Compass & Knife - Compass & Knife is a four-piece instrumental band from the pacific northwest that draws influence from ambient, shoegaze and post-rock. After years of play...
Band: A Nice Day For An Earthquake
Label: Self Released
03. The End Of The Sun
06. Super Giant
A Nice Day For An Earthquake is an instrumental post-rock band from Santoña, Spain.
Favorite track: "The End Of The Sun"
Engineered by Nordsee at 12:32 PM
Saturday, January 24, 2015 2006, 2007, 2015, Australia, Experimental, Instrumental, Post-Rock
Band: The Boats
Album: Perennial Love (Extended EP)
Label: Self Released
01. Little Black Rays Of Hope
02. The Sea Is In The Boat
04. Perennial Love
05. Cold Ark
06. Asunder (Medley Of Studio Demos)
07. Los Musicos Perdidos (Studio Demo)
08. Little Black Rays Of Hope (live at Museum - 24/05/2004)
Band: The Boats
Album: Los Musicos Perdidos
Label: Self Released
01. Warmth From A Window
02. 2 AM
03. The Sea Is In The Boat
04. Los Musicos Perdidos
06. Little Black Rays Of Hope
07. Alone In Us
Band: The Boats
Album: Segundo (Bonus Edition)
Label: Self Released
1. Trash Can Willy (Part 1)
2. Seize The Stars And Turn Them Into Cinders
3. There's Not A Fire That Can Warm Us
4. The Last Man On Earth
5. Hammer Down Your Gentle Sharks
6. Cold Ark Revisited
7. Trash Can Willy (Part 2)
8. The Astronaut (Bonus Track)
9. Tierra Del Fuego (Bonus Track)
10. I Remember....An Eon Ago (Bonus Track)
11. The Merchant (Bonus Track)
12. Flotsam (Bonus Track)
The Boats are an atmospheric, dynamic and stunning instrumental experience. The trio formed in early 2003 and quickly developed their own unique sound; combining vintage guitars, drums, piano and bass to create sonic sketches and soundscapes.
Perennial Love was originally a five track EP consisting of a few pre-album tracks and two live rehearsal tracks recorded in May 2006. Released as a short run 3" CD, it was a chance to promote the band again and prepare listeners for what was to come from the album - Los Musicos Perdidos. This digital version is also bundled with a very rare promo EP 'Live & Rare' (2004), which consists of studio demos and a live performance at Museum, Melbourne, in June 2004. Perennial Love (Extended EP) is a look at The Boats when the band formed, and were starting out and finding their sound.
"I often believe that there is an accompanying geography to any given piece of music, whether apparent on the surface or buried deep in the psyche of the work. On The Boats’ Los Musicos Perdidos, the geography is striking. Reverb and tremolo heavy, yet crisp guitars and soft-brushed snares illuminate sagebrush covered flatlands and jutting plateaus defined by drenching, unrelenting sun. The curiosity here is that the geography of Los Musicos Perdidos is most readily identifiable as American, at least the West and Southwest. However, The Boats hail from Melbourne, Australia. Having never been to Australia, I can only imagine that there are similar landscapes with which to relate their sound to. On "The Sea is in The Boat," guitars softly duel as a pair of gunslingers reluctant to draw first. Instead, they dance awhile, awaiting the other’s move with light cymbal work as spurs underfoot. There is hope in their tone, tinged only by the pragmatic knowledge that an end must come. The slow, rising horns of "Little Black Rays Of Hope" immediately call to mind Ennio Morricone and the undying butt of a cigarillo cornered in the thin lips of a lone drifter. Then there are the slow clacking castanets and shakers of "Strawberry," a song that is undeniably the soundtrack to a tracker hunting down a fugitive. Violin slinks along the ground like a rattler idly passing the hooves of the tracker’s horse, and when he spots his target, the tempo surges as the chase is on.
All the while, coursing through the eight songs, which average out at nine minutes apiece, there is an arid heat that boils all about. It is anticipation, alertness, hyperawareness in a vast emptiness filled by the sounds of despair. Part of what is amazing about this continuity of mood in sound is the evident freedom by which it was produced. According to what little is written about this band, they loosely compose pieces and fill in the rest with improvisation. It works quite well, because there are only a couple little minutes of meandering. Most noticeably in "Warmth From A Window," when they shift between motifs on a chord change and the piano seems to be struggling to find its place. However, it does and the song remains relatively unharmed, as does their particular sound. A sound that is unafraid to point to its influences like friends in the crowd. There are certainly touches of Red Sparowes, Godspeed You! Black Emperor, and the most recent manifestation of Do Make Say Think contained in Los Musicos Perdidos. While The Boats are certainly unabashed at playing to their influences, they do not become engulfed by them. Nor are they swallowed by the unforgiving geography of their sound." -Gabriel Bogart (Silent Ballet)
The Boats second album, aptly titled ‘Segundo’, arrives 8 long years after the debut release of ‘Los Musicos Perdidos’. It’s a long time between drinks, but the difficult second album has survived many set backs.
Segundo was produced by J. Byron and recorded by Stuart Seers at JMC Studios in Melbourne, over the summer of 2006/2007 - and two of the hottest days on record. The approach was simple…go into a recording studio and improvise, everything. For the most part, this was true, a majority of the album is purely improvised. Several tracks were born from riffs brought to the table, others were spawned from inspiration. What followed was forged through the driving emotion of Melbourne’s extreme heat, and the kind of raw intensity that can only be produced from the marriage of glowing Fender valves and vintage Ludwig drums.
With tracks like ‘Seize the Stars and Turn them into Cinders’, ‘There’s Not a Fire that can Warm Us’ and ‘The Last Man on Earth’, the band discovered a balance between their familiar improvisational approach, while maintaining a sense of structure. Other pieces, such as the epic ‘Trash Can Willy’ parts 1 and 2 are an exception; originally formed as an entire improvised jam, over 28 minutes long and later broken into two parts. Another complete, unedited improvised track was ‘The Merchant’, coming in at approx. 17 minutes in length, and included as one of the bonus tracks in the special bonus edition.
Segundo is an epic, sprawling, largely improvised and yet focused instrumental post-rock album, fully formed and complex. A much darker record than its predecessor; it explores themes of urban aggression, the inherent destructive nature of modern society and the beautiful, yet tragic imagery associated with human isolation. There are larger concepts at work on Segundo, and the wait could almost be perfect timing.
Engineered by Nordsee at 12:33 PM
Band: Lights & Motion
Label: Deep Elm Records
05. Northern Lights
06. Particle Storm
07. As The World Goes Away
08. Paper Wings
09. The Spectacular Quiet
The ability to strike emotion on a universal level, to touch the heart without words, to transport you to otherworldly realms in which anything and everything is possible...this is the power of cinematic post-rock luminary Lights & Motion. The level of emotional intricacy achieved by the band's braintrust, Christoffer Franzen, is nothing short of remarkable. And this is not only music you can feel, it's music you can see. Music is truly a work of art when an artist connects with the listener in a way that transcends the music itself. From the flawless guitar structures to the beautiful piano melodies, the ebb and flow of Chronicle is brilliantly orchestrated. Accessible, deep and totally captivating, the album picks your spirits up where all else has failed. It inspires feelings of awe and wonder. It calls to the depths of the soul where reverie awaits. It breathes new life into all who listen. And it further expands the band's sonic palette into bold waters with the dark Reborn and to new celestial heights with The Spectacular Quiet. A polished and perfected homage to everything that came before it, Chronicle is a stunning, glorious and triumphant album from start to finish.
"The ambition for my third album was to write something that was truly cinematic. Given my lifelong passion for everything cinema, it felt natural to take another step towards that widescreen, big canvas sound, while still maintaing the various elements and components of Lights & Motion's trademark sound. The process hasn't changed at all for the albums I create. Everything is played for real. It's all created from scratch. It's still all written by me, every note in there. I named the album 'Chronicle' as sort of a play-by-play narrative or score of certain events in my life. A diary, if you will, captured through sound. During those periods when I'm composing day and night, the music tends to color my memory of a particular passage of time. After a while it gets hard to distinguish one without the other. On this album, I felt it would be fitting to frame the music in such a way that you get a glimpse of me from the outside as well. This same theme runs through the sequence and titles. One of the main reasons why I like to write songs is that they become bottled emotions. They are mirrors to memories" says Franzen.
Franzen continues, "For my two previous albums, it's been quite easy for me to feel what color the album reflects. For Chronicle however, I'm not so sure...and I like that about it. It's not just one color, and even though it has a red thread running through it, it's hard to pin down. It changes throughout. And just like a movie, I hope it will keep you on your toes until the very end. I want people to feel inspired after listening to Chronicle. That's the very best thing I experience when I listen to someone else's music. It's that magical moment, that involuntary reaction when you start to walk a little faster, you get goosebumps or tense up when something is playing both in your ears and in your mind. I hope Chronicle becomes an album that people will bring along for company on evening walks or the album they play in the morning to get energized as they're leaving their house. The biggest thrill of all is when a complete stranger tells me that they've played my music during a significant moment in their life. To be a part of those moments, those chronicles of another's life, in even the smallest way...that is an incredible honor."
Last year was an absolute whirlwind for Lights & Motion's multi-instrumentalist, composer and musical savant Christoffer Franzen. Having released what both press and fans have called "two of the greatest post-rock albums ever released", being named "Best New Artist of the Year" in a poll of 11,000+ respondents and being featured in Hollywood film trailers, television spots worldwide and global promo campaigns, you'd be shocked at just how humble this young gun of 26 years remains. He is without doubt, one of the biggest musical discoveries of the decade irregardless of genre. And this is still just the beginning to what will be one of the most awe-inspiring discographies ever created. All done by one single, solitary man, working feverishly alone in a dark corner of Sweden. Chronicle anchors Lights & Motion as a post-rock point of reference, ensures the album's resting place among the highest echelon of post-rock releases and further justifies Franzen's spot on the short list of great cinematic songwriters.
Lights & Motion is Christoffer Franzen. He plays all instruments on the album. Chronicle was also produced, recorded and mixed by Franzen at UpSweden Studio in Gothenburg. Mastered by Dave Cooley at Elysian Masters in Los Angeles (M83, Serge Gainsbourg, Polyphonic Spree). Sisters Amanda and Lina Ahlberg performed additional harmony on "Fireflies." Amanda also performed on "Antlers." Cover artwork by Will Sutton adapted from his short film “Under The Same Sky." Photo and teaser video by cinematographer Fredrik Sellergren. A music video for "The Spectacular Quiet" is now online (www.youtube.com/watch?v=nAK6bEC5Mvo) via the UK-based 'We The Conspirators' collective. Videos for "The March" (www.youtube.com/watch?v=6zYu0OqZ7T0) and "Home" (www.youtube.com/watch?v=RBxkJ0Bl9mY) are also online. Chronicle follows "Reanimation" (January 2013) and "Save Your Heart" (November 2013) also released on Deep Elm Records. Other Lights & Motion releases include the 20 track "Unreleased (Music for TV & Film), Vol. 1" and the 5 track "Holiday Visions," both of which are available exclusively on deepelmdigital.com. Lights & Motion has 750,000+ followers on SoundCloud alone with over 1.5 Million plays.
The music of Lights & Motion has been featured in several movie trailers with a combined 40+ million views including Transcendence (Johhny Depp), Lone Survivor (Mark Whalberg) and Homefront (Jason Statham), television spots including A to Z, So You Think You Can Dance, The Voice and the 2014 Tour de France, promotional campaigns for Visa, NBC, NBC Sports, Google, MTV, RipCurl, Toyota, Vans, Square, Hilton, Budweiser, Aston Martin, Red Bull, Tesla, Princess Cruises, Canon, Singapore Airlines, Four Seasons and many more. Franzen resides in Gothenburg, Sweden.
For fans of: Sigur Ros, M83, Explosions In The Sky, Hans Zimmer, Brian Tyler, U137, Moonlit Sailor.
Engineered by Nordsee at 11:29 AM
Wednesday, January 21, 2015 Instrumental, Interview, Post-Rock, The Inquisition
1. How did you came up with the name of the band?
Sometimes the most inane and cheesy things provide inspiration. In the case of the band name, I had this “Stupidest Things Ever Said” daily desk calendar at work. One day it featured a sign in China that read “Beware Of Safety.” It wasn’t really funny at all, but in the context of a band name, it had a nice ring to it. And I discovered multiple layers to the meaning as I thought about it more. So I added it to the list of band names we were considering at the time and it made the cut after we all voted. It’s no Soundgarden or Deftones (two band names which I think are fantastic), but it works.
2. Do you have a standard procedure of creating a song? Do you just jam around or is there a main riff and the track is build up on it?
Often, one of the guitar players (Adam Kay, Jeff Zemina, or I) bring a riff or a theme to the other guitarists. The three of us will then work out some general ideas and later present them to Morgan Hendry (drums/keys) and Tad Piecka (bass). At that point everyone goes to work in a more collaborative format (“Wash Ashore In Pieces” from Lotusville, “The Supposed Common” from dogs, “O’Canada” from It Is Curtains).
In other cases, we’ll jam on a musical passage in the rehearsal space which is a more democratic approach (“Crooked Nails for Catching Skin” from Leaves/Scars, “Cut Into Stars” from the BoS/Giants split).
Other times, Morgan or Tad will present an idea and we’ll flesh out the construction of it together. (“Raingarden” from dogs originating with Morgan, and “To Be Curious Is Dangerous Enough” from Lotusville originating with Tad).
During the writing of Lotusville, there was a great sense of togetherness in the writing process. I certainly felt most connected to my band mates and the process was very transparent and honest. There was very little ego to sift through; it was a culmination of years of work and communication that made it a healthy and productive environment for us.
3. What are your influences and what kind of music do you hear when you are at home?
Direct musical influences are tough to pinpoint. More often, I am influenced by life experiences and I don’t consciously reference specific passages of music when I write. One thing I pay most attention to when writing new material is what I’ve done before as a guitarist and musician. I like to approach new music by attempting to do things I’ve never done before, or at the very least, put a new spin on existing strengths.
Lately, I’ve been listening to Sinoia Caves, My Morning Jacket, Kruder & Dorfmeister, Boards of Canada, Lorde, and some other goodies.
In December, a couple of guys in the band took part in an annual show we host with some friends called Winter Jam. A lot of my friends are musicians, so a few years back we decided to get together and play covers of pop songs at a local venue just for fun. We form three bands (typically drums, bass, guitars) and rotate singers on multiple songs. Over the course of the four years the multiple bands have played songs from Katy Perry, Tame Impala, The White Stripes, Superdrag, Hall & Oates, RATM, Backstreet Boys, Bing Crosby, Outkast, the theme from Team America: World Police, and others. It’s basically live karaoke. And wicked fun. The bands rehearse two or three times, then get on stage and let loose. 2014 was our fourth year putting on the show and it’s always an awesome night. Some songs I played I had never even heard until a week before the performance. It’s cool learning guitar parts for mega-pop songs from the likes of Katy Perry and Taylor Swift even I’ll probably never listen to the songs again in my entire life.
4. Which is the one album you can't live without?
At this very moment, I’d have to go with Tiny Music… Songs from the Vatican Gift Shop by Stone Temple Pilots. That record has aged really well. The production and tones they found are near perfect and timeless. It also brings me back to my teen years when I was a total newb on guitar struggling to learn “Art School Girl” and “Adhesive”. It’s a really beautiful collection of music.
5. What's the first record you've ever bought ?
I’m 35, so the first record I bought was actually not a record at all, but a cassette tape back in the 80s. And technically, my mom bought it for me. It was Beach Boys tape that had pictures on it of attractive women wearing swimsuits. I just Googled it to try to link the artwork, but had no luck. Maybe it’s still in a shoebox in my mom’s house with Motley Crue’s "Dr Feelgood" and Weird Al’s "Fat". Ah, the 80s.
6. Name a band that you would like to share the stage or tour with ?
Tool. Without a doubt.
7. Did the internet and specially the blogs helped to spread your music around the world? Name a place (country) that you were surprised to know your music has reached to?
The internet has been HUGE in our band’s success. I’m sure every band nowadays would agree that its presence for worldwide communication is something previous generations never could have dreamed of. One of the main supports for BoS in our early career was The Silent Ballet. They had writers all over the world covering bands and artists in the instrumental realm. Without their support, who knows where we’d be at this point? But they wrote honest reviews about musical genres they cared about. Genres that weren’t (and still aren’t) getting any attention from larger music information sources. So they were big for us at a time when people wanted a central source for niche music like ours.
We played a show in Poznan, Poland – 6,000 miles away from our home in Los Angeles – in 2012 and had an amazing and memorable time. The club owner was wicked gracious, the sound guy was talented and kind, and the crowd was overwhelmingly supportive. After the set, many of the folks in the crowd stuck around and bought us countless Polish vodkas and shared stories about their culture and home. It was a blast.
8. Do you support the idea of Bandcamp where fans can decide the price or services like Spotify?
Personally I think Spotify is a joke. The royalties a band receives from the service are laughable (http://www.complex.com/music/2011/07/you-need-4-million-pays-on-spotify-to-make-1200).
Bandcamp on the other hand, is a great service for bands and fans alike. They provide an easy-to-use platform to point your fans to, have excellent customer service, and don’t gouge the artists’ income to support their site. Still, you run into a few difficult issues, the biggest being promotion. How do you reach people who don’t already know who you are? I spoke to a friend recently who had a conversation with the head of a large indie label in NY. My friend asked him, “If you have $10,000 to spend to make a record, how would you allot the money?” The owner of the label said to him to put at least half – and even as much as three quarters – into promotion. He feels nowadays, you can make a solid sounding record for relatively cheap, but promotion is the thing that takes time and money and, unless you have the deep connections or the credibility an established act may have, you can’t do it on your own. Without it you’re just another band with another record competing for a share of a drowning voice.
All in all, the financial landscape of music as art has become pretty bleak for those who aren’t the top 1% of musical acts. I generally expect to make very little money if any when releasing a new album. But BoS isn’t making music to make money. We do it because we love what we do. We love challenging ourselves and bettering ourselves musically and personally. When it comes to music and art, why you do it and how you do it is infinitely more valuable than what you can get once it’s complete.
9. Where do you see yourselves in 5 years?
With all that Spotify income, we’ll be sipping pina coladas on a beach in Mexico, of course! But seriously, in five years, I have no idea. I’m not one to look that far into the future. I recognized a few years ago that the unexpected has a way of keeping you grounded and in the present moment. I’m much more concerned with the next phase of BoS. Which I see as a venture into the unknown. This next writing phase will be for our fifth release. We’re certainly not going to write the same stuff again. Perhaps it’s time for a major departure from what we know. Or maybe we put heavier constraints on ourselves creatively or in the way we manage time. At this point, we don’t know. But I know none of us want to keep doing the same thing over and over again.
10. Is the artwork of an album important nowadays in the digital era?
Absolutely. The album artwork is the visual representation of the music…even if it’s a 200x200 px icon on iTunes. We’ve released all our records on vinyl and CD as well as digital, so artwork plays a large factor in the presentation across each medium. Vinyl is the most fun to design because the artist has a much larger canvas on which to work. One thing that has been fun for BoS is to have multiple versions of artwork for each release. For example, our first release It Is Curtains was first issued in hand stamped CD cases and issued later on vinyl with completely different. The CD and vinyl versions of dogs were simultaneously designed quite differently. Each BoS release has at least one small portion of the artwork different between the vinyl and CD versions.
11. What is you favorite album cover?
One of my favorites is Bersarin Quartett’s self-titled LP. I reference it often when BoS begins discussions about album art of our own. I think it’s important for a cover to beg questions of the audience, to provoke some sort of visceral response. BQ’s does this by showing what I perceive as the frightened reaction of a young girl putting her hand in front of her face, but it doesn’t show what she is frightened of. It’s very powerful. It reminds me of the first line of Shakespeare’s Hamlet. The opening line is “Who’s there?” As an audience member it captivates you and makes you want to know who is there, it makes you want to listen to every single note on that record.
12. It seems that a lot of people are turning on vinyl again. Why do you think that is and which is your preferable media format?
Listening to vinyl is an event. You must be engaged when you do it; it’s an interaction between the record, the player, and the listener. You have to flip the record every 20 minutes or so, unlike iTunes which can play forever. I love vinyl for that reason. I love sitting down with a lady friend or my buddies to spin some wax. It feels like we’re there for the experience of listening to music, not just talking over it while it plays in the background. Nowadays physical touch can feel so distant – it’s the internet age – especially with the way we consume music. Too many folks don’t ever hold in their hands an actual album or even see its artwork or know the album or song titles; it just hides in their iPhone or on their hard drive. I love the touch of records and the fact that I have to be careful with them, treat them like the delicate treasures they are.
13. What's the most vivid story or moment as a band?
From August, 2012 until March, 2013, BoS was unexpectedly forced into a period of downtime. On September 11 and 12, 2012, I suffered two strokes. Long story short, I tore an artery in my brain (cause unknown), the wound clotted, cut the blood supply to my brain, and caused the first stroke. I was rushed to the hospital and stayed there for over a week. (The second stroke happened the next day while I was in the hospital). Thankfully, I avoided death and surgery, but it was a terrifying experience for my family, friends, and me. My BoS guys were super supportive throughout the whole thing – Jeff and Adam even brought my acoustic guitar to the hospital so I could make sure I could still play. It was like when Gandalf exorcises Saruman from Théoden in Lord of the Rings.
Gandalf the White: Breathe the free air again, my friend.
Théoden: Dark have been my dreams of late. [looks at his hands]
Gandalf the White: Your fingers would remember their old strength better... if they grasped your sword.
Thankfully, I lost no mobility (or my sense of humor) and was able to play without any issues.
During a long recovery process I was ready to take the stage again. It was March 2, 2013. We were asked to support our friends The Victor Ship who were playing their final show as a band. I generally don’t get nervous for shows; it’s more of an excited anticipation of performing. But this time, the nerves were kicking in. Not so much for the performance, but for the fact that I wasn’t sure how my body would respond. I was very conscious of the doctor’s orders to avoid any sudden head/neck movements for fear of exacerbating my healing artery and I wasn’t sure if my emotions would get the best of me. At a few points in my recovery, I had honestly thought I would never get to perform again, so this was a very big deal to me. As I set up my pedal board, warmed up the amplifier tubes, and slung my guitar over my shoulder, I kept picturing myself falling to the stage in a heap mid-show and how the crowd would respond to seeing me die during a performance. It shook me to the core and it was hard to focus on the job at hand. But I maintained with the help of the calmness of my bandmates and the support of my friends in the crowd.
Other than help with technical issues before or during our sets, the band members’ communication with each other on stage is generally musical or via eye contact. But right before we were about to start, Morgan called to me from behind his drum kit. I turned and leaned over his ride cymbal thinking he may need more guitars in his monitor or maybe an extra minute to dial in his drums. Instead he leaned over towards me, put his hand on my shoulder, and said to me: “I’m so glad you’re here”.
I will never forget that moment as long as I live.
Engineered by Nordsee at 11:29 AM
Band: Dayluta Means Kindness
Album: The Ground Is Lava
Label: Self Released
01. The Ground Is Lava
02. Everywhere You Look There's a Mountain
03. Young Savagery & General Debauchery
04. The Sun's True Brightness In Comparison With Other Stars
Dayluta Means Kindness is an instrumental post-rock band from El Paso, TX, USA and now their album is available as pay what you want.
Engineered by Nordsee at 10:06 AM
Monday, January 19, 2015 Electronic, Experimental, Glitch, IDM, Interview, Post-Metal, The Inquisition, Ukraine
1. How did you come up with the name of the band?
Well, if you are familiar with 'A Sun That Never Sets' album by the mighty Neurosis, then it should not be too much of a riddle. I listened to the closing track a lot at the time, and using the name of the song somehow appeared to me pretty clever and appropriate. Of course, I couldn't suppress the urge to use singular form instead of plural, to write everything in a lower case, and to glue all the words into one.
2. Do you have a standard procedure of creating a song? Do you just jam around or is there a main riff and the track is build up on it?
The procedure is different all the time. The thing that is constant is an idea. I always start with it. Sometimes I just pick up the guitar and come up with a cool piece. Sometimes I just tweak some sort of synthesizer and somehow come up with a theme. Other times I can just record a sound of a train or my own voice, or whatever and distort it so much that it becomes something completely different. Then I build up a full track from there. I just listen to it and think what it needs. My imagination paints a picture and I try my best to express it. Regarding the train. Half of the instruments in the track 'Weightless' were made out of a single sound sample - interior of a moving train.
3. The combination of post-metal/sludge with breakcore/idm/glitch is the most original/interesting combination I've heard for a while. How did you end combining those two genres?
I like them both. This combination is completely natural for me. I know that lots of people tend to choose either side and close their minds to another. This phenomenon created a stereotype that it is impossible to combine these genres properly. Well, this particular challenge boosted my inner artist even more. In my opinion, genres are nothing but fancy words. Music should never be confined into any particular genre prison because this kills any artistic effort. You know, something like "I feel that this latin beat should sound cool here, but I won't use it because we play metal", etc. Finally, stonefromthesky is not limited to post-metal/electronics. New album should be broader than that.
4. What are your influences and what kind of music do you hear when you are at home?
My music was influenced by many bands. Neurosis, Rosetta, Cult of Luna, Apparat, Deftones, Dryft, Massive Attack, Down, Gridlock, Venetian Snares - to name just a few. Additionally, there are lots of other things that inspire me. For example, woods, cityscapes, paintings, books, movies. Anything I find awesome. What music do I listen the most now? Again, to name just a little fraction - Massive Attack, Morphine, The Doors, Led Zeppelin, Apparat, Swans, Rosetta, The Chariot, Every Time I Die, (Hed) P.E.
5. Which is the one album you can't live without?
It is a hard question. I can't answer it right away because I like LOTS of music. However, to be fair, 'Mezzanine' by Massive Attack is my numero uno at the moment.
6. What's the first record you've ever bought?
I guess it was 'Dynasty' by Kiss. These guys sure knew something.
7. Do you have any plans of touring and playing these tracks live and if yes how will it work as stonefromthesky is an one man project?
Yes, I already play live. I perform by myself (similarly to electronic artists like Long Arm) and people seem to dig it. However, I'm not yet happy and I try to improve every time. Also, I tried to play with a drummer and it sounds cool too. Maybe this will be another way of performing live, but it's too soon to say.
8. Name a band that you would like to share the stage or tour with?
Any good band.
9. Did the internet and specially the blogs helped to spread your music around the world? Name a place (country) that you were surprised to know your music has reached to?
Yes, of course. Your blog in particular helped a lot. However, I don't really track my music.
10. Do you support the idea of bandcamp where fans can decide the price or services like spotify?
Yes. I believe that music should help people, broaden their horizons, paint their reality with brighter colors.
11. Where do you see yourself in 5 years?
I don't know. I live in the moment.
12. Is the artwork of an album important nowadays in the digital era?
Making great music should be the utmost goal of every artist. However, we live in the era of impatience. And picture is the fastest media out there. Way faster than sound or video. Yes, you can say "fuck it", but isn't it a bit square - to put lots of effort into your music and cover it with a shitty image?
13. What is your favorite album cover?
Again, I can't pick one. I like the cover of Led Zeppelin's first album a lot. Maybe because I'm a fan.
14. It seems that a lot of people are turning on vinyl again. Why do you think that is and which is your preferable media format?
It is easy to answer. Vinyl gives you the highest quality of sound. As for me, I pay much more attention to the music, not a format. Although I like tapes a lot.
15. What's the most vivid story or moment as a band?
It was really cool when I left everything and lived in a house in a forest for a week. It was a distraction-free pure creative experience. You know, when you have nothing except music and woods. Such reclusion is absolutely necessary to sort things out in your head and to create stuff.
Engineered by Nordsee at 2:16 PM
Band: Captains Of Sea And War
Album: Captains Of Sea And War
Label: Self Released
01. Call Again
04. You Need To Restart
07. Five Times The Sea
Captains Of Sea And War is a post-rock band from Barcelona, Spain.
Engineered by Nordsee at 1:49 PM
2014, Experimental, Hungary, Instrumental, Math-Rock, Post-Rock
Album: Jacob's Ladder EP
Label: Self Released
01. Set Sails
02. Hide 'n' Seek
03. Jacob's Ladder
04. Death By Planet
05. Draw Sails
StarFunkSimples is a Hungarian band from Pècs. Its music can be characterized by a blend of styles ranging from rock to metal spiced with improvisational melodies and airy pshychedelia. For a rock band the setup is unusual, having drums, guitar, bass, clarinet and no vocals. Since the members have been friends (and brothers) for ages a special writing chemistry is present which provides the framework for instant, improvised ideas that result in an eclectic musical journey.
Engineered by Nordsee at 1:36 PM