack amp from the early Nineties. And then on the other side it was a mid-Seventies Les Paul Black Beauty 20th Anniversary through one of those old Laneys that Tony Iommi used and an early Eighties [Gibson] Flying V that went through another Orange. Then I had a Seventies Strat for a lot of the leads, and I think I did overdubs mostly with the Explorer. So it was quite simple.

There are so many different styles that come through in your playing. Who were your influences as a guitarist?

There’s always a lot of classic rock—the old Sixties behemoths to, I guess, lesser-known stuff. And absolutely the heavy metal giants—Deep Purple, Black Sabbath, Led Zeppelin, Judas Priest, that sort of stuff—into the hard rock of the Eighties, the big arena rock. And then also underground death metal and black metal, and punk to a certain degree. I’m really trying my darndest to make this music as timeless as possible, even though it’s, to use an ambitious word, archaeologically going back to earlier music, especially Seventies hi-fi rock.

There is a definite vintage feel to Ghost’s music, but not to the point where it just sounds completely like a nostalgia trip.

Yes. I mean, it sounds different than your average sort of Black Sabbath rip-off sludge band. Because most of those bands that rave about Black Sabbath, the only songs they’re raving about and copying are the heavy songs. It’s never Black Sabbath’s more harmonic and grandiose tracks, like the ones you hear on Sabotage and Sabbath Bloody Sabbath, these albums that have ballads and really beautiful, humane thoughts. And that is the sort of Black Sabbath I am tapping into. That’s the sort of Black Sabbath I am inspired by. That sort of mid-Seventies period where they found orchestration.

In addition to the heavy stuff, you also have things like “Dance Macabre,” which has a dancey, pop element to it.

It does, yeah. I had the riff that starts the whole song, that was just a riff that got stuck in my head. I didn’t think of it as a Ghost thing at first. Because I heard the riff in a slightly more “synth-y” sort of way. But I showed it to some songwriting pals of mine and they were like, “That’s a Ghost song!” Oh, okay. I didn’t hear it that way at first. But it then it was, “Let’s make a Ghost song out of it…”

“Faith” has some great lead guitar playing in it. Clearly, you can shred if the part calls for it.

I can do it if I need to. But I guess that’s an ability thing. But one thing that sort of separates my way of learning to play guitar compared to a lot of others is that I sat with my guitar and my amplifier and I played a lot to records, but I usually came up with my own stuff over them. I never learned the actual solos. So in a cock-measuring contest where it’s about playing licks and playing fast techniques of others, I would definitely lose. Because I only know how to play my own shit. My ability maps my own writing. I haven’t spent a whole lot of time biting licks from the really quick masters. That’s why I’m not very good at that sort of super-fast, shreddy sweeping.

So I’ve never considered myself a traditionally good fast-playing guitarist. But I can do it, especially when I’m recording. With “Faith,” the solo called for an intense, aggressive part where I was like, “This needs to be aaargh!” I wanted to have that sort of attack you hear when you listen to something like [Metallica’s] “Hit the Lights,” where after every drum thing there’s this insane, quick, aggressive guitar bit. I wanted a piece like that but that sounded more evil. And I was able to do it.

In the past, did it ever bother you that because the band members were anonymous, you weren’t getting recognized for your writing or playing skills?

Yes and no. At the time I didn’t think of it as a negative. Because since I am the spokesperson for the band I’ve always been the one that had a full-time job with it. I was working all the time, writing, doing every sort of business thing you could imagine. It was very much a full-time occupation for me. Whereas it definitely wasn’t that for the others, who spent a lot of time just, you know, getting paid retainers. So I always felt from a positive point of view that I was given enough attention. I was given enough pats on the back to not bother with taking credit for everything.

However—when a lot of things were said and done and all of a sudden people were trying to rewrite the story of Ghost and sort of waving a flag for having done something they hadn’t done, that’s where I become a little like, “Wait, wait, wait—are you kidding? That was not your guitar. That was not your style. And if that was your style, write a record. Write a record that sounds like Ghost. You can’t.” That’s where I become a little childish. I didn’t bother to spell it out all these years, and I was fine with people basking in it or whatever. It’s fine. But don’t fucking lie about it. Don’t come out and, you know, aggressively claim that it was yours. That makes it a little bit difficult.

Have you ever had the desire to play the instruments onstage? Just grab a guitar and shred for the fans?

Well, over all these years when people have played it wrong, definitely I’ve wanted to be like, “Give me that god-dang…” [laughs] You know, there’s a lot of nuances in the recordings that I feel sometimes over the years have been missed. But, I mean, this is the thing. As I was saying, I am the director of the play. I just happen to play a part in it. But I’m also orchestrating it. So I don’t demand credit for every little smartass move everywhere, because I know where it all comes from.

As far as where it all comes from, what was your original intent with the sound of Ghost?

I wanted it to sound like the most gelled-together, intuitive band ever. And to sound like a band that plays just the right amount of stuff. Because whenever you have a band where you have phenomenal players, they usually overplay and they don’t really leave enough room for someone else. I mean, for a long time I always thought Frank Zappa had these amazing jam musicians. And then, haha, fuck me, little did I know that he wrote everything and that it was all totally scripted. But it sounded like it was, you know, this band just standing there, all flowing with it. So I guess that’s a little bit of my approach as well.

You want Ghost to be a band—even if, behind the scenes, you’re the one responsible for most everything that’s being put out there.

Yes. I’ll gladly give away the applause to someone else. That’s completely fine. I just want everybody onstage to have fun. And I want everybody in the crowd to have fun. And to believe.

#Tobias Forge #Cardinal Copia #Ghost #The Band Ghost #Ghost Band

[dentalrecordsmusic]

Two Shows, One Night: Just Say No (Or Don’t)

Alien Boys frontperson Sarah lolls with the crowd. All photos by Joshua Kingston.

Let me give you some advice.

Someday, you are going to want to go to two shows on the same night. Maybe you promised your best friend you’d go to their band’s show, but now your favorite touring band is playing one night only across town. Maybe, like a certain friend of mine, you committed to reviewing two shows but didn’t realize they were at the same time because you never fuckin’ learned how to read.* In any case, it’s going to happen. And I’m here to tell you: it’s a terrible idea. Also, you should do it anyway.

Two months ago, I went to two shows in one night, accompanied by photographer Joshua Kingston. It was so exhausting that I think I’m still washing fatigue out of my ears, but it was also so god damn worth it that I’d do it again tomorrow if I could.

On February 9, FLVRHAUS released their new album. On February 9, Alien Boys released their new album. We made it to both with a combination of reckless driving, weirdly synchronous intuition, and sheer force of will. Both shows were great and I’m not sorry. And if you want to do the same thing, I’ve got some suggestions for how you can make it happen and not die.

FLVRHAUS is not as ominous as they may appear.

My first piece of advice to you is that it’s going to be way easier if your two shows are displaced by at least an hour. Otherwise you’re just going to have to split both sets down the middle, and you’re going to feel like a sad traitor to both of them. You’ll feel a little like a sad traitor anyway when for one show, you only get there in time for the headliner and miss all the openers (that is, if you are a decent human being who supports opening bands.) But with even a little wiggle room in your two shows’ start times, you’ll mitigate a lot of that guilt. Fortunately, FLVRHAUS opened the doors at 6, and Alien Boys didn’t let anyone in until 7, so we almost had time to breathe in our mad dash between the two.

I got to the FLVRHAUS show nearly at doors, an hour early for actual music, because somewhere in my lizard brain I decided that me getting there earlier meant the show would end earlier so I could peace out to Alien Boys on time. Of course, since I am neither a member of any of the bands involved nor an employee of the Astoria, this subconscious feeling had no bearing on reality. 

The show went on.

It was a great show. I haven’t seen a weirder band than Molly Be Damned in many moons, and their sporadic drums scattered across the stage, madcap ukulele, and peculiarly self-effacing stage manner put me in exactly the surreal headspace that is required to transition between two wildly different shows in one night. It really is a unique headspace. Even before the reality of the packed schedule truly hit me full force, I was in the zone, floating along on the music and glancing at my watch every ten minutes trying to imagine where the Alien Boys show was at in the lineup. It was even more surreal because my watch is a phone. Molly Be Damned was extremely conducive to my feeling deeply weird about the evening’s plans, and I still appreciate them for that.

The rest of the opening acts for the FLVRHAUS album release did not disappoint me as I surfed that musical mindset tide. It’s hard to stay grounded in the music when you know you’ve got somewhere else to be. So there’s another bit of advice for you: don’t even try. Let yourself drift in and out of the sound. You can experience music in all kinds of ways and none of those ways is wrong.

Everyone yells at the FLVRHAUS show, that’s how you can tell it’s fun.

Letting the sound buoy me in and out let me hear all three openers and be pleasantly surprised as the strongest elements of each disparate sound grabbed me by the ears and pull me back into close listening. It was a varied show. The Highsides sound nothing like Molly Be Damned, but their quick, tight pace and their pleasantly jarring pauses caught me right back up in the punk rock mood. And when I heard the first jangling notes of Stranded Hikers’ “Hangin’ on the Telephone” cover, I couldn’t look away from the rest of their set. It’s okay to be distracted, as you certainly will be with two shows on one night because the music is there to drag you around as long as you let it. That’s the point of punk rock. It’s a bodily experience. It grabs you and throws you around whether you want it to or not.

This was no less true of the deep-down grunge sound that FLVRHAUS unleashed. This was where the real guilt began because my sense of distraction got higher and higher as we got closer and closer to when I knew Alien Boys would be starting their headlining set across town. I had to let go of that guilt, though, because FLVRHAUS was such a jam that I couldn’t not be there for it. I knew we were going to have to blast out the door before the applause for their final song even had a chance to start, but I could be there in the moment because of their sheer enthusiasm for the new CD they had just released. Their music was infectious, an echo of the dancing disease myth tells us spread throughout entire medieval towns. Advice nugget number three: don’t do two shows in one night unless you know the bands will be so good they’ll keep you invested no matter how distracted by timing you get.

FLVRHAUS has everything: flannel, grunge, a banner for a different band.

The thing is, no matter the investment, we did have to dash, and that meant missing the final act of FLVRHAUS’s night: Russian Tim and Pavel Bures. That was, at least in anticipation, the biggest stain on my guilty conscience. They are, possibly, my favorite band in Vancouver (I know I say this about a lot of bands, but it’s true every time). But here comes the fourth piece of advice: overbooking your evening with punk rock shows goes a lot better when you’re in a small scene and everyone knows each other. 

About halfway through my time in the Astoria, I found myself standing directly next to Russian Tim himself - a character you may remember from such films as that thing I wrote about Rocket From Russia FEST last summer. It was between sets and all my neighbors were tugging out their earplugs (since we are responsible adults who wear protection). Tim hugged me, which is not surprising because at a show where there’s Tim, there’s hugs. As he did, though, I told him, “I’m gonna miss your set! I have to go cover Alien Boys later, I have to get to the WISE Hall.”

Because punks are excellent people who are friendly and understanding and care about each other, Tim refrained from reinforcing my guilt. “It’s fine, I understand!” He said, hugging me again. “You’ll be here next time!” So we ran out the door and we missed that set. But you know what? Vancouver is not a large scene, and I’ll see Tim and his outrageously joyous Russian pop-punk again.

Outside the Astoria, it was a half block dash to my car, somehow in a legal and free parking space in Vancouver. This, my friends, is another learning moment. Your advice: if you have to do this, bring your automobile and a propensity for vehicular miracles, because the bus isn’t coming any time soon and it’s going to screw up your tight schedule.

With my extremely responsible driving, we made it to the WISE Hall in under ten minutes. Here, of course, was the downside of driving between two overlapping shows, and also of living in Vancouver. I absolutely parked illegally. Next lesson: it’s possible you may have to break the law during this process. But that’s okay. You’re a punk.

Look at Alien Boys’ god damn stage presence. LOOK AT IT.

The vast crowd we found outside the venue was a good sign. For those who are unaware: the mass smoke break means we’re between sets. I knew we weren’t going to miss any of whatever was happening next. I hoped to God it was Alien Boys and not some secret post-headliner I had also missed by not remembering to read some damn Facebook events before accepting assignments like a true professional.

We elbowed through a dense hallway and very nearly collapsed at the door. After the short “we’re on the list” hand stamp moment, which never fails to make me suddenly feel like a grown-up with a real job, we noticed another miracle.

I love any punk rock band with tiaras and you should too.

By sheer coincidence, we had arrived in the venue just as the five members of Alien Boys stepped onto the stage. About three seconds later, a few bars into their first song, I felt it. Two shows, one night: actually a great decision.

Because here’s the thing: I wouldn’t have missed that Alien Boys album release for anything. Though I didn’t know anyone in that bill, as I did with the crowd back in the FLVRHAUS crowd, the music was just as overpowering, the atmosphere even more shiningly surreal. With my vision lit up by string lights and chandeliers drifting across the ceiling and shifting stage lights my exhausted mind insisted had come to Vancouver by way of the fairy realm, I felt their charismatic energy and forceful, enthralling d-beat with my whole self. It was transcendent.

The journey there was arduous. It was a night of early-onset carpal tunnel from journalistic scribbling, of logistical Tetris and wild sprints between vehicles and venues. It tore me down into a blank slate onto which music could pour.

Would I do it again, for another double booked punk rock work night? Absolutely fucking not. Would I do it again for the soul of the music? You’re fucking well right. *(P.S. The friend was me all along. Obviously.)

Cae Rosch will never write two live reviews, a cover story, and an album review while editing a full magazine section in one month for her part-time job again because she will probably keel over and die. Follow her on Twitter or Instagram.

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#cae rosch #live review #joshua kingston #FLVRHAUS #alien boys #astoria #the astoria #molly be damned #the highsides #stranded hikers #Russian Tim and Pavel Bures #russian tim #the wise hall #wise hall

[metalindex-hu]

„Boundaries exist only to be broken”

„Boundaries exist only to be broken” - https://metalindex.hu/2021/07/14/boundaries-exist-only-to-be-broken/ -

The discovering of Greek Rapture was a great surprise for me. These young guys are delivering very intense, fast, but varied Death/Thrash Metal, with hints of Black Metal as well. Their third full length (Malevolent Demise Incarnation) showcases a very talented outfit. The answers have been given from guitarist/vocalist Apostolos Papadimitriou.

So, Apostolos, what are your views on the current Greek underground scene?

First of all, thank you very much for this interview! Regarding the Greek underground scene, I think that during the last 15 years we can safely say that it is at its best. Extreme Metal in particular has a lot to offer, with some of the best underground acts worldwide such as Dead Congregation, Embrace of Thorns, Death Courier and many more. Moving on to the thrashier side of things there are some amazing bands as well such as Violent Definition and Slaughtered Priest. Since we are all fans of Hardcore Punk and Crust, it should be stressed that the Greek scene is thriving on these genres as well. Check bands like Chaotic End, which is one of the oldest bands in this category but released a great album some years back, or Paroxysm and Cursed Blood, which represent a younger breed.

Would you say that Rotting Christ, Varathron, Necromantia, Septic Flesh, Flame put Greece on the map of metal? Do you consider them influential outfits?

Of course, their importance cannot be underestimated, especially for Rotting Christ, Varathron and Necromantia that led the Black Metal movement. But I would go ahead and add Death Courier, Septicemia and Sarcastic Terror, since they were bands that a lot of people used to talk about back then. Also, I have to say I do not know these by first hand, since I was not even born at that time. It’s information I have acquired by reading old fanzines, interviews, etc.

Please, tell us the history of Rapture so far: how did you get together, have you been involved in any other bands prior to Rapture, your materials etc.!

Rapture is a Death/Thrash band from Athens Greece, currently flying under the banner of the label FDA Records. The band was formed in 2012 and has since released 3 full length albums and various other spin-off releases. During these years the band has established a strong fanbase around the globe and has gathered a series of great reviews, especially for its 2nd and 3rd album. Some have even labeled this releases as modern-day classics of the genre. Moreover, these releases gave Rapture the chance to play gigs across Europe in festival slots and self-organized tours, and sharing the stage with some of the best acts of the underground and mainstream metal scene (Sodom, Vektor, Venom Inc, Stalker, Dead Congregation and more).

Apostolos

Since 2014 you have a stabile, steady line up; does it mean that you are on the same wavelength both musically and humanly? Is there a chemistry among you?

Yes, of course, that is exactly what it means. To be honest, I think that a great part of what we have achieved is owed to this fact. It’s amazing to have people that share the same vision for music (and art in general), touring and even for the way of life. We have been together for almost 8 years now and this has granted us an amazing bond both in terms of music and of personal relationship.

Are Nikitas Melios and Giorgos Melios brothers?

Yes, as their surname suggest. And this has contributed in the aforementioned facts of the previous question, as you can imagine.

When did you start working on your new album? How long did it take you to come up with new material?

In general, it’s safe to say that we are a hard working band, and there are always individual ideas of riffs or lyrics here and there. If I remember correctly, the first song was written right after an amazing gig at Izmir Turkey in April of 2018, which was only 3 months after the release of our second album Paroxysm of Hatred. I think that the whole album was complete a couple of months prior to its recording. However, a lot of ideas were born during the recording sessions as well, and they of course consist a part of the final product. We always experiment and let the compositions “speak” to us.

You entered the Eleventh Tower Studios again, like you did with the previous effort Paroxysm of Hatred. What do you recall of the recording sessions? Were you prepared to record the album?

As you can imagine, we were really satisfied with the outcome of the previous album in terms of production, that’s why we chose to work with Harris (the owner of the studio) once again. He completely understands our sound, our vision about music and he is always willing to experiment with different sounds, techniques and tricks. This has to do with the general “no boundaries” approach that we have as a band. It was a really fun process but really exhausting, since we all have other stuff going on such as university studies, jobs etc.

Are these songs full of hooks and satisfying songwriting?

Well, if this is what you think I won’t disagree at all, hahaha. Music is perceived different by each individual. I think that’s highly positive that you find the album full of hooks, because it firstly shows that you have listened to it closely. Moreover, it proves that there is a lot of information if you scratch its surface.

Does the band move between very fast moments in the vein of Solstice, Demolition Hammer, Sadus etc. and mid-tempo sections where creepy melodies and a thicker atmosphere seep in that are much closer to classic American Death Metal like Morbid Angel or Cannibal Corpse?

This is a pretty accurate description to be honest. All the bands you mentioned are hugely influenced us. However I have to stress something that I regularly say. Our music has no boundaries at all. We have a huge variety of influences that are based on what we listen to every day. These range from classical music and jazz to Extreme Metal and Hardcore Punk. But of course, it’s natural for some of these influences to be more apparent (especially bands like Morbid Angel and Demolition Hammer) since we play the genre of deathrash and these are basically some of our favorite bands regardless of what genre they belong to.

In your opinion the high-flying riffs and somber interludes working in tandem to create plenty of memorable moments? Is there a good mixture of paces and moods and the band’s grasp of dynamics and transitions is strong?

Yes, exactly. It’s really nice to have these “mood changes” in the compositions. And of course, the album is best listened as an entire piece of unseparated work. I think this goes for every full length album in recorded history. You have to listen the album in its entirety, the same way you would read a book in its entirety without skipping any chapters.

You flirt a little with Black Metal riffing on After Your Eternity, I Am Become Death or Herald of Defiance, but for the most part you focus on spinning out relentless and well-crafted Death/Thrash, only with tighter performances and more professional songwriting than before. Do you agree with it?

Yes, I agree 100%. And this has to do with the aforementioned facts about our influences. Moreover though, it has to do with how we vision our music. We aim forward all the time and we always want to push everything one or two steps further and higher. We always aim on expanding the variety of the compositions in terms of structure, riffing, and overall experimentations. According to our opinion this is the true spirit of extreme music, and extreme art in general. Boundaries exist only to be broken.

Are the songs built on heavy, meaty riffs and a startling degree of technicality in the musicianship, especially in Giorgos top-notch drum work?

It’s a huge part of our compositions indeed. We want to sound as tight as humanly possible. That’s also a key ingredient of true extreme music. Wanting to always sound better than your yesterday’s self. The highly technical drum parts and riffage are the result of relentless practice sessions. We despise the modern approach of “metal” bands that base their studio outputs on editing. You should always sound as great as you really are. And of course, the live performances MUST be better than the studio outputs.

Like its predecessor Malevolent Demise Incarnation shows no signs of weakness and presented as a direct album without any compromise. Did you develope a lot in terms of skills, songwriting etc.? Where do you find the differences (and/or the similarities) between Paroxysm… and Malevolent…?

To me, and to us it’s a true product of extreme human art, expression and mentality. I think the greatest difference lies in what each of the records wanted to sound like. During the Paroxysm of Hatred sessions, we wanted to sound like an relentless deathrash Armageddon. The difference is that in the latest album, the deathrash element is still apparent and consists the main ingredient, however we expanded our sound creating a more original musical identity.

What kind of feedbacks did you get on the album so far?

Up to now the feedback is great and really heartwarming. It’s really moving to see people from all around the world appreciating something that is basically our artistic offspring.

How about your future plans?

Currently the band’s plans consist of performing live across Europe (and outside of it) as soon as the situation allows it.

Apostolos, thank you for your answers! Any closing words for our readers?

Thank you so much for this interview and for this chance to speak to your readers! We will soon make it to a stage near you to unleash our Deathrash Misanthropy! ONWARDS TO TOTAL DEATH!

#interjú

[s-o-n-de-r]

A Rush of Blood to the Head: Sensuality and Substance in LIGHTS’ ‘Skin & Earth’ Era

Ruts and stagnation can be difficult to avoid for musicians as their careers progress if interest dwindles, labels lockdown, or plain old boredom enters the process, and you’ll hear it. 

You can flop, or you can go all out. For Canadian synth-pop trailblazer Lights Bokan (often stylized LIGHTS), she went all out.

Skin & Earth, the latest by the Timmins, Ontario native, doesn’t exist just as a music album. It’s also been given another life: Lights not only recorded the music but wrote and illustrated an entire comic series to go with it. She’s dabbled in the comic (and animation) world back in her early days with Audio Quest: A Captain Lights Adventure, but this is an all-in sort of endeavor.

It’s familiar territory for her long-time fans, though. Those who have stuck with her over the years have come to expect her to push creative boundaries, or at least keep things interesting. Some of those ventures include stripping away her electronics to make gentle acoustic versions of her albums, selling original paintings, or religiously making vlogs and doing livestreams. But even as far her records go, you won’t get bored transitioning from one to the other. Each has its own character, from the dreamy soundscapes of The Listening to the cold adventuring spirit of Siberia to the pep of Little Machines. Even her acoustic albums have different structure and depth from one another. If there was ever a musician that you wouldn’t expect to get stale, it’s Lights. When you hear her voice, there’s no mistaking her for anyone else out there.

This is the case for Skin & Earth as well. Even disregarding the whole other world that the comic series brings in, Skin & Earth is another distinct chapter in her discography. Skin & Earth is a totally different Lights – sexy and groovy and unapologetic. Literally, too, as she emulates the aesthetic of her comic’s main character En, most notably with scorching, fire-red hair. But it’s also just enough like previous albums that you’re not going to be totally alienated. This is a line she has always toed well.

The album eschews the baked-in dance and synth elements of Little Machines for drum-and-bass pop, songs with r’n’b rhythm and trap beats and vocal flow we haven’t really heard from Lights before. This isn’t to say that classic Lights elements aren’t there (“Giants”), but there’s a definite theme to Skin & Earth. In fact, some of the songs that embrace this new direction the most are the best on the album. “Kicks” is the catchiest, “Skydiving” is titillating and adventurous, and “We Were Here” is wispy and mysterious, a song for late-night drives. But Lights is no one-trick-pony. Skin & Earth features some innovative meanderings, notably the emotional and gentle “Morphine,” the sludgy “Savage” (featuring drumming from Twenty One Pilots’ Joshua Dun), and the big closing anthem in “Almost Had Me,” perhaps her strongest album ender yet. Skin & Earth wears its best qualities on its sleeve.  “Morphine” and “Moonshine” are clearly not songs about substance use, but rather, intoxication is the messages’ medium. “Skydiving” may or may not be about sex, but it easily could be. The primal, tactile nature of the album’s title feeds directly into both its musical composition and lyrical content.

Lights’ personal re-invention, from the scorching red hair to her new musical direction, commands the mythology of this album. Many artists conveniently stumble into re-defining themselves for new record cycles; Lights has done so genuinely and with more authority than others by bringing her fictional avatar to life. Again, it’s an all-in approach. In fact, so much about Lights’ aura on and off stage defines and tints her career. Her motherhood (she has one child, Rocket), her feminism, and her creative independence may not always have a direct, one-to-one translation to her music, but it impacts how you view and understand her music.

This is why her live sets are so attention-grabbing. There are few musicians who catch your eyes and ears like she does – perhaps Tycho, with their immersive analog synths and invigorating visuals, or Twenty One Pilots with their frantic passion, but it’s a short list. Somewhere between campy over-indulgence and apathetic boredom sits a sweet spot for live performances, and Lights is part of the 10 percent or so in that sweet spot. Awash in vivid red, purple, and blue lighting, she played a range of songs from Skin & Earth and Little Machines, while alternating Siberia’s “Flux and Flow” every other night. On this tour opening for PVRIS, you won’t find many deep cuts or acoustic sessions or anything from The Listening era, which is unfortunate because those deeper paths through her catalog are the true Lights experience, usually relegated to headlining slots. In fact, the idea of her opening for PVRIS really shows the craze that band has cultivated and tapped into, even when Lights was halfway through her career when PVRIS started playing shows.

Her contrast with the moody and dark electro-rock band might seem counter-intuitive, but the juxtaposition is actually what separated her and made her distinct, especially with the aforementioned brawn of the new songs. Many of her songs are meant to groove to, and groove to them she does. She actually gets away from her keyboard and roams the stage more frequently than she has in the past – a good step for a show that is primarily carried by the strength of her unmistakable singing voice.

It did feel strange only getting a relatively small section of her discography after having experienced years of buildup from early tours packed with songs such as “River” or “My Boots,” but that’s the way these things go. Skin & Earth deserved the majority of her set list anyway, not just because it’s her brand-new record, but because it lives on such a larger scale through the comics.

The staggered release of the comic book issues (a few came out before the album, and a few are still due to be released) helps keep attention and interest alive in a way that’s useful and entertaining for the instant-stream, now-now-now music world. New issues give people a reason to go back to the album even after digesting it. But it will be interesting to see where the whole Skin & Earth package, from all comic issues to the album to the effervescent artist herself, is in another six months or so. In the meantime, there are still a few dates left to her tour with PVRIS where you can experience that whole package.

---

Article and photos by sonder editor Andrew Friedgen. Like this? Sonder is an independent music, travel and photography publication at sonderlife.com. Give us a follow here or at our Twitter, Instagram or Facebook if you like this!

SEE ALSO:

All of our photos and features from PVRIS’ 2017 North American tour

Retro vibes and neon drizzles from Los Angeles-based Party Nails

Our complete list of bands we’ve photographed

#lights #lights poxleitner #lights bokan #pvris #bands #band blog #features #Lightspht2017

[hetmusic]

Q&A with BATTS | HumanHuman

BATTS (aka Tanya Batt) is one of those slow-burning discoveries that we’ve had on the HumanHuman radar for the past three years; from the moment Blubb Blubb (fka The Indie Curator) added BATTS prior to the release of her official debut “Morals” to her transition from electronic towards an indie-folk sound.

Photo by Michelle Grace Hunder

One of the first to write about this Melbourne talent from the HumanHuman set was Hillydilly, who noted “Tanya's truly captivating vocals,” that “appear in spellbinding fashion” through a production from Ficci, the artist’s long-term collaborator. The agrees continued to pour in with each astronomical creation, such as “Kiki” and “Lie To Me”, until the Australian musician was finally labelled as a Promising Discovery eleven months ago. Since then, BATTS’ sonic horizons have begun to expand, as heard with ambient single “For Now” and singer-songwriter style track “Little White Lies”. With the conscious decision to take a break from working with UK producer Ficci, Tanya Batt is on a journey to find a sound that is completely herself. With an EP on the brink of release, it’s time to rediscover BATTS.

Let’s jump straight in and start by talking about your newest single “Little White Lies”. It’s noticeably folkier than your earlier material, what’s sparked this sonic change?

I think it was only a matter of time before this happened. I actually started out with more folk indie stuff when I first started making music under a different name. The main reason for the change was that I was really unhappy and wanted to quit music. I love the stuff I made with Ficci and he is one of my favourite producers and collaborating with him was the best, but I listen to folk singer-songwriter stuff every single day and that’s the music I’ve always been inspired and influenced by. I wrote so much at home on my guitar and wasn’t doing anything with it, and I just wanted to start making stuff that was 100% me and what’s inside my mind. Electronic is really cool but it’s not really who I am. I’m really happy and inspired at the moment within music and it’s a great feeling.

It’s quite a forlorn song, considering topics of deception, death and disappointment. What does this song mean to you?

“Little White Lies” is a strange one, I was listening to a lot of Andy Shauf at the time I wrote this and it kind of just all came out at once then I listened back to the lyrics and was like, oh ok. To me, I think little white lies are as common to humans as breathing these days and the song is about wanting that deeper conversation and to confide in others etc. The line in the second verse, “I stopped breathing as a child, found blue within my cot, when my mother found me her heart must have stopped” is actually me sharing a secret with all my listeners, I guess.

As with your other recent track “For Now”, you’ve moved on from working with long-time collaborator Ficci. Was this in pursuit of a new sound, or because you’d felt your co-creation had a reached a natural end or another reason entirely?

It’s a bit of both of those, I guess. It’s really hard making music across the oceans with time differences and we move at very different paces. I was playing it live and just really hated having a laptop on stage with myself and my band. That was a huge thing for me, it felt like this lifeless thing on stage taking away from our live element and I really wanted it gone. I think that’s when I really started realising as much as I love creating with Ficci and I hope will continue to have the opportunity to sing on his songs in the future, electronic music as a package isn’t what I wanted to be creating under BATTS. I wanted to be more honest and have more trust in what I was just writing at home by myself.

While working with the British producer, you had to communicate across time zones and the Internet, so I’m guessing that the online music world is important to the way you make music?

It definitely was! The online music world was a huge platform for Alisdair (Ficci) and I, it’s pretty incredible how many platforms electronic music has compared to say folk music. All the YouTube platforms are huge too! I think it can be pretty easy to break into the online electronic world quite fast; however, there is a lot of content constantly coming out, so maybe it’s harder to stay relevant? I’m not sure, I definitely wasn’t in it long enough, it’s just not really where my heart lies. I love the whole singer-songwriter world. Now, my favourite thing is that I get to disconnect from the online world a lot more and just sit with an instrument and write and then take it to my band and all bring it to life together. No better feeling than that.

What’s your favourite song that you and Ficci recorded together? And why?

This is a hard one, I’d say “Morals” because it was the first and there is something really special about it and I remember writing it whilst living in North Melbourne in a share house of seven people. I had this window sill that overlooked the city and I remember when he sent me the first mix and I sat and looked out over Melbourne and felt so happy with what we had created together.

Of course, you also happen to live in Melbourne with it’s vibrant music scene. What’s the last gig you went to in your hometown?

It definitely has one of the best music scenes ever. Well, I haven’t been to a gig I haven’t played in a while, but I’ve kind of been touring every weekend since March. I did however play a gig a few weeks ago with a guy called Didirri who is this young incredible songwriter, definitely recommend looking him up.

Hayden Calnin, Braille Face, Matthew Kenneally, Robert Muinos, Christopher Coleman Collective, Canary, Oh Pep!, Al Parkinson, Ainslie Wills, The Teskey Brothers, nyck, Didirri and Magnets. Seriously I could go on forever, the talent in Melbourne is ridiculous.

In an interview with Smoothie Tunes, I read that you often take inspiration from novels, finding it easy to place yourself in another’s perspective. It reminded me of Iris Lune’s “Sewing Skylines to Shores”, where they imagines the emotions surrounding Sylvia Plath’s suicide. Is there a particular writer or character that you would love to write a song about?

Great question, thanks also for doing so much research, it’s really refreshing answering well thought questions. I’m currently reading The Bell Jar by Sylvia Plath, so funny you should mention Plath. My favourite book is a book called Stoner by John Williams, and the main character William is someone who has stayed with me since I first read it. It is quite a sad book, but I have such a love for him that I re-read it all the time just because when I do, I feel maybe he isn’t as alone and plus I genuinely miss him if I haven’t read it in a while. I know I’ll probably write a song about him one day.

Possibly, this perspective transferring ability came from a childhood as an actor, so why did you switch to music?

It just got to a point where it was one or the other, they both take everything you have and I really wanted to progress within my knowledge and ability with music and writing etc and I wanted to dedicate all the time I had to that. So, I made a choice and I have not regretted a single second of it.

Would you ever be drawn back into the world of acting?

Oh definitely, one day.

Aside from novels, which other materials do you draw creative influence from?

Space is a big one - the beauty, destruction, uncertainty and unknowing of what happens out there and what is out there fascinates me. It’s all very magical and the visuals of it really inspire me plus just the stuff I watch and read about it. Obviously, other artists influence me a lot too and Ghibli movies tend to inspire me a lot.

I’m aware that you’re particularly fascinated by the natural music made by stars and planets, do any of these recordings feature in your music?

Let’s just say my EP will be out later this year.

As previously mentioned, your debut single as BATTS, “Morals”, was released two years ago now. What have been the most significant changes in your life since then? Do you think your music has evolved as a result?

An insane amount has happened in this time, my life has changed a lot, within music and just life in general. I’ve learnt a lot about myself and the music I want to create in that time. I feel like I’m really comfortable within where I am now and confident within knowing what I want to create. It’s a nice feeling. I’ve been doing music for a really long time and it can take a long time to work out what kind of music you really want to create and I finally feel like I’m there. I have a few of my closest friends to thank for helping me get to this point.

“I’ve been doing music for a really long time and it can take a long time to work out what kind of music you really want to create and I finally feel like I’m there.”

Okay, time for the big question - where do you see yourself in the next two years?

Still wishing for a holiday. I mean within two years I should have finished and released my debut album and have played shows overseas, I 100% plan to head back to the UK and play some shows there next year. I’m from England originally, so would be real nice to play some shows in my other home. That’s definitely the goal.

Looking a little less far into the future, what do you have planned for the rest of the year? More live shows? Perhaps some new music?

It’s funny with this career, because you put these odd timelines together that span over like a whole year or more, and of course, some things change, but yeah for the rest of this year my debut EP will come out and I’ll tour that. Then I’ll be going away with the band to start working on the album, but in the immediate future I just can’t wait to share the EP with everyone.

https://humanhuman.com/articles/interview-with-batts

[thebandcampdiaries]

Strike Boogie - Who I Am

Strike Boogie is back on the scene with a new single…and a new EP! The track is called “Who I Am,” and it features on “Neurotic EP,” with a serious selection of outstanding tracks.

One of the most remarkable aspects of Strike Boogie’s music is definitely the fact that he is very hands-on when it comes to his creative vision, often adopting a DIY spirit with his musicianship. In fact, Strike Boogie actually focuses not only on performing, but also on producing, writing and even composing and arranging his music, and “Who I Am” is no exception! 

“Who I Am” The first thing you’ll notice is certainly the high quality of this production, in terms of sonic aesthetics. The instrumental mix is balanced and direct, with a really deep low end and a crunchy mid-range that adds a lot of excitement to the track. In addition to that, the treble range is smooth and bright, adding a lot of silky edge to the mix, and allowing the vocals to really pop to the forefront of the mix. The song begins with a beautiful ambient introduction, and some amazing vocal layers, with harmonies that make me think of artists as diverse as Frank Ocean and Glass Animals, just to mention a few. The track has some amazingly sombre atmosphere, and the beat creeps in slowly but surely, adding more power and groove to the song as a unit. Strike Boogie’s vocals are soulful and amazingly catchy, with a sound that makes me think of artists such as The Weeknd or Miguel, but also legends like Prince.

In terms of songwriting, this release is particularly outstanding because of the deeply personal themes of the lyrics. Even if you just consider the title, “Who I Am” is arguably a very personal piece, which combines witty verses with uplifting hooks, to the tune of a pleasant and remarkable instrumental track, that will leave you wanting more. Strike Boogie has developed a unique ability to merge powerful lyrics, with one-of-a-kind instrumentals, highlighting his versatility as an all-round great musician.

This is going to be a great release for any person who likes innovative music with a powerful sound and an inventive twist that welcomes creativity and sonic experimentation!

This sound has a cool feel, which actually transcends many different genres and definitions. From classic hip-hop and R&B influences to electronic, industrial, and even ambient.

Find out more about:

https://open.spotify.com/artist/18gpQZg3Zkn6Z9TmF2SwJu

We’ve also had the chance to speak to the artist for a cool interview! Keep reading to learn more:

I love how you manage to render your tracks so personal and organic. Does the melody come first, or do you focus on the beat the most?

Answer: I weigh that the majority of my music starts at the melodic stage of production. I find it crucial to establish the mood and the melodies I compose are quite methodical in the arrangement, as innate as it may come to me at times. However, at the conceptual level, both come to me simultaneously as a hip hip/drum & bass head and I constantly beatbox and sing aloud (to myself). That is where the true magic lies, within my natural element.

Do you perform live? If so, do you feel more comfortable on a stage or within the walls of the recording studio?

Answer: I have performed live in the past, many times with older works although I feel much more in my skin and energy with my latest discography collection in which I self produce and it feels much more cohesive as a result. I feel like both studio and live performance carry a different presence that I can channel, respectively.  In the studio, I feel like I am in my Maynard James Keenan vibe and like to be isolated and alone in my recording & sound production process. On stage, I feel myself come to life as I begin to channel a jazz performer’s delight bringing forth something unique with each act, not one being like the other. That may be in part of the theatrical performer in me that shares the love for stage presence.

If you could only pick one song to make a “first impression” on a new listener, which song would you pick and why?

Answer: Tough call. I was going to say What They Do by The Roots, but after thinking about it... it has to be Fanmail by TLC.

It was a game-changer for me that a song so before its time came out in the earliest of 2000s. It carried the industrial hard-hitting elements that are felt in my production. The vocals are just astounding, both in the arrangement and the signature of sound. The writing is sharp and bold while leaving a gap for imagination which I admire in songwriting. And finally the overall dynamics of the song with a computerized voice intro atop a melodic future soundscape that hits you so hard like rock songs do when the drums get their first crack, along with the transitions and the overlaying message in the form of a powerful statement to the press by the late Lisa Left Eye Lopez as the song's breakdown, alongside the sweet highs and edgy timbre mid lows of Chilli & T-Boz throughout.

The song could be played today and still be relevant. Timeless music will always be my approach to new listeners.  

What does it take to be “innovative” in music?

Answer: Taking in all genres of music while embracing the love of sound. Finding what makes you tick boxes in all of what you heard, including mainstream music which has its place with reason. And deciding to break the formula, casting all fears of rejection and resistance aside to create something genuine and refreshing. Exercising your unique style until you can cast it like magic and execute it in a way that can stand aside any mainstream hit out there without the pressure of selling out for sake of attention or clout. It takes way more than just a beat programmer and a carbon copy vocalist to create true art that transcends time. Every artist that has ever been considered timeless at one point or another create something that broke the glass ceiling. Music has shaped lives and infrastructures of society in ways that we still do not understand. Music is powerful like that!  

Any upcoming release or tour your way?

Answer: NEUROTIC is my second and upcoming musical EP installment from the classical jazz piano solo EP that was The Missing Key, released in December of 2018. Although it is not confirmed yet, in 2020 I do intend on making some form of live presence with this album that also involves my many fronts in the arts & entertainment industry. This is all that I will say for the time being.

Anywhere online where curious fans can listen to your music and find out more about you?

Answer: Please check out the StrikeBoogie.com website to stay connected and updated. I am currently the most active on Instagram (@StrikeBoogie) & on Twitch (twitch.tv/strikeboogie) for my first season segment of Live Art Jams! And finally I am on all major music streaming platforms, all which you can find links for by typing in 'Strike Boogie' or by visiting StrikeBoogie.com! Thank you.

[recommendedlisten]

To its credit, 2019 has taken a much different path and feel to its start than recent years in music. There has definitely been more than enough to appreciate, but if you look through these first three month’s of recommended listens, it’s held with it a unique way of intriguing us with albums by artists on the rise and breaking out, those of familiar faces reinventing themselves, or some mastering what they’ve always done exceptionally well. There’s plenty more of that which this one-human writing operation didn’t have a chance to elaborate its admiration for on initial release. With a fresh season in swing, here’s a dozen more listens that will help you soak in the longer stretches of daylight in the coming months.

American Football - American Football [Polyvinyl Records]

American Football's music holds a magical conjuring to it that elicits cozy desires of the purest emo feels. The band is two decades removed from the hallmarks of their 1999 genre-defining classic debut, however, and as with all things in life, time has changed them, and that’s especially evident on their fully grown third eponymous effort. On American Football, Mike Kinsella and company leave home, but don’t forget where they’ve come from. Lyrics reflect on adulting with a worn out twinkle of the eye in a way that sees the past, but move on from living in it. The sonic sphere of the Midwestern scene heroes has shape-shifted according as well -- No longer concerned with deciphering ornate arpeggio patterns of long division inside insular spaces, and instead expanding the vantage point over gorgeous, lush-flowing atmospheres of post-rock. Voices of Paramore’s Hayley Williams, Slowdive’s Rachel Goswell and Land of Talk’s Elizabath Powell make apparitions inside Kinsella’s daydream realities as well, and with that, American Football find a new world of somber comfort to live in.

Angel Du$t - Pretty Buff [Roadrunner Records]

True punks embrace change, and Angel Du$t are a very good example of moving beyond the comfort zone boundaries. The Baltimore band, which began somewhat in the fashion of a supergroup led by Trapped Under Ice’s Justice Tripp, fellow TUI bandmate and frontman for Turnstile in guitarist Brendan Yates, his ‘mates in drummer Daniel Fang and rhythm guitarist Pat McCrory, as well as Jeff Caffey of Mindset, has turned the corner of throaty melodic hardcore heard on their 2016 debut Rock the Fuck on Forever, and head first into jockish feel-good pop-punk jams with their sophomore effort (and first since signing with heavy-hitting major Roadrunner Records) Pretty Buff. Stripping down amps in favor of crunchy power-pop bliss radiates positivity throughout their music. At any point, these songs can become love odes to a human as much as they can be a fur friend, with Tripp’s positive glee.being the kind of thing that ushers in the upcoming days where more warmth and daylight has a funny way of making you appreciate everything around you a tiny bit more.

Ariana Grande - thank u, next [Republic Records]

It’s somewhat of a shame that Ariana Grande’s fifth studio album thank u, next has arrived so soon on the heels of last year’s blockbuster Sweetener, because we didn’t even have a chance to get sick of. What’s different here, though, is that while thank u, next’s hit singles have led the charts in abundance, these jams are more so a testament to her stylized staying power, art of the mood-making, and consistency in craft rather than the big production immediacy of what songs like “no tears left to cry” or “breathin” blew out of the speakers. Essentially, it’s a suitable bookend to its predecessor from a different point of view -- A comedown, if you will, to the glitter and stardust where Grande meets her old nemesis heartbreak once again in the middle, and this time around, challenges the way it shapes her expression. There’s a reason why Grande has been adorned this festival season’s pop crossover headliner, and it’s because albums like thank u, next defies the mainstream’s conventional wisdom.

Better Oblivion Community Center - Better Oblivion Community Center [Dead Oceans]

It was so obvious and almost too good to be true, yet we set our expectations to disbelief. Better Oblivion Community Center, however, is the secret gift given to us by kindred songwriting spirits Conor Oberst and Phoebe Bridgers we should have seen coming all along. Bridgers, a spry 24, is the student mastering the art of veteran Oberst’s long lineage of sad eyed songwriting, and that they had toured and collaborated occasionally with one another before unveiling their self-titled debut was an early indication that this creative bond was formed for the long haul. Leaning into each other for their journey into the unknown, the two bring out each others’ best, which is a testament to Bridgers’ rising star as a contemporary vanguard and a redemption for Oberst, who has been finding his way back to himself slowly since putting his Bright Eyes days to rest. Songs wield in cryptophasia, with voices mutually pitied and political in their shared perspective, while chords tumble in the same key. It’s pure craft, because of how real they’ve always kept it.

Girlpool - What Chaos Is Imaginary [ANTI-]

There was a time when Harmony Tividad and Cleo Tucker’s sights were merely set on their world getting bigger, but with Girlpool’s third studio effort, the duo have ventured into an expanded universe of promising new patterns in their continuous evolution as artists and individuals. What Chaos Is Imaginary is the natural progression forward from what their 2017 sophomore effort Powerplant generated in melancholic electricity. Tividad’s songwriting blusters in dreamy swaths of reverb, and although the stories told only become more opaque in their synthetic texture, it’s fitting for the outer body experiences they indulge. Tucker on the other hand is becoming comfortable with their hands, with LP 3 being the first release since they began transitioning and discovering their own sure footing in brittle indie rock honesty. We’re witnessing both Girlpool members come into their own elements here, and having each other’s backs every step of the way only reinforces that growth.

Hand Habits - placeholder [Saddle Creek]

Meg Duffy has spent many years playing an important hand in crafting other people’s music inside the studio (they have worked alongside Kevin Morby and Weyes Blood), but on placeholder, their breakout sophomore effort as Hand Habits, all attention goes into both their own words and sound in a warm-lit display of tumultuous memories stretched across the canvas with an ease that juxtaposes their difficulty. Akin to their new Saddle Creek contemporaries Adrianne Lenker and Tomberlin, Duffy knows their way around every detail in the moment in the same way they know how to ornate them through rustling folk guitars, a vocal calm, and burning ember production that sweeps beneath this collection of songs’ melancholy pacing with just enough lasting impression to keep them in the corner of their rearview vividly. It’s not necessarily moving on, but rather sitting with these emotions where Duffy processes them the most through their creative identity.

HEALTH - VOL. 4 :: SLAVES OF FEAR [Loma Vista]

The way HEALTH has evolved from being one of the most aggressive experimental noise acts into that of a blown-out industrial complex has been a rewarding part of their allure over the years Their 2015 effort DEATH MAGIC was arguably thei band’s largest shift away from dense layers of sonic collision and creating noise for the sake of, as they began to emboss pop vocals and the impact of EBM into their sound with an effect to match the pulsating gristle of their live show. VOL 4 :: SLAVES OF FEAR is the Los Angeles trio’s full commitment to that side of their creative identities, as the listen -- while still devastated by crushing drums and industrial pile-ons -- is onset with a glossier coverage of rock textures as well as a heavier focus on movement. It’s also elevated singer Jake Duzsik platform on their earth-rattling surface, as his hollow echoes lead HEALTH further into the downward spiral of their nihilism, enjoying the free fall rather than trying to fight it.

La Dispute - Panorama [Epitaph Records]

La Dispute’s wilderness of post-hardcore isn’t the easiest to navigate. For years, the Michigan quintet have been of the most intentionally experimental of “the wave” alongside the likes of Touche Amore, Pianos Become the Teeth, Defeater and Make Do and Mend in a sense that makes it easy to conceive them as the scene’s answer to a band making their own Radiohead-like trajectory. Panorama, their fourth full-length effort, is another dense, complex exploration into the nuances between dead silence and deafening blows, again seeing its ebbing arpeggios, percussive footsteps, and angular detours polished into knifelike maneuvers and expanded into widescreen view by producer Will Yip as their first album for punk vanguard Epitaph Records. Despite its big picture feel, Panorama is deceptively focused on more intimate ruminations concerning love, death, grief, and existential relief. As vocalist Jordan Dreyer narrates his trek from points in Grand Rapids to Lowell alongside his partner, we meet the faces of each, though often they’ve been familiar to us all along.

Lomelda - M for Empathy [Double Double Whammy]

Where we last left Lomelda’s Hannah Read was in the pursuit of outward-seeking connection in the midst of wanderlust on her 2017 breakout Thx. Its follow-up may be a departure from that quiet grandeur, though what’s most curious about a return by the Los Angeles-by-way-of-Austin songwriter to tape deck bedroom folk lore is how it also suffices to compliment a flip on perspective from the other direction. M for Empathy, a brief 16-minute-long listen, isn’t short of inward inspection on the matter of better understanding one another in many directions, and given a deeper appreciation for it thanks to her time on the road. This mental homework performed by Read is done justice in its humbled environment of tender acoustic strums, warm key hums, and memory fragments. Just as she knows how to make the most of these simple strengths, she knows herself better, too.

Nanami Ozone - NO [Tiny Engines]

Let’s be honest: Today’s young indie rocker are very much going to the well one too many times in reappropriating alternative’s golden age, but at least Nanami Ozone are breathing their influences in a totally different atmosphere. NO, the sophomore effort from Nanami Ozone, is a borealis of bliss. By now, we’ve heard punks do their best to reinvent the wheel of dream-pop and shoegaze to an exhausting degree, but what the Arizonian quartet are doing the most here are is searching far beyond the static to make it sound both loud and colorful. That they’ve two vocalists to lead these distortion waves through that polarity in guitarists Sophie Opich and Colson Miller is one aspect of it, but collectively alongside bassist Jordan Owen and drummer Chris Gerber, NO is multi-dimensional in its ‘90s pillaging of big riffs and feedback, equal parts indebted to the Breeders knack for noise pop, Sonic Youth’s dark mazework, and the psychedelic haze burning off Swervedriver. It’s heavy with an objective, and anti-gravity when emotions take the reigns.

Nothing - Spirit of the Stairs -- B-Sides and Rarities [Relapse Records]

The sound of Nothing now exists in a plane within this music universe beyond the heavy shoegazing punk of the Philly band’s formative years. Last year’s great third full-length Dance On the Blacktop was evidence of how the quartet have maximized an already loud sound to fill the void with bigger production cues and reigning control over reverb in a way that can make deathly quiet moments feel just as huge. Appreciating the steps made from getting to point A to point B is thoroughly documented on Spirit Of The Stairs – B-Sides & Rarities, a collection of demos, live outtakes and covers of songs by Grouper, Low and New Order that the band has amassed since their early years until today, and now collects itself as an essential listen for any listener of their work, be it longtime or someone being introduced. Hearing the bones rattle on some of their more recognizably fleshed out listens colors Nothing’s catalog in new shades of darkness while shedding light on its depths.

Solange - When I Get Home [Columbia Records]

Solange’s 2017 soul-baring standout A Seat At the Table was a contemporary R&B pop masterpiece that demanded a voice for women of color amid the white noise of volatile world, and was executed with such pristine songwriting precision that it was undeniable to ignore. With her fourth studio effort When I Get Home, Solange is setting her soul free, however, as she escapes into an experimental sonic revelation obscured by the fragments of its many Houstonian fingerprints she’s pieced together in mosaic fashion that feels fittingly reactionary to its predecessor. Here, she crosses a 19-song-long universe in just 38 minutes time through production that’s locally sourced and rooted in chopped and screwed samples, cosmic jazz free flows, and futuristic hip-hop. Appearances by the likes of Earl Sweatshirt, Tyler, the Creator, Steve Lacy, and Pharrell are masterfully complimentary, yet barely visible against the backdrop of her black energy, which the listen wholly beams even if refracts in the light.

#lists #american football #angel du$t #ariana grande #better oblivion community center #girlpool #hand habits #health #la dispute #lomelda #nanami ozone #nothing #solange #features

[sightsoundmusic]

EXCLUSIVE: Joshua Powell Talks Indianapolis, Stoner Jams & David Lynch

Written by Luke Jaggers

Over the past month we here at Sight & Sound have been obsessed with a singer/songwriter by the name of Joshua Powell. He sent us over his 2019 release entitled Psycho/Tropic and we’ve been enamored with it. We wanted to reach out and get an exclusive look into his life with the band and what he’s looking to accomplish in 2019. We hope you enjoy this interview and his album as much as we did.

In Jaye’s video about your album, you were compared to artists such as Bon Iver, Ben Howard and Sufjan Stevens. I personally hear some From Indian Lakes as well, but my questions are what do you think of those comparisons and also what influences you?

Joshua: I'm cool with those comparisons, especially with Vernon and Stevens because those two have indelibly influenced me. The fact that both of their careers are rooted in lyric-heavy folk tropes that were compounded upon and extrapolated across their discographies. I've followed a similar trajectory and am no stranger to their work. I've only heard a half dozen tunes from the other two artists you mentioned. I don't love 'em, but I like 'em as a friend. My art intake is real heavy and broad, so each record sort sort of has its own council of influences. The ones that have made the longest and deepest marks are Bon Iver, Kanye West, Neil Young, and David Lynch.

That’s interesting that you note David Lynch as an influence. Specifically because a lot of bands don’t look towards other mediums of art to influence their music. Especially after listening to your album I can definitely hear those influences to other pop culture. Is that something you think about deliberately when making your music?

J: Absolutely. I was drifting toward disenfranchisement with music as a medium because of its inherently bifurcated medium of consumption. With music, you make recordings, or you perform live. I was spending a lot of time with other non-musical artists who, it seemed to me, had a much more inspiring, cosmic, holistic view of art. My friend Emily talked to me over a diner breakfast about the body of a dead bat she found for like half an hour. I was enraptured. Turns out it was too small to taxidermy, but the ARTIST (vs the musician I s'pose) sees art everywhere. That's much more sustainable an MO if you ask me. So yes, I'm looking at a lot of cinematic surrealism and horror, reading a lot of classics and philosophy, going to galleries--the creative principles are super transitive if you have an open spiritual ear I think.

With a project that’s so expansive as Psycho/Tropic the production really shines all over the album. Who recorded your album and what was the recording process like for you?

J: Thanks! I think so too! Jonathan Class produced, as he always has for me with only a few exceptions. We worked at Varsity Recording Co. in Anderson, IN, where both of our music careers germinated. I worked with my brothers Jacob (drums) and Adam (guitar), my bandmates with the longest tenure. Their fingerprints are all over the arrangements. Working with Jon is always a total dream because he interprets my visions really accurately. And he becomes the extra band member in the studio. We're also all total goobers and hanging out was effortless. We took our time with it more than we ever have, and that extra care I think really translated into the end product.

Speaking of Indiana, seems like right now we’re seeing a lot of talent get picked up from here and getting noticed. Do you think Indiana is a good place for musicians to create?

J: *laughs* I know, right?! We're coming out of the woodwork! Someone from Wisconsin said the same thing to me the other day! The short answer is hell yes. I believe the Midwest is having it's meta-modern renaissance, and Indy's jockeying to be its palpitating heart, man. If you have an idea, you can make it here. Every month the culture gets weirder, richer, more diverse, more hospitable. The other day I was talking to my poet friend about the Midwest - He was so excited about what was happening in the DIY music scene here, and in the indie booksellers, the small print press and he talked about the vibration that these full rooms have been emanating--this idea that "Something good is about to happen here." And I think that's the spirit of the Midwest. We work hard and we keep hope. We know what we look like sometimes, when our potholes and grey days are held up against the shining LA lights and the happenin' ATX thrall, but we believe in our own capacity, and we trust that what's happening here is real, and big, and good. Every time I think I have a handle on the local scene here, another door opens and I realize just how much is being MADE here, by all sorts of folks. It's the most inspiring place in the world to someone with the right mix of creative pension, inner light, and grit. Shit, I'm getting evangelical over here.

What would you say to someone that's never heard your music before and they're about to listen to it for the first time?

J: If it's an older person, I say, "imagine Neil Young songs played by Pink Floyd." If it's a younger person I say, "It's stoner jams for English majors." I think one of the selling points of our band is that you can listen to it with whatever level of intentionality you bring to the table. I'm told it works as background study music. Some of our heaviest songs lyrically are built to be summery sounding anthems or uptempo rock toe-tappers. But it's also built for repeated listens, in headphones or studio monitors, lying in bed with your eyes closed, or with the lyrics in your hand and a highlighter for annotating. There are layers built into everything, from the connotative references in the lyrics to the way the production elements are panned. It's super deep if you want it to be. But it's also just rock 'n roll.

What do you hope to accomplish in the near future with your album already releasing earlier in the year? Tours planned?

J: Recently, thanks to the help of people like yourself, we're doing the most extensive press campaign we've ever done. Trying to cull fans from the internet because I'm told that's the happenin' place to be these days. But we also, just this week, acquired a new tour van by the fiscal grace of our darling fans who raised over 6k for us on GoFundMe. So starting in April, we're back to hitting the non-digital streets. We have tours planned so far this year with The Outside Voices, Sylmar, and Mister Moon, as well as a busy summer festival schedule, and more plans looming in the lessening shadows of the autumn. We want to bring the new record to as many physical people as we can afford this year, before we start the whole cycle over again. Shaping up to be a busy and beautiful year, and we're excited to keep building on this framework. We also just booked our first national television appearance on PBS that we're shooting in March that will be syndicated everywhere, along with some other great bands like Mike Mains and The Way Down Wanderers, so keep an eye out for that!

I just wanna say personally that your music was such a surprise and we’re so excited to share it with the Sight & Sound audience. Thank you for reaching out to us and sharing this absolutely incredible album with us!

J: Dude! Thank you so much! So pleased y'all connected with it, truly. Thanks for being down to help us spread the word, it makes all the difference.

Psycho/Tropic by Joshua Powell is available on all streaming platforms now.

https://www.facebook.com/joshuapowellmusic/ https://twitter.com/JoshuaPowellGTR

#Joshua Powell #Indianapolis #Pscyho/Tropic #Stoner #Vibes #Music #Indie

[onestowatch]

Jump into Your ‘Superdream:’ Big Wild Talks Debut Album & Finding His Voice [Q&A]

Producer, composer and first-time singer Big Wild just released his debut album, Superdream, thereby establishing his individuality as a standout artist. 

Superdream is an incredible product of self-discovery, seeing Big Wild weave disco and funk elements to create a rich and unique soundscape inspired by personal experiences. The album exudes a vibrant and celebratory energy, capturing listeners in a psychedelic fusion of distinctive instrumentation and technique. While the album includes incredible collaborations with Rationale and iDA HAWK, the voice most heard is Big Wild himself, guiding listeners through his atmospheric production. First-time singer Big Wild uses his voice as a way to fully express himself and break creative barriers. Having sold out Red Rocks Amphitheater and performed festivals like Lollapalooza, Bonnaroo, EDC, and CRSSD, this album has the ability to not only engage the masses, but also comfort the solo wanderer.  

We caught up with Big Wild in the anticipatory days prior to the album release and touched on his excitement to start his epic 17-date headline tour across the US. Be sure to catch any of his upcoming shows here.

OTW: How did you get into producing? Is there a moment you can pinpoint that hooked you?

Jackson: I’ve been producing since middle school. I first got into hip-hop and producers like Dr. Dre, The Neptunes and Timbaland, really anybody who felt like they had a unique sound. I actually played trumpet early on and never really loved it. It wasn’t until I was making beats and had the ability to create an entire song and have endless creative freedom that I really got hooked on music.

OTW: You’ve been releasing music for 5-6 years? After all your hard work, your debut album Superdream, just came out. How does that feel?

Jackson: It feels really good. I just wanted to get it out, I want people to hear the whole body of work and understand where I’m going musically. I really can’t wait to tour this new music and take the show to the next level. 

OTW: “Maker” is a personal favorite, is there a story or inspiration behind that song?

Jackson: I’m glad you like it! I have always really liked disco and funk music. For the production, I wanted to create something with psychedelic elements, almost a fusion. The lyrics actually touched upon parts of my life, right before I moved to California, when I was diagnosed with thyroid cancer and had to undergo some surgery. I was really fortunate in the grand scheme of things but, at the time, it put my own mortality and faith into perspective. The song is about realizing you’re not on this Earth forever, so really love and enjoy the life you have now. It’s a celebration of life and puts a positive spin on a relatively dark period in my life. I wanted to write it in a way that is relatable and open for people to interpret. I think the theme can work its way into people’s lives in many different ways. 

OTW: It’s such a subtle, beautiful message that really teaches listeners a bit more about you. 

Jackson: Yeah, the same goes for the whole album. Each song is routed in something that I have personally experienced. When I was having trouble coming up with ideas, my girlfriend suggested I write about what I’ve experienced. It helped me build a full album of music that I feel connected to, not just an abstract thing I can’t understand. I wanted the music rooted in what I really know. 

OTW: Are there any songs in particular you are most excited about? 

Jackson: I’m really excited about the two collaborations, the one with iDA HAWK and the one with Rationale. I think their features are both really awesome. I’m also excited for “No Words” and “Purple Sand (My Home)” because I ended up using my vocals in a different way than how the singles are sounding.

OTW: When did you start to use your own vocals? Is it an intimidating transition to include them?

Jackson: It’s definitely intimidating. Prior to this album, I didn’t have any experience singing. It was really a gamble to go head first into it but, at the same time, I kept coming up against a creative wall. With just instrumentation, I wasn’t able to fully express myself. I was running out of ways to create music I was really inspired by. I needed something new. So, I thought maybe singing was a way to break through that creative barrier. I also wanted to make a statement with this album, so I thought what better way than to include my voice. 

OTW: A close friend claims he is one of your very first fans – what would you say to those out there who have been following you since the beginning? 

Jackson: Anyone who has been following me since the beginning…I owe a lot to them. It’s probably not this way for everyone, but for me to know that I am really connecting with people goes such a long way. Early supporters of small artists probably don’t know how helpful they are; they give you the drive and determination when it’s hard to put yourself out there. So, I just want to give them a huge thank you.

***SPEED ROUND***

 OTW: Favorite Show? 

Jackson: 2018 Red Rocks co-headline show with Louis The Child 

OTW: Favorite collaborator? 

Jackson: iDA HAWK, we have a great musical chemistry. I am really stoked on everything we’ve made.

OTW: Someone you’ve always wanted to collaborate with? 

Jackson: Kevin Parker from Tame Impala, I love his music.

OTW: Most random instrument or sound featured in your music? 

Jackson: Oh that’s a good question, I sampled an elephant making a – what do you call that, when they blow air through their trunk and it sounds like a horn – I used it as a lead instrument in “Ascension.” 

(Neither of us knew what the official name is for an Elephant call, but Jackson, if you’re reading this according to Google it’s a “trumpet” or a “roar!”)

OTW: Biggest musical influences? 

Jackson: Tame Impala, The Beatles, Glass Animal, Queen 

OTW: Any hobbies or non-music passions? 

Jackson: I love food, big passion of mine. I also just love being outdoors, hiking and what not.

OTW: What is the last song you listened to? 

Jackson: “Barracuda” by Heart.

OTW: Who are your Ones to Watch? 

Jackson: I’ve been getting more into indie, psychedelic stuff recently like Pond, boy pablo, Elohim. They are all incredible.

#interview #big wild #electronic #indie

[circlesandsoundwaves]

"It was a huge empowering thing for us to accept and almost embrace the fact that we were gonna do this record ourselves.": Interview with Ben Lieber of Head North

Interview by Molly Louise Hudelson.

Photo by Eli Ritter.

Buffalo, N.Y.’s Head North released their debut full-length album The Last Living Man Alive Ever in the History of the World on June 2, and it was a long time in the making. Their last official release was a 2015 split EP with Microwave, and while they put out the first single, “God (Bring It Back)”, last July, “music industry bull crap” meant it was nearly a year till the album was released. The choice to self-release the album- an ambitious effort that’s also a concept album, revolving around a world where both God and love are forbidden- ended up being an empowering choice, leading to “an insane amount of confidence in ourselves.” Regardless of any external forces, the band- consisting of lead vocalist and guitarist Brent Martone, drummer Ben Lieber, bassist Alex Matos, and guitarist Eli Ritter- believe in what they’re doing more than ever. The Last Living Man Alive Ever in the History of the World sounds substantially different from the Microwave split or their prior EPs, Bloodlines and Scrapbook Minds, but it’s worth spending some time with. The “cosmic rock” album has 15 tracks and is 49 minutes long, and while they all revolve around the same theme, fitting together into a story line, each one sounds different. The earlier tracks hit harder but the second half is ethereal and ambient, and even features a spoken word installment (“Somewhere, n.D.”).

I spoke with Lieber a few days after the record was released, and we dove in to the recording process, their change in sound, and what fans can expect on their upcoming tour with Gates and Vasudeva. Read on for the full interview.

CIRCLES & SOUNDWAVES: For the record, could you state your name, what you play in Head North, and a fun fact about yourself?

Ben Lieber: My name is Ben, I play drums, and I like avocados.

C&S: You just released your debut full-length record- The Last Living Man Alive Ever In The History Of The World- that's a tongue-twister.

BL: It's a mouthful.

C&S: Yeah! The record came out last Friday, and it premiered the day before over on Substream- in the days leading up to the album coming out, what was going through your head?

BL: The record got put on hold for a long time, and for a while I was wondering if it was ever actually gonna come out, so for us to finally get in the motions of everything- we put out a song, we put out a music video- as it started to really happen it [was] kind of hard for me to grasp it. Initially, I feel like it just came out of nowhere; it happened really fast after such a long period of waiting that maybe I didn't get to bask in it as much as I hoped, but it's still- now it's out, finally.

C&S: You announced the name of the album last July- what took so long for it to come out?

BL: We got held up with music industry bull crap pretty much. We had finished our deal with our last label and were trying to find a home for this record, but it was a combination of having been off the road for so long and the record being, obviously, a huge departure from our previous sound- a lot of things played in to labels being very hesitant on picking this record up. We pursued avenue after avenue, talking to, you know, this new person who's gonna connect us to this label and yada yada yada, and it finally just got to the point where we realized that it had been so long since we'd had any sort of hype whatsoever- we had no movement behind us at this point- and we realized that there was no way that we were going to get any movement, get a tour offer or an offer on the record, if we didn't just put music out. We realized that that was the only way that this band was going to start gaining traction again.

And from the moment that we realized that, it was a huge empowering thing for us to accept and almost embrace the fact that we were gonna do this record ourselves and handle it on our own terms, and it's been awesome! I can't complain because we've had amazing support and it's been a really cool thing to go through putting out an LP ourselves. It's been crazy- a lot of work but it's been fun.

C&S: It sounds like the work has paid off.

Do you pay attention to what kids are saying online? Some bands are very in tune with what everyone's saying on Twitter and YouTube and whatever, and some purposely hold back.

BL: I take it with a grain of salt. I try not to care too much, but I also do value the thoughts and opinions of the people who care about listening to is. I feel like their voice is just as important as our voice. So, you know, I do read everything- I spend time talking to people and I think that that's really important- but at the end of the day, I don't weigh everything on it and I know that the record is sick as hell regardless of what anyone says about it.

I feel like what's come along with the whole self-release thing is an insane amount of confidence in ourselves and just knowing that, regardless of who wants to put money into us, we know that we're a good band and that this record is awesome and deserves to be heard by people. So- yeah, I don't know- I guess the answer would be I take it with a grain of salt. I do value it but not over-zealously, I guess.

C&S: No, that makes sense.

So you touched on it- I mean, anyone who's heard the record can say it's definitely a departure in sound from what you guys had done before, and it's a concept album as well- when you were first starting to work on this record, did you go in with this idea that it was going to be a total departure in sound and a concept album- or was that something that just kind of happened?

BL: Yes and no. We had this backbone idea for the storyline, I guess, but it wasn't uber-developed at the point when we started diving in to the record but [Brent] had had this idea for quite some time.

In addition to the- for lack of a better word- fictional story that the record tells, there's a lot of real life personal elements in there as far as what happened with the band, and why we stopped doing things, and us growing as people and moving out and whatever- and they kinda intertwined with each other- but as far as the story goes, the backbone was there.

As far as the sound- I have to give a lot of credit to the- truly, like, original sound that I think this record has- to the engineers that we worked with, Brett Romnes, Gary Cioni, and Kevin Kumetz at Barber Shop studios. This was our first time ever recording anything at a studio that wasn't in Buffalo and we just wanted to try something different. We connected with these guys in the studio through our booking agent and we did the one single "God (Bring It Back)" as a test run to see if we wanted to do a record there-which is why that song came out and then nothing- but we really, really liked it and then scheduled the recording time.

As far as recording techniques and everything, we just really did a lot of out-of-the-box, strange stuff, like- this is the first time we were able to have the whole studio to ourselves for two weeks- so we left everything set up and that allowed us to- A, go song by song instead of instrument by instrument- and B, jump on any spur of the moment idea that we might've had- and we had enough time to where it was okay for us to like, spend three hours on a random trumpet part idea that we had even if we don't end up using it, because we had the time, we had already paid for it, essentially, and the whole studio was at our fingertips for this. So that was incredibly conducive to us getting in the zone and [getting] our creativity flowing- like, I had never been so enveloped in a musical experience for that long- we were there for a little over two weeks, I believe, and the whole time I was just extremely down in it. I can go in to nerding out about weird recording techniques and stuff but the point is, we did a lot of weird shit that we've never done before and we kinda just ran with every idea that we had.

I feel like a great example of that is the bonus track, "Broke"- there's just so much weird stuff on that song. We were like, "Okay, this song is the bonus song, it doesn't really matter, we can put all this random shit on it."

C&S: Why is it the bonus track?

BL: Because it didn't fit the story of the record. It didn't really fit in any specific place. The rest of the songs were like, "Yeah, this song is gonna go here in the outline of the record because it fits, it makes sense"- but "Broke" never really had a spot in that. We were done recording the record at that point and we had a couple days left and we were just like, "Screw it, we'll just record that song and make it a bonus track." And we just had fun with it.

C&S: You are heading out on tour with Gates and Vasudeva in a couple days, and you had a tour in March with Heart Attack Man; when you were touring in March- you had announced the album title but I don't think you had announced the release date at that point?

BL: No. We played a lot of new music on that tour, too.

C&S: How did that go over? Did people get it?

BL: I feel like- yes and no, again. I feel like it went over well in that people vibed with how it sounded live; obviously you can take live music with a grain of salt cuz you can't really hear the vocals, whatever- but general consensus was people dug it, but they didn't get the full picture- they hadn't heard the full record- and we really feel like the full record needs to be heard to understand what we're trying to do here. There was definitely that little bit of, "Okay, this is just weird but I kinda like it"- but you know, regardless, it was cool to play songs and we did that as a kind of transition into this new, I guess, era. 

C&S: On the Gates tour, you'll be headlining the Buffalo show, can people expect to see you play, the whole record front to back, or is it gonna be mixing songs up from this and from older releases?

BL: I don't think we'll play the whole record front to back, simply because we haven't practiced that and we don't have another opportunity to practice before the tour. But we're gonna play a lot of new songs; we have most of the record rehearsed and ready to go. We're only playing new music on this tour; we're not playing any old stuff. That's kinda the deal.

C&S: Are you ever going to be playing old songs again? Or is that pretty much…

BL: Maybe. Probably... but we feel like the last tour that we did in March was people's chance to hear old songs again; and it was like, "Oh this band hasn't toured in a year, I wanna go hear 'In the Water' again"- and that's totally cool and we really appreciate that, but the record's out now and we're moving on, and we really wanna play new music.

C&S: Definitely. Wow- so you were not touring for a year- did you get restless at all? I mean, in 2014 and 2015 you were hitting the road hard.

BL: Oh yes, Molly. It was the hardest year of our lives, needless to say.

C&S: So you have this tour with Gates and Vasudeva coming up; what else can people expect from Head North this year?

BL: More tours. We're getting ready to grind- that's all I'm gonna say.

C&S: That's gotta feel good. Well, thank you so much Ben- anything else that people reading this should know?

BL: Thanks for your time and hope you like the record.

Thanks Ben! Be sure to keep up with Head North on Facebook, Twitter, Instagram, and their official website. The Last Living Man Alive Ever in the History of the World is available now; you can purchase a digital download or vinyl copy here and stream on Spotify here. Read our 2014 interview with the band here.  Dates for Head North’s upcoming tour with Gates and Vasudeva are below.

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[meltedmagazine]

AN INTERVIEW WITH DWELLINGVILLE

  On the grounds of an abandoned insane asylum, MELTED chats with Baltimore based band Dwellingville, composed of Jay Jennings (vocals/samples), Walsh Kunkel (guitar/vocals), Pierce Glassman (bass/effects), and Alex Lori (drum machine/guitar/vocals). While in a decrepit, satanic graffiti ridden church, we discuss the importance of analog technology, their debut album Goonie Tunes, and nostalgic love for Tears for Fears.....

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Tell us about the birth of Dwellingville!

Pierce: It was just me and Alex and we had a live drummer and he eventually left.

Alex: That's when we started to get into really good music. I don't even know what kind of music we were writing when we started. It was jam, it was really weird.  When we lost the drummer we bought a drum machine and used a sample loop for everything. It's been a good time.

Walsh: We just enjoyed hanging out, eventually we wanted a better place to practice. These guys moved into a house and I moved like down the street, so we had a spot to play and to record and practice. That kind of like grew into this thing that eventually collapsed upon itself. With the leaving of the drummer and that's where we moved into an electronic realm. But actually pretty recently, this past summer, Alex wasn't even here. Two months ago, this whole summer it was just us three, me him and him, and we just did kind of like a trio, like experimental, it was really a lot lighter, it wasn’t as dense and chaotic and psychedelic. It had more song flow and the set blended a lot better in my opinion. So we got really strong in that core and then when Alex came back it was really easy to add one element, as oppose to getting four elements together at the same time. Alex came back with a drum machine.

Jay: We don’t stop in between songs. The energy level for me, if i stop it, it ruins the whole thing for me.

Alex: Were not good at like stopping the song and being like “hey this song is that name…

Jay: A lot of people that come out too, they like want us to keep playing. They don't want us to fucking stop.

Alex: We just want to be the grateful dead.

Walsh: I never really thought about playing in a group without drums as a main thing. I grew up playing rock music. So having that dude drop out and us not deciding to get something else opened up electronics for us. Jay got me into electronic hardware: gadgets, synthesizers, and stuff. The computer can be like too perfect, ya know? With the analog equipment you have this kind of human sense to it. It’s not always perfect.

Yeah that's why I like shooting on film better than digital!

Alex: I can't even read a digital clock. All analog bro.

Do you record fully analog?

Alex: We don't record full analog, we have to use computers.

Jay: I wish we had tape. We don't go into the studio and make songs, we play them live before we go and record it. We have loops but we are mainly triggering them all live, so it gives it more of an organic feel.

Walsh: None of these things are lined up either, you have to hit them all on the spot or the whole thing just crashes. Which it has done before.

Walsh: Timing is essential.

Jay: Even though Al can't read a digital clock.

Walsh: So we record everything as it is live in a digital system, so it's like kind of like you took your photos and you put em online. You can manipulate it slightly afterwards, but it's not like we're going online and punching in beats and stuff and making the songs that way. It’s all audio stream, which is an interesting way to work.

Since your music is so experimental in that sense, do you feel you have to be in a certain state of mind to create?

Peirce: Sometimes we make better music when we are all pissed at each other.

Alex: I was writing a song yesterday and I was too stoned to even write a song.

Jay: Show wise, me personally, I'm feeding off that energy of the crowd and the type of room. Like if we played in a big room, I'm going to try to fit more vast sound or if it was more full with people. Like feeding off of energy of people.

Walsh: Yeah there is a show we played the other day, where we didn't even know if everyone was going to show up.

Jay: Nah, you didn't know if I was going to show up

Walsh: Alright, Alright, throw him under the bus. We didn't know if Jay was going to show up because we all got so upset at each other the night before.

Alex: We have like a best friend relationship, that like we just can not stand each other. We are all just too close. And like around each other all the time. Like were still in high school or something.

Walsh: Yeah and it reflects with the music too. Like when i was saying, the other night, when we weren't sure if jay was going to show up, the set was killer. Like the set was crazy. Because like everyone got out there anger. Sometimes when everyone's really happy, the set is just not as powerful because you're not feeling some kind of way. We were all so angry at each other, and then afterwards we are all just like, you know what it's cool, that shit was fun.

Is there a certain past decade that has most inspired your music?

Alex: I grew up loving 60s music and 70s music and even 90s music, and i always hated the 80s. I always hated the 80s. And now, all I can do is bust out 80s music. I'm just like god this is sick cause I held out on it for so long.

Walsh: Yeah we've been really focusing a lot on drum machine beats and synthesizer. That's been kind of like the meat and potatoes of what we're doing and we just sample that. So like everything gets us that 80s sound at times

An artist, song, or album that makes you feel a heavy dose of nostalgia?

Alex: Tears for fears.

Walsh: What!?

Alex: I'm just saying

Peirce: That's amazing

Jay: We went to Sandy Hook to kill a forty in his car at like 9:00. And he was like dude we gotta listen to this shit and we just got fucking plastered and listened to Tears for Fears.

Walsh: Most grateful dead records bring immense nostalgia to me. That’s for sure. Like we don't necessarily go for the bright jammy feel but the improvisation and the transitions and kind of the queues of the group are similar. We don't play a song the same way, like we don't get upset at each other if we play songs differently, the songs are pretty lucid, they generally have a key, a sample, or a bass, or a back beat that goes to it. Then we kind of improvise around that.

Is Goonie Tunes your debut album?

Walsh: Yeah!

Alex: Goonie Tunes is a funny name, like I was just playing around on my drum machine and I was making these weird sounds, and it sounded like some of the noises from The Goonies. And we just started talking about Goonie Tunes and were like dude let's just make a cartoon record, it's just supposed to be like really character oriented, colorful synths.

Walsh: Well we called it Goonie Tunes because we were just looking at ourselves and we were like we are a bunch of goons. Then we had a song already, Goonie Tunes, and we were like let's make it the album title. We have an EP coming out, Six Eyes. There's 4 songs on that. It sounds great, so we're hoping to have that out by the end of the month because we are doing a little mini tour in Virginia. Then over the summer, were trying to produce another full length.

Do you think an online presence is necessary to get your music out there? 

Alex: It sucks, but it's a reality. We have to be popular on the internet, that's just like what life is now. That's what everything has ascended to. We live a meme culture in our brain.

Walsh: That's why we try to get real weird and abstract to help that.

Alex: We even put memes in our music. Like the china meme. China, china, china…

Jay: Yeah if you come to our show on inauguration day, every transition is going to be donald trump talking.

Alex: It's going to be a lot of wrongs. “Wrong. Wrong.”

Jay:  “I got a small loan of a million dollars.”

Walsh: You sampled that?

Jay: I sampled a lot of shit.

Walsh: Yeah, we're pretty much crazy, that's what it comes down to. Like collectively crazy.

LISTEN TO DWELLINGVILLE HERE

interview by AL SMITH

photos by JEYLAN ULUSAN 

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