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dimanche 30 mars 2014

Album de la Semaine : HTRK - Psychic 9-5 Club


Psychic 9-5 Club

Interview de HTRK, par Steph Kretowicz de The Quietus

Steph Kretowicz talks to the London-based band about new album Work (work, work) and the difficulty of losing friend and band member Sean Stewart during its writing process
As a band with a thematic focus on frustrated desire, crawling build-ups (with none of the pay-off) and an endless struggle with delayed album releases, HTRK's eight-year existence has been anything but an easy one. Their first LP, Marry Me Tonight, recorded with iconic Birthday Party member Rowland S. Howard in 2006, didn't surface until 2009. That came after a protracted rights dispute, three years of illegal downloads and an anticlimax of an official release. They had a crack at Berlin after relocating from Melbourne four years ago but citing depression, near-starvation and an insurmountable language barrier as major factors, band members Jonnine Standish and Nigel Yang found themselves on tour in London and refusing to go back. They moved to London in 2007, and brought late bassist and core member Sean Stewart unwillingly with them.
Several years later, and we're in Standish's East London apartment on the August bank holiday. Dub music drifts in the background, while Yang struggles both to locate a lighter and to get blood flow to his legs while seated on the floor. Sadly, Stewart is no longer with us after tragically taking his own life a year and a half ago, while Howard, too, is gone, after immortalising Standish on the track '(I Know) A Girl Called Jonny' for swansong album Pop Crimes. He lost his long battle with cancer in 2009.
HTRK speak of Howard with great affection, while occasionally slipping into present tense when talking about their bandmate Stewart. His presence is still very much felt with the release of their second album Work (work, work), which was two-thirds completed while he was still alive. While retaining the glacial pace of its predecessor, it's a frostier listen, Standish's half-sung, half-whispered vocals drifting between gaseous clouds of guitar and the metallic thunk of a drum machine. With no immediate plans to bring another member into the special fold that is the Hate Rock Trio, one becomes acutely aware that it's not every day you get to meet your soulmate, let alone a handful. Jonnine Standish and Nigel Yang seem grateful for it.
So was Work (work, work) recorded before Sean passed away?
Nigel Yang: Well, we'd written a set of songs. 'Skinny' was finished, 'Synthetik', 'Poison', 'Love Triangle'. They were actual demos we'd done. We'd planned to go to an actual studio - we were visiting studios, talking to producers and stuff, but then Sean died in March [2010]. So we just remixed the demos, recorded new stuff over the top of them. The other songs were in 'Sean-only' demo form. The first song ['Ice Eyes Eis'] is a strange one because I pieced that together as a sound collage, in a way, of a recording that I'd found on Sean's computer hard disk afterwards.
Jonnine Standish: We'd been asked to do a field recording for someone, and Sean had done one in his bedroom.
NY: The field was his bedroom.
JS: It's incredible. It's Berlin sex TV. The ads in Berlin are just ads for sex channels between programs, and that's constant.
NY: He titled this recording 'Late Night Sounds' and he'd never told us that he'd done it. I think he recorded it in 2009 alone in Berlin, probably 5am, feeling pretty isolated and alone. I just took some of that field recording and mixed it with some new sounds.
JS: I can remember I said 'let's slow this down' because some of the ads on the TV that you can hear are really corporate, slick, well-produced jingles. So Nigel slowed it down by two thirds. It's quite something.
How are you re-imagining yourselves now? Do you think you'll go forward as the duo?
JS: I think so, yeah. We're going to give it a shot. I've got a couple of concepts in mind for the lyrical content that's taking Work (work, work), and pushing it even further. I don't like straying too far from the themes that I write about. Since the beginning of time it's always been 'desire'. There's been no love in any of the songs. I want to keep that up.
I really enjoy working with Nigel. I can imagine what's going to happen, will be self-checking whether Sean would like it. If anything, Sean gets his own way now, 100 per cent.
I never had the opportunity to see you play live as a three-piece.
NY: Yeah, so different.
JS: Sean brought the danger. Maybe danger's not the right word, because I think we've got some of that as well but he certainly brought… Just the bass sound that he had. Also just the way that he stood. It was quite a masculine dynamic to the band. I think we're going to struggle to keep that up.
NY: We're not going to try to emulate it or anything, or recreate it. I'm not going to try to write basslines in a 'Sean-style' or anything. The direction is going to change quite a bit.
I noticed in this album the bass isn't so prevalent and at your show you knew whether it was old material just based on the lack of bass. Was that a conscious move?
NY: This was happening before Sean passed away anyway. He was moving into using a lot of synths. I think he thought he'd done the bass guitars.
JS: I think after 'HA' he thought that that was the perfect bassline. [laughs] I'm being serious.
NY: He was really excited by other sonic possibilities. He'd been hanging out with this Finnish producer in Berlin. His name was Mika Vainio, he'd played in Pansonic and things like that. He was really excited about tone generation and subby bass tones and lines that hit you on a more subconscious level. The lack of bass on Work (work, work) isn't through Sean not being there to record, it's very much his vision as well.
You know how everyone talks about Marry Me Tonight being the 'pop' album. Would you agree?
NY: Yeah, it was a concerted effort to make something listen-able.
JS: I think it's really pop. I know some people might find that kind of funny but it's totally radio friendly, great driving music, really immediate. I know that's an overused word, but you don't have to really think about the concept at all. It is really quite a literal album.
NY: That was our intention but a lot of feedback has been from people saying, 'We don't get this album.'
JS It's too slow. [laughs]
NY: Then about a year later it will have seeped into people's heads and they'd be like…
JS: 'Why didn't you give this to me?' And we'd say, 'We sent it to you five times, we really sucked up to you and you just ignored us.'
NY: Music writers.
There's obviously a sense of humour in the lyrics and your attitude to making music. Do you think that people miss that sometimes?
JS: I think they're starting to pick up on that a little and I think Rowland got it straight away. But we're not that humorous, we're pretty serious at the same time. Humour's like breathing, everyone does it. It's really just taking a step back and looking at something from a different angle and I think that's important with everything.
It's also a coping mechanism.
JS: Very much so. Some of these subjects are painful so humour is a good way to balance that pain and make people feel like we're in it together. Rowland was the first person who laughed out loud when we played 'Disco'. We had to do this X Factor routine in front of him behind the glass as we went through every song we'd ever written. He was just watching patiently, deciding what would go on Marry Me Tonight. You couldn't hear him when he was behind the glass but when we played 'Disco' he just couldn't stop laughing, and I was so happy because it's hilarious. The fact that I sing in the most deadpan way, 'Everybody, let's go'. No one had found that funny before. They had just found that scary. I think more and more people will get that there's always a little bit of a twist, or surrealism, to our work.
The studio that you use in London Fields, do you record there or is it just a rehearsal room?
JS: We recorded there too.
NY: It's hardly a studio. It's just our rehearsal room. We used a computer and hired a nice mic for a couple of weeks.
JS: Yeah, a really nice mic but then we went back to the shitty one because it sounded too good. [both laugh]
NY: We were thinking of going really pro with the production for a while because a lot of the songs could work - they're really crisp, clean, spacious.
JS: That changed after Sean died. [Nigel's] attitude was, 'Make this as lo-fi as possible.' Looking back I think grieving had a lot to do with that. All those sounds make no sense when you're grieving. Instead it's lo-fi, gritty and just a bit 'fuck you' when you're in a lot of pain.
NY: The production's really personal. We had no regard for any commercial intent.
JS: [addressing Yang] You wanted to release 2000 CDs. No download, no vinyl, in a photocopied piece of paper and then we never talk about the album again. That was the initial plan with the release. We never spoke about not continuing, or continuing. Nigel said to me, 'Let's just finish the album,' and we haven't spoken about the future at all other than that. We know we'll make another album. I think that's the best way to do it. Talk doesn't achieve that much sometimes.
Line Up :
Jonnine Standish
Nigel Yang

Label :
Ghostly International

Tracklist :
01 – Give it Up
02 – Blue Sunshine
03 – Feels like Love
04 – Soul Sleep
05 – Wet Dream
06 – Love is Distraction
07 – Chinatown Style
08 – The Body You Deserve

dimanche 23 mars 2014

Album de la Semaine : The Beauty of Gemina - Ghost Prayers

The Beauty of Gemina
Ghost Prayers

Interview de The Beauty of Geminapar Didier Becu de Peek a Boo Magazine

For those who don’t know, please introduce us to The Beauty Of Gemina
Michael Sele: The Beauty of Gemina is a gothic, wave and electro music influenced rock band from Switzerland. Since 2006 we released three Album and a few video clips. We played in the meantime a lot of very special concerts in different European countries.
My name is Michael Sele; I’m singer, guitar player and producer. I write all the songs, the lyrics and I record the music in my own studio. As a producer, I keep all threats in my hands. Nevertheless, I see myself as part of a team.
The members of the Beauty of Gemina-family - how we call ourselves - are those who make everything possible and do a great job every day.
The tBoG line-up comprises long-time members drummer Mac Vinzens, bass player David Vetsch and as additional guitar player on tour Dennis Mungo.

Where does the band’s name come from?
Actually the name is pure imagination, although Gemina was a real character. She was a pupil and muse of the philosopher Plotin. The name of the band was already in my mind from the start.
I was looking for a name that should be open for interpretation but not suitable to fit easily into a specific music genre. And it had to be mysterious also and however not too abstract. Gemina was a real person and how beautiful she really was will probably stay a secret forever.

How long has the band’s been going on so far and how do you see the things that have been achieved by now?
It is very much happened in the past 5 years; we have taken some important hurdles and achieved many goals. All in all I can strike a consistently positive balance. But we’re working hard every day and we know how difficult it is. For example, in the live business the air has become very thin. I think the whole music industry is changing and things become more and more uncertain. That makes it for me as an artist and for us as a band not easier of course. We’re still just at the beginning of our way and I hope that we can touch enough people. So we’ll have to keep going for concerts, further recordings and releases in the future. 

Since we last spoke, some things have happened. You’re on the bill for the Shadowplay Festival in Belgium. I guess such things are only the result of hard work and self belief.
First of all, I want to say that we’re really looking forward to be part of this festival. As you said, it’s the result of hard and serious work. But as a band you will also need time, patience and last but not least the power and support from true fans and friends who helped spreading the music of tBoG all over Europe.

 I also learnt that things are going pretty well in Germany too?
Yes, this is true and I want to say that it’s not easy for a band from Switzerland to make successful steps in Germany.
They’ve got so many bands in the dark music scene by their own so they actually don’t wait for a band from their small neighbour. Anyway we’ll be part of the legendary WGT Festival in Leipzig in June for the 2nd time and we’re playing at the Mera Luna Festival in Hildesheim this year. In February we returned from the tour with the German #1 act Unheilig. The tour led through the biggest and most impressing concert arenas of Germany. It was an enormous experience for us all and we’ll never forget this great adventure.

Can we take it to the extreme that you live for The Beauty Of Gemina?
The Beauty of Gemina is a very important part of my daily life.

If you compose a song, how do you work? Do you start from a sort of mood or is it a melody lingering in your head?
 I’m always writing the music and the vocal lines of the songs first. One day I start with some guitar recordings, the other day with a Keyboard idea or a drum programming. There are so many different ways. To write a song is linked with your instinct, I wouldn't be able to name you a recipe or a formula. The sound of my voice, the way I sing and phrase are an important key though.

There is the cliché of the writer who has his notebook with him 24 hours a day and notes what comes up in his mind. Do you work like that as well?
Not for 24 hours but time after time I write down some short notes or small ideas. As I said before, I start with the music and during improvising with my voice over chords and patterns I try to place some words or sentences. After this I’m working on the details of the lyrics. This process takes about 4 or 5 weeks. It’s always a very intensive time and I like it very much.

This is a cliché too…you’re from Switzerland. Apart from The Young Gods and Yello I can’t think of that many bands. Is it a cliché to think as such?
So we’ve got DJ Bobo too - just kidding.
I think we’ve got a few bands that are very popular in the international music market. Not in the Gothic scene but more in the pop, hard rock or metal genre.

Soon you’ll be performing at the Shadowplay-festival. Tell us what the audience can expect?
To be honest, there is always some calculated unknown when we’re going on stage. So let me tell you what’s safe: We’re going to play songs from all our 3 albums. The audience will hear a very motivated, powerful and intensive performing band with a lot of energy guided by a dynamic interpretation of the songs so that my voice can tell all the little Gemina tales and stories.

What’s your favourite record of all time and please state why?
This is really a very difficult question and I’ve been thinking about it a lot and maybe it’s surprising but I’ve chosen Glenn Gould‘s first recording of the Goldberg Variations from Johann Sebastian Bach.
His 1955 recording marks a watershed in the interpretive history of all keyboard music, not just that of Bach. All the fascinating, unique, and unrepeatable about that recording remains up to this day and it continues to cast its spell on all who hear it. It has always been Gould’s trademark, defining the birth of a legend.

With whom wouldn’t you mind to be alone with in an elevator for 8 hours and what would you do then?
Hannibal Lector – get the willies!

Any special message to our readers?
I have to give profound thanks to a group of fantastic fans in Belgium for all their positive reactions and their support! I deeply appreciate all the incredible feedback and the enthusiasm. It means so much to me that you had open ears for my music and my songs and I’m really looking forward to come to Belgium this summer for the first time in my life.

FAVOURITE MAN: the second from the right in the first row
FAVOURITE WOMAN: the third from the left in the first row
FAVOURITE MOVIE: 2001- A space odyssey (Stanley Kubrick)
FAVOURITE BOOK: Zauberberg (Thomas Mann)

Line Up :
Vocals, keyboards: Michael Sele
Drums: Mac Vinzens
Bass: David Vetsch
Live Guitar: Dennis Mungo
Label :
No Cut
Tracklist :
01 – One Million Stars
02 – All Those Days
03 – Hundred Lies
04 – Dancer On a Frozen Lake
05 – Run Run Run
06 – Down By the Horses
07 – When We Know
08 – Dragon
09 – I Wish You Could Die
10 – Time for Heartache
11 – Mariannah
12 – Darkness

dimanche 16 mars 2014

Album de la Semaine : Greenleaf - Trails & Passes


Trails & Passes

Interview de Greenleaf, par The Obelisk

This band was together before Dozer went on hiatus so Fredrik could go back to school, but is it more of a full-time (at least band-wise) project now? Does it have a name yet? How did Johan wind up on board?
Yeah, before Dozer went on hiatus we rehearsed very sporadically and it didn’t really sound as it sounds now, and also it was just me and Tommi. It’s definitely more of a full-time thing now. It’s the main focus for all of us.
Johan came on board right after Tommi told me that Dozer was gonna take a long break and that he now had time to pursue our thing. My first thought for bass was Johan since he’s the best bass player I know.Tommi agreed, we asked him, he accepted, and here we are!
The name will most likely be Dahli. You heard it here first, folks.

How will this affect Vaka? Is writing with Tommi any different for this project than for Greenleaf? Are both of those bands now going to take a back seat to this one?
I really love doing Vaka stuff, but I really missed being in a band. Just being able to throw ideas back and forth and actually being able to play the songs and hear how it sounds, you know? Since Vaka is just me and I brought everyone in for the Kappa Delta Phi album after it was written and the drums were recorded, none of it has actually been performed live as a whole, not even in a rehearsal space.
So it’s nice not having to rely 100 percent on your vivid imagination on how it might sound when all instruments are in place.
Writing for Dahli is pretty much the same as for Greenleaf. Either we start out with a riff, a drum beat or just an overall idea on what type of song we wanna do and then we take it from there. Both Greenleaf andVaka will take a back seat to this one. Dahli is our number one priority.

Can you give any insight on what the music sounds like at this point? It’s been described in terms of chest hair, but how are the songs actually coming out?
It’s hard to explain (the standard answer). I’d say it’s about 70 percent new school Dozer but a bit more, for lack of a better word, metal. But it’s the good kind of metal. The chest haired kind. The bombastic fury kind. Also, I started using double kick drum pedals on the Vaka album and that’s been carried intoDahli. I wanted more punishing and less wussying around.
And even if some parts are a bit more melodic and “pretty” it’s still played with pummeling fury. There’s no sissying around what so ever in that department. The thing that I really think — and hope — will set the whole thing off is the vocals. I mean, the music will be the most badass we’ve done to date, no doubt, but we did not want to put the most obvious testosterone-infused vocals to it. We wanted to try something a bit different. Don’t get me wrong, I love those type of vocals and I’m sure we’ll squeeze ‘em in somewhere but the main lead we knew exactly what we wanted and who we wanted, so as soon as we’re 100 percent sure he’s on board, you’ll all know. I think the combo of the slightly more aggressive music and his particular type of vocals will create something you haven’t heard before.
It’s lumberjack metal in touch with its feminine side.

Do you have anything planned in terms of recording yet? I know the situation with the singer is still nebulous, but do you have any idea when there might be a demo or other release available?
The plan is to record a handful of tracks in late March just for ourselves to basically just get a good overview as to what we’ve created and hopefully find a label for the album.
And if everything goes according to plan (which things seldom do) we’ll record a full album late this year and do a European tour Spring 2011.

Will you be recording the band yourself or looking for someone else to do it? Are there any other plans or projects you’ll be taking on personally you’d want to mention?
I will most definitely record and mix the album myself. I don’t trust anyone else to do it.
Okay, I’d trust Steve Albini or Dave Sardy to do it, but we can’t afford either of ‘em. I know exactly what I want and most of the time I know how to get it. That’s basically the reason I got into audio engineering in the first place; I was never really happy with the sound of our recordings so I decided to learn how to do it myself.
As it looks now I may actually have a few things coming up this year. Only thing 100 percent confirmed so far is to record and mix the sophomore album from a band called Digression Assassins who play a type of spasticDillinger Escape Plan mayhem metal. Calculated chaos. It’ll be the first thing I do outside my comfort zone, so it should be interesting (and hopefully good).

Line Up :
Tommi Holappa
Bengt Bäcke
Erik Bäckwall
Oskar Cedermalm

Label :
Small Stone Records

Tracklist :
01 – Our Mother Ash
02 – Ocean Deep
03 – Equators
04 – Depth Of The Sun
05 – Humans
06 – With Eyes Wide Open
07 – The Drum
08 – Bound To Be Machines
09 – Trails & Passes

dimanche 9 mars 2014

Album de la Semaine : Lorelle Meets The Obsolete - Chambers

Lorelle Meets The Obsolete


Interview de Lorelle Meets The Obsolete, par Ryan Muldoon de Revolt of the Apes

Lorelle Meets The Obsolete are a two piece from Guadalajara, Mexico. The band has release two LPs and a handful of 7″s through Captcha Records. Their latest LP on Captcha, Chambers, is out February 2014. Our friend Ryan Muldoon at Revolt of the Apes has compiled a list of 10 questions for Lorelle Meets The Obsolete in anticipation of their APF 2014 performance. 

Perhaps stating the obvious, one of the first things that ever caught our eye about Lorelle Meets the Obsolete was just that – the name Lorelle Meets the Obsolete. What can you tell us about the origin of this name? How has the meaning of this name evolved for your since the project first formed?
Lorena: We were looking for a name that stated the interaction between two entities and didn’t want it to be as simple as Lore & Beto. So we mixed a bit of Seinfeld (Rochelle), The Twilight Zone (The Obsolete Man), the Spectrum meets Captain Memphis ‘Indian Giver’ LP and we got it.
One thing we love about the unique name is that it doesn’t expose much of a hint as to what genre of music you should be pinned to – and after falling in love with your “Corruptible Faces” album, we still don’t know how to describe Lorelle Meets the Obsolete. When someone asks you, how do you describe your sound? What do you hear in the sound of Lorelle Meets the Obsolete that you don’t think many listeners have recognized?
Alberto: Thank you! I’m very glad you like it. Well it depends on who’s asking. If it’s my aunt or a border patrol officer I would just say ‘rock’. But for other situations Lorena came up with the term ‘pattern music’ and to me it sums it all up quite well. All of our songs are repetitions drowned in distortion, reverb and delay.
How have you seen your own musical palette expand since Lorelle first began? Can you think of any bands or albums in your world that you might not have ever been introduced to without being involved with Lorelle? Is there a particular area of musical interest that one of you has that is decidedly not shared by the other?
Alberto: It has definitely expanded in a very local sense. Through the band and Captcha records we’ve had the chance of getting to know local scenes from all over the US for example. In fact, I’d say most of the contemporary music we listen to nowadays has to do with us being in Lorelle. Last year, on tour we met the amazing Disappearing People from Oakland, Bloodbirds from Kansas City and Chatham Rise from Minneapolis just to mention a few. One of the best parts of playing and having a band is listening to these precious musical gems.
Lorena: We’re pretty much into the same type of music.
The shortest song on the “Corruptible Faces” album – “Aging Places” – also delivers some unforgettable atmosphere to our ears, sounding a bit like a noisy, joyful funeral dirge for a robot. What can you tell us about this song? Did you set out to create a specific atmosphere? Does the song have any direct relation to the track that follows, the somber “Morning Darkness”?
Lorena: Yeah “Aging Places” was the final part of “Morning Darkness” actually. Beto wrote “Morning” and one day he was locked up for hours recording it. I remember that I came home from work and it sounded completely different from what I had initially listened to because it had so much layers of noises. It was until he added vocals that I liked it. Then Alberto decided to cut the last part out, but I really liked that bit so we decided to sequence it as an intro to “Morning Dakness”.
We understand that your latest album, “Chambers,” got an assist from the one and only Sonic Boom, Peter Kember? What did you learn from meeting and forging a creative partnership with Sonic Boom? How do you think the band has evolved between “Corruptible Faces” and “Chambers”?
Alberto: Well we’ve only had one brief encounter with Sonic. It happened in Liverpool last September and the conversation was mainly about flat tires haha. He’s been a huge inspiration for us and he did a tremendous job with the album master so we would love to work with him in a more proximate way.
Lorena: I would say the evolution, if there’s one, has been very natural. When we wrote the songs off “Chambers” Beto and I were more integrated as a band, so they came out of jams mostly and it was a really fun and laid back process. It also was the first time that we recorded with someone else and far from home, so the album has other people’s perspectives.
How do you feel the environment of your youth – either the geographic location or otherwise – influences the music that you make today? Did you find yourself interested in making music at a young age? What was most difficult for you about the beginning stages of creating your own sounds?
Alberto: Since I was a kid I’ve always been very fond of contemplative, repetitive and emotional sounds. “Close To You” by The Carpenters, “Rain” by The Beatles or “Zooropa” by U2 were songs that gave me certain comfort and they were all introduced to me by either my parents or my sister. I guess my parents were afraid of having a lazy kid (I didn’t do any sports) and they noticed my interest in music so they encouraged me to play the drums at age 12 perhaps but it wasn’t until I picked up the guitar that I started making music. I was probably 16 or 17 at this point and the most difficult part about creating my own sounds was to get rid of the common places found in the music exposed by the mass media.
Lorena: I was much older when I started playing and back then I was more into literature. I used to write short stories and I never thought I would end up doing music. In fact my family used to say that I didn’t have any musical skills at all. Back then I used to listen to a lot of commercial stuff of all kinds. The Cure was on of my favorite bands, still is and it was until I got to college that a friend and I started to jam together and to make songs. I enjoyed it a lot because there was something very energetic about it that I was missing with my writing. Those were very musical times. I also met a lot of friends (Beto included) that gave me mixtapes and that’s how I got into many bands that I still like. It wasn’t that hard for me to write songs because through writing I was already used to translate my thoughts and feelings into something else. What was very hard was to learn how to play the guitar better. I’m still on it.
What music have you been listening to lately? Do you have any recommendations for us from Mexico or beyond? If push comes to shove, what’s your favorite song by Spacemen 3 and why?
Lorena: Lately we’ve been a lot into White Manna, Carlton Melton, Ttotals, Has a Shadow, Camel Heads, Father Murphy, Yeti Lane and I recommend each and every one of them.
About my favorite song by Spacemen 3, well it depends on my mood, if I feel a little sad or down I like “So Hot”, if not, my favorite is “Suicide”.
Alberto: I would add Late Nite Howl from Mexico, Girl Sweat and Younghusband from the UK, Bloodbirds, Disappearing People, Flavor Crystals, Chatham Rise and Dreamsalon from the US. My favorite Spacemen 3 song is “How Does It Feel?” It takes me to a very contemplative state of mind. It is just this nice feeling of hitting forever a note you like and listening to the subtle changes in every repetition. I also love the way it builds itself without reaching an exploding stage at all.
When did you first hear of Austin Psych Fest? Are there any bands in particular that you are you looking forward to seeing this year? Any cool memories of your experience at the most recent Liverpool Psych Fest?
Alberto: I think it was around 2008 that we first heard of APF. It seemed like a fun party hosted by The Black Angels with oil projections all over. This year we want to see Loop, Earthless, The Golden Dawn, Acid Mothers Temple and Destruction Unit of course. Besides the encounter with Sonic Boom, catching Hookworms set at Liverpool Psych Fest was a super high point.
Julio Cortázar – who we believe we saw a picture of stage-diving during one of your shows – wrote the following: “Memory weaves and traps us at the same time according to a scheme in which we do not participate: we should never speak of our memory, for it is anything but ours; it works on its own terms, it assists us while deceiving us or perhaps deceives up to assist us.” Your thoughts?
Alberto: That Julio hahaha… he turns into a whole different person after five shots of mezcal. Good thing there’s always someone to catch him.
Lorena: One thing I love about Cortázar, and I can see it on this quote, is how he gives life and autonomy to specific human elements. Memory in this particular case. It reminds me of one of his short stories called “Don’t Blame Anyone”. In it a guy tries to put on a sweater but is deceived by one of his hands as it separates from his body to attack him.
What’s next for Lorelle Meets the Obsolete?
Alberto: Chambers is coming out on March 3rd, we’ll tour Europe, the UK and the US afterward. We want to record a new album somewhere in the middle and some small releases are on the works as well.

Line Up :
Lorelle: songs, guitar, vocals, bass guitar and drone...

The Obsolete: drums, guitar, bass guitar, vocals, drone, knob tweaking...

Label :
Captcha Records

Tracklist :
01 – What’s Holding You
02 – The Myth of the Wise
03 – Dead Leaves
04 – I Can’t Feel the Outside
05 – Music for Dozens
06 – Grieving
07 – Sealed Scene
08 – Third Wave
09 – 13 Flowers
10 – Thoughts About Night Noon