Album de la Semaine : Moon duo - Shadow of the Sun

Moon Duo
Shadow of the Sun

Interview de Moon Duo, par Austin Psych Fest

Moon Duo is Ripley Johnson (Wooden Shjips) and Sanae Yamada. Their most recent record “Circles” was released in 2012 on Sacred Bones. Our friend Ryan Muldoon at Revolt of the Apes has compiled a list of 10 questions for Moon Duo in anticipation of their APF 2014 performance. 

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Can you think of an album that you’ve grown to greatly appreciate only recently, after many years of either not “getting” it, or simply dismissing it out of hand? What is it about this album that resonates with you today, and why do you think that wasn’t the case previously?
As I write this I’m giving the Fairport Convention album Full House a second chance. I really love Sandy Denny, so I just kind of dismissed everything post-Sandy. I’m reading Electric Eden by Rob Young, about British folk, so that’s why. I’m not really a big folk fan generally but there are certain voices or personalities that I’m drawn to.

In what ways do you think your own musical evolution has progressed since playing with Moon Duo? Do you find that, in general, the more you play music with another person in a band, the more you understand them as a person? Or do you find that the two things have no direct connection in your experience?

I don’t know, maybe playing music can help with understanding. That’s not been my experience really. I think a person could be a complete enigma and you could still have some great jams. As far as my musical evolution, I have no perspective. I’m trying to devolve at this point anyway. I want to unlearn as much as possible. That’s my new goal.

What led to the decision to have the sounds of Moon Duo’s “Mazes” remixed by artists such as Psychic Ills and Sonic Boom? What do you learn about your own music – or, perhaps, your own creativity – when you hear these alternate contributions?

We just tried to get artists that we liked or admired. The remixes don’t teach me anything about my own process. It shows me what someone else would do. That’s what’s interesting to me. I already know what I would do with the mixes.

One of the standout numbers from the “Circles” LP, in our mind, is the song “Sleepwalker.” What can you tell us about the origin of this song? What does the title “Free Action” mean to you?

Sleepwalker came from the feeling I get sometimes that I’m in a lucid dream, that everything is completely unreal –which it is. Life is absurd.

Free Action means taking life by the balls and giving it a big, loving squeeze.

What music have you been listening to lately? If push comes to shove, what’s your favorite Black Sabbath album and why?

Let’s see what’s piled up by the turntable: Digable Planets, Laurie Spiegel, The Faces, R.L. Burnside, Burzum, White Rainbow, Don Cherry, Henry Flynt, N.R.P.S., The Pyramids.

My favorite Sabbath album is Sabotage. The first six albums are all kind of perfect but I just have a thing for that one. There’s a weird energy to it. And the cover art is magic. I’ve spent a lot of time staring at that cover.

How does the moon define or describe you as a duo and as individuals, musical or otherwise?

Our name loosely refers to the idea of two moons, like Phobos and Deimos of Mars. They orbit the same planet but at different speeds and in different paths. That’s how we approach most of our songs.

Any cool memories of your previous visits to Austin Psych Fest? Are there any bands in particular that you are excited to have the chance to see play?

I think I played at the 2nd festival and it was pretty small, so it’s been cool to see it grow over the years. Sky Saxon played that year, which was cool. I’m a big Seeds fan. I want to see everything this year. I want to discover something new.

What are the necessary elements for a good live performance in your mind? Do you find that playing music can deliver you to a mild (or perhaps not so mild) altered state? Do you think of yourself or the band as feeding off of the reception and energy of the assembled audience, or does your experience on stage feel more separate?

We definitely feed off energy from the audience. I’m introverted, so I kind of need that. I don’t know what makes a good performance. A lot of the music I like is very inward looking, so I don’t expect to be entertained by those types of musicians. I don’t need someone to prance and dance about, but I know some people want a show. Better for me not to think about it too much.

Kahil Gibron said the following: “We are all like the bright moon, we still have our darker side.” Your thoughts?

I have a sudden craving for a fortune cookie.

What’s next for Moon Duo?

We’re beginning to work on a new record, or at least thinking about it. Hoping to get a live album out first.

Line Up :

Ripley Johnson, Sanae Yamada, John Jeffrey

Label :

Sacred Bones Records

Tracklist :

01 – Wilding
02 – Night Beat
03 – Free The Skull
04 – Zero
05 – In A Cloud
06 – Thieves
07 – Slow Down Low
08 – Ice
09 – Animal

Album de la Semaine : Disappears - Irreal

Disappears
Irreal

Interview de Brian Case, par Rachel Angres d'Epitonic

Let's get the basic information down. What instruments do you play? Can you give me a bit of info about your fellow band members -- maybe a fun fact about one of them?

My name is Brian Case; I play guitar and I sing. Jonathan plays guitar. Damon plays bass and Steve Shelley is our drummer. An interesting fact about Steve is that he was the drummer in the reunited band Raincoats. 

Do you have a preference for the kinds of venues you play?

I think it’s easier to connect to people in smaller places, which, in my opinion is the whole point of playing live. That said, maybe being able to connect to people in a bigger space is the point. It’s easy to feel comfortable in smaller places where you're a little more secure that people came to see you -- or that they have nowhere to go while you're playing. 

What do you bring to a barbecue? 

I’d bring something from Paulina Meat Market for sure. 

Were you “cool” in high school?

I went to an all-boys Catholic school with the same 100 people from 7th-12th grade. No one was cool.

Prince, David Bowie, Marc Bolan of T. Rex...let's say all of them have asked you to tour with them in their prime. Who would you choose to tour with?

Definitely David Bowie -- with conditions: no Reeves Gabriel on guitar. That would solve it really -- [except] maybe [don't play anything] from the 90’s albums? Who knows, it’s Bowie. I’d be happy just to see that guy walking down the street.

Robots versus Dinosaurs?

Robots. Or dinosaurs.

Strangest venue or gig you’ve ever played?

I’ve played on a few boats; that's always a little weird to me. One of my favorite shows ever was in this tiny cave/cellar thing in Bordeaux, France. It was probably 1,000 years old or something. I did a show where a band member’s hair was on fire and they didn’t know until we told them. That was actually the weirdest I guess.

What are a few essential items in your “tour survival kit”?

Bring a trash bag for dirty clothes -- makes a world of difference. Also have a shirt that you just wear for shows; then you don’t have to bring nearly as many things with you. I’m pretty into this bag my wife bought me; it’s called The Weekender, so you know it’s pretty business.

Rifling through the old dusty records in your childhood home's basement, did you ever dig in and find some gems? Are there any that still influence you today?

All I really remember from this era is that Chicago song “25 from 6 to 4”. That’s such a weird song. I still love it though. I used to dance around with my parents in the basement -- that’s where the first stereo was. I still have my Mickey Mouse Disco record from then, too; my son listens to it, which is pretty funny.

Do you have any stories from your excursions on the road?

We’re pretty sedate really. We definitely have a lot of fun but I’d say we’re tame. Our driver on our last tour said we were his first “adult” tour so whatever that means.

If you had to communicate using one word only, what would it be?

No

What is your day job?

I bartend and do graphic design. Very 90s.

What can we expect from the band in the future?

More music. Same clothes. 

Hypothetical Scenario: you find a Craigslist missed connections ad written about you. What does it say?

“Guy shouting but I couldn’t understand what you were saying....”

With festival season drawing near, as a performer do you stress out before your set, or are you cool, calm and collected?

It’s always fun to be in that kind of environment. I’ve been lucky to play a few really cool ones and they feel good for sure. Whether it’s more effective than playing in a packed club is hard to say. Attendance-wise, [festivals] can be tricky; I usually just go for a few bands and leave. That said, the first Lollapalooza ['94] I ever attended is where I first saw Pavement, Lush, and Nick Cave because I tried to see every band.

Disappears received many nods to Sonic Youth, even before [former Sonic Youth drummer] Steve Shelley joined the band. Was it coincidental or is there a story behind it?

Kind of the same story most bands have: you meet someone with similar taste and musical style, so you become friends and start a band. Steve just happens to be in one of the bands that [was my conduit for] bonding with a lot of people.

What's the creepiest kids show from your childhood that still haunts you today?

"Family Feud" always gives me the same depressed feeling that it did when I was younger. 

Line Up :

Brian Case
Jonathan Van Herik
Damon Carruesco
Noah Leger

Label :

Kranky

Tracklist :

01 – Interpretation
02 – I_O
03 – Another Thought
04 – Irreal
05 – OUD
06 – Halcyon Days
07 – Mist Rites
08 – Navigating the Void

Album de la Semaine : Dengue Fever - The Deepest Lake

Dengue Fever
The Deepest Lake

Interview de Dengue Fever, par US Asians

US Asians: Considering your desire to make more money to send back home, making commercially viable music in Khymer and singing in Long Beach’s Cambodian banquet clubs (after arriving in the U.S. with your brother to perform at a New Year’s celebration and visiting your sister) - what got your attention after your initial impression of being surprised when five American guys (guy with a crazy beard, 7 feet tall Black guy and a guy with a “creepy porn-star mustache”) who had no prior connection to Cambodian culture had a strong desire to do Cambodian pop music approached you at “The Dragon House” about joining Dengue Fever, after receiving their CD of their Cambodian tunes from the 1960s that they were learning and hearing them hummed a few bars of one of their songs – along with what prompted a well-known karaoke singer in Cambodia to join them (since you quickly said yes – though it took several phone calls to get a confirmed commitment)?

Chhom Nimol

Chhom Nimol: At first I didn't quite fully understand the guys' intentions, I was a bit afraid. I brought a fellow friend along to help me interpret. Their mellow and down to earth approach made me comfortable about learning more about their ideas. At first I was confused about the plan - why would these Americans be interested in playing Khmer music? It was a crazy idea, I thought it's worth a shot.

US Asians: How was the trust developed between yourself and the band (recognizing that at the time, your ability to communicate in English was very limited) – acknowledging that your entourage (Cambodian friends/relatives) came with you to the band’s initial meetings/rehearsals with the band to learn of the band’s true intentions, the lyrics/music of their original songs they proposed to translate (acknowledging that your parents were wedding singers, considering your family members included several renowned singers from the 1970s that remembered the pioneers of the Cambodian rock scene of the 1960s, your history of being a well-known karaoke singer in Cambodia, singing for the King and Queen of Cambodia and after winning a televised contest in the early 1990s) – and after the band’s first performances that thrilled Cambodian and American audiences?

Chhom Nimol: I'm very fortunate I was surrounded with people who were able to provide me actual interpretation of the band's intention. From any woman's perspective it was hard to trust four guys (Zac, Ethan, Senon, and Paul) approaching with a bizarre idea. The songs they proposed were classic Khmer rock, I thought it would be a challenging project. I'd sung some of the songs before, but not the way the band wanted to play.

Live Performance of "Sober Driver"

Performance provides a eclectic pop styling that many American audiences are drawn to. With an English-speaking context, it draws upon classic Cambodian pop traditions that existed during the 1960's and was hear over the Armed Services radio stations throughout Southeast Asia.

I don't recall if my parents ever sang at weddings; most of their performances were done for Cambodian plays. My older sister (Chorvin Chhom) and brother (Bunyong Chhom) inspired me to sing in the contest for the King and Queen of Cambodia in the 1990's. Chorvin made her markings as a singer in Cambodia in the 1980's. When I was in Cambodia, I never thought I was a karaoke singer, I thought I was just a singer. In the U.S. the biggest market for Khmer music was sold as karaoke discs.

The guys' patience shows in our performances. Their hard work in adjusting with my limited ability to English amazes both Cambodian and American listeners.

US Asians: What were your and your family’s thoughts of your reconnecting with your Cambodian fan base, especially considering since many of the stars of Cambodian popular music were killed or disappeared during the rule of the Khmer Rouge that you honored when you light a candle onstage to honor those killed by the Khmer Rouge?

Chhom Nimol: My family encouraged me to try it out, since Cambodian rock seems to be fading away in the outside world after the original stars are gone. Recently artists in Cambodia are inspired to bring Khmer rock back to the country. I am always grateful that I'm able to bring these classic songs to the modern world and to honor these great artists since they were the true pioneers.

Chhom Nimol

US Asians: How did the Cambodian communities (older and younger) feel about your participation in Dengue Fever - considering their opinions about attire, dancing, recreating music that reminds people of a time/land that doesn’t exist anymore (culture of pre-"Year Zero" bourgeois Cambodia), reinvention of a “mongrel music that is itself a reinvention of a mongrel music from the West?”

Chhom Nimol: I have had nothing but positive compliments from the Cambodian communities. Since some of the songs are classics, the older listeners are more familiar and reminds them of happier times when they were teenagers. For the younger listeners, they enjoy the modern flavor added, and gives them a sense of hope.

US Asians: Could you share how prominent Cambodian American artists (such as Prach Ly - whom interviewer has had on public access television discussing the effects of The Killer Fields and his success as a rapper in Cambodia) and Jack Ong – Executive Director of the Dr. Haing Ngor Foundation have played a part of your personal and creative lives?

Chhom Nimol: I did not get to see the interview made by Prach Ly, but I know he is a talented artist. In the mid 1970's it was an emotional time for all Cambodians, a mixture of this feeling, the fans and the drive of my bandmates is my biggest influence.

Line Up :

Chhom Nimol
Zac Holtzman
Ethan Holtzman
Senon Williams
David Ralicke
Paul Smith

Label :

TUK TUK Records

Tracklist :

01 – Tokay
02 – No Sudden Moves
03 – Rom Say Sok
04 – Ghost Voice
05 – Deepest Lake on the Planet
06 – Cardboard Castles
07 – Vacant Lot
08 – Still Waters Run Deep
09 – Taxi Dancer
10 – Golden Flute

Top 2014 selon Rico

1) Swans – To be kind ; Young God Records
Swans, la bête, est un projet qui traîne dans les entrailles de son mentor Michaël Gira depuis le début des années 80. Pour ce treizième album, il pousse encore plus loin l'intimité viscérale qui nous colle à l'os depuis les premiers souffles des K7, maintenant usées, du milieu de la décennie quatre fois vingt. Plus de 120 minutes étourdissantes où les mélodies frêles supportent avec détermination, les apogées sonores.

2)The Healthy boy and the badass motherfuckers – Dolce Furia ; Kythibong
On se souvient de l'impact provoqué par The Enchanted wood avec Monster Parade. Ici aussi, nous sommes très proches de l'auteur (Benjamin Nerot, ex Belone Quartet). Unis dans une belle émotion, nourris d'inspiration, les 4 titres de cet ep, hantent votre esprit pour longtemps.
On retrouve les lyonnais de Zëro (Bästards, Deity Guns) en accompagnateurs de luxe.

3) Cheveu – Bum ; Bad Born records
Coiffé de la plus moche pochette de l'année, Bum raconte l'histoire de notre musique-mère préférée, si elle est anglaise, plutôt située dans l'après Punk.
Ce que The Fall, bon an mal an, rencontre des signes d'essoufflements, quand ce n'est pas de la tachycardie pure.
La relève est assurée.

4) Liars -Mess ; Mute
Si Cheveu a sauvé le Rock cette année en lui donnant un grand coup de peigne dentu dans les bigoudis, Liars aura dynamité la musique de danse et globalement aura ajouté une nouvelle pierre dans le jardin des musiques actuelles. Entre rudesse à l'allemande et sexualité franche rencontrée chez Light Asylum, les new-yorkais se lâchent pour de bon.
En plus, Mess est finement agencé.

5) Horse Temple – Ghosts /tracks ; Zéro égal petit intérieur
Ghosts/Tracks est une bande originale d'un film dont vos fantasmes sont probablement les héros. En détective habité par des forces occultes, ou en flic déchu – dealer d'images prohibées... Cet album sent la pluie, la nuit, la barbe de trois jours et le costume-cravate sombre.
Ici, l'urgence est présente et dépasse de loin, la simple intention.

6) Goat – Commune ; Rocket recordings
L'exercice du deuxième album pour les suédois aura été moins évident que ce que l'on pouvait attendre après le magistral World Music. Le cru 2014, sans démérité, ne confirme pas pleinement la musicalité du collectif. Titulaires d'un des meilleurs shows vus sur ces vingt dernières années pour ma part.

7) Le Butcherettes – Cry is for the flies ; Nadie sound inc
Mesdames, Messieurs, LE rafraîchissement de l'année !
Teri Gender Bender renvoie dos à dos les growleuses téstostéronées et les divas pop. Son truc à elle, c'est l'énergie et une désarmante sincérité. Small is beautiful. 

8) Rorcal/Process of guilt – split ; un conglomérat de signatures
Chronique d'un somptueux malaise annoncé.

9) Berline 033 - The Abyss will gaze back ; Rejuvenation Records/Katatack/Tandori Records/Et mon cul c'est du tofu ?
Avec leur album un peu trop long et dur à digérer, les Berline auront donc tout dits avant de tirer leur révérence. 

10) Unik Ubik – s/t ; Rockerill Records
Certainement que l'on aime cet album avec ses multiples références, on l'apprécie aussi parce qu'il s'y dégage quelque chose d'unique.

Top Albums 2014 selon Maud

10. Viet Cong - Viet Cong

Flemish Eye, 2014

9. The Amazing Snakeheads - Amphetamine Ballads

Domino Records, 2014

8. Goat - Commune

Sub Pop, 2014

7. Pypy - Pagan Day

Slovenly Recordings, 2014

6. The Wytches - Annabel Dream Reader

Partisan Records, 2014

5. The Beauty of Gemina - Ghost Prayers

Metropolis Records, 2014

4. Swans - To Be Kind

Young God, 2014

3. Young Widows - Easy Pain

Temporary Residence, 2014

2. Lower - Seek Warmer Climes

Matador Records, 2014

1. Eagulls - Eagulls

Partisan Records, 2014

Album de la Semaine : 2:54 - The Other I

2:54
The Other I

Interview de 2:54, par 7 Digital

Hi Colette, can you explain the history of the group and the inspiration behind your name please?

Hannah and I have been in the band for over two years now and we met Alex and Joel – our rhythm section – pretty early after we made ‘Creeping’.

The name “2:54” refers to 2 minutes 54 seconds into our favourite Melvins song, ‘The History of Bad Men’ on the album A Senile Animal. In the band, we find ourselves obsessed with particular moments in songs, going, “I like that bit, have you heard it?” So for us it was that particular moment in that Melvins track.

Did you and Hannah grow up in a musical household?

Our parents don’t play instruments but we’re from a music-loving family. There was always music on in the home, and hearing stuff like The Band, Rory Gallagher and The Pogues was definitely very influential. It ignited that first passion for music.

Who would you cite as your main influences, musically, and why?

Bands I love are people like Fleetwood Mac, Queens of the Stone Age, Yawning Man… The first album I saved up to buy was Pearl Jam Vs. but I was also massively into R&B. I really loved, and still love, artists like Aaliyah.

How long did it take to write and record your debut?

Over the last couple of years, Hannah and I were constantly writing – she’d send me the track and I’d do the melodies and the lyrics, and we’d restructure/finish the song together – and it reached a point where we’d arrived at the family of songs that we wanted to make up the album. We had two weeks to record it in Monnow Valley in Wales, which is this incredible isolated studio in the middle of the countryside. It was a really great, immersive experience.

Your debut was produced by Rob Ellis, who has a really impressive track record with female artists like PJ Harvey and Anna Calvi. Is that why you chose to work with him? And what do you think he brought to your sound?

Certainly. He has such an incredible musical heritage, and we’re inspired by the work he’s produced. We first met him when he worked on the B-side for the Scarlet EP and we got on really well, so it seemed a fitting choice to work with him again for the main body of the album.

We went to Rob with complete songs, so we weren’t going into the studio to explore anything or embellish anything; we were there just to learn what a professional recording experience is all about. Rob taught us loads about the science of sound: y’know, how to get sound out of a room and all these things we never knew about before. The whole experience was a privilege and we learned a lot.

What were your musical and thematic reference points for the record?

We don’t really have any pre-conceived ideas about the sound and we were just focused on making the songs for ourselves. I guess you write the songs because you’re compelled to, not for any other reason. Maybe it is cathartic but there wasn’t any influence other than we just wanted to create something.

I think lyrically I’m really inspired by the music – I respond instinctively to a track when I hear it. I never try to analyse it too much.

Is there a track you’re most proud of on the album?

I’m proud of all of them. They just feel like a unit so I’m reluctant to isolate one, sorry... (Laughs) We’re happy for people to listen to it however they want, but it feels like a cohesive body of work to us; it goes on a particular journey.

You’ve toured extensively with some incredible bands. If you had to invite one of them back to open for you, who would it be and why?

Oh god, I’d have all of them (laughs)… Er… Oh god, I don’t know! We’ve been fortunate enough to have been touring from day one and touring with incredibly supportive bands. I think we’ve learned something from every band we’ve played with.

They’ve all been quite different as well: touring with The Maccabees and touring with Wild Beasts, you get very different crowds. And being fans of the bands and being able to watch their show every night, it’s just all really educational and you find yourself aspiring to that level of confidence and prowess.

Are you going to be touring for most of the rest of 2012, then? And what can audiences expect from your live shows?

I believe so (laughs). Yeah, it kicks in. We’ve got a London show in June and then we head to America for three weeks. We went to New York before Christmas, and to SXSW recently where we did a few dates, but this is the first proper stint, so we can’t believe it – it’s really exciting.

Our live show? It’s big and loud and energetic, and I hope it’s got soul: it has for us.

Touring is a notoriously intense experience – do you think it makes it easier doing it with your sister?

It’s all I’ve known so I don’t know. We’ve always been close and we’ve always hung out but getting to play music together all the time… It’s the best, y’know? It definitely helps having your sister with you on the road.

Ok, aside from your record, what album should we be most looking forward to this year and why?

I’m really looking forward to The xx album. I’m really excited for their return and I can’t wait to see them play.

And finally, what are your ambitions ultimately for the band?

Being able to do this as a job is amazing. But we just hope to tour a lot more and be a great live band. And record more albums, hopefully!

Line Up :

Colette Thurlow
Hannah Thurlow
Joel Porter
Alex Robins

Label:

Bella Union

Tracklist :

01 – Orion
02 – Blindfold
03 – In The Mirror
04 – No Better Prize
05 – Sleepwalker
06 – Tender Shoots
07 – The Monaco
08 – Crest
09 – Pyro
10 – South
11 – Glory Days
12 – Raptor