"Here With You" an interview with Shoegaze/Post Rock band Reveries

Started in Walla Walla, WA in 2016 shoegaze/post punk unit Reveries just released their debut E.P. on cassette through CMM. I sat down with members Jonthan Avila and Jesse Flores to talk about their early musical experiences, the making of the E.P. and the current music scene in the Pacific North West. Pick up a copy of the cassette here.

CMM-What were you all's first musical memories and what bands/artists made the biggest impact on you all as musicians.

Jonathan Avila: When I was a child, my father had a KROQ compilation CD that included many Alternative Rock bands. The bands that stood out to me were The Cure, Berlin, and The Smiths. I always enjoyed the way they combined existentialism and love. Johnny Marr made a huge impact on me. I feel like every time I revisit The Smiths’ albums there’s always one riff that I didn’t catch the first few times around because of how layered his guitar work is. He’s very inspiring. Chino Moreno constantly inspires me to challenge sound. I think that’s why I navigate through different styles of music, mainly Alternative, and create a concoction of different “post-” elements.

Jesse Flores: My dad was always playing oldies on repeat growing up. We’re talking Earth, Wind, and Fire, The Temptations, Chicago, Tower of Power, stuff like that. Every trip in the car, every family gathering, every DIY home improvement weekend, there was ALWAYS music playing at my house. While under-appreciated at the time, it drove the household nuts but in retrospect, probably planted the love for music in me subconsciously. I started out like a lot of kids did, worshiping Blink 182 and trying to learn all the songs on guitar. I was a Pop-Punk kid at heart (still am) but when I discovered the textures, and different sounds guitars could make after discovering This Will Destroy You, my lust for effect pedals began and I become more interested in different kinds of gear. This led me to a more experimental writing style.

CMM-How did the band form and what took you all into the musical direction that makes up the bands sound?

JF: Jonathan and I had been in a project together years prior to Reveries and since have been “on-and-off-again” jam buddies. Jonathan had 2-3 songs he had in the works and hit me up to jam them. Once we fine-tuned the sound we were trying to go for, we brought on Ryan via Craigslist, who fortunately, was not a Craigslist Killer. He’s a rather nice guy, in fact. Once we had 4 songs somewhat formulated, Jonathan booked us a local house show gig and we had to phone-in a bassist. So we reached out to Jose, who was also in the old project with us (and others with Jonathan) because we knew he could learn and write bass parts quick. We all meshed well, musically, so we became an “official” band naturally. We never really had the discussion though, so maybe I shouldn't be so comfortable with my position. (Haha). JA: We wanted to create a sound that would appeal to our local community, which is mostly a retirement community. We’re the Florida of Washington State. After writing three songs, and practicing them, they became very tiring. Jesse and I weren’t thrilled about it anymore. Eventually, the sound began to take a different shape when we started adding lots of reverb, delay, chorus, and other effects.

CMM-What was the writing and recording process for the E.P. recordings like?

JF: Basically, a lot of tracking, not liking it, adjusting tone and trying different fx, and then re-tracking. We had the luxury of having our own recording gear at our disposal so we had the time to be picky about every little.part. We had recorded drums with a fellow Walla Walla musician, Bryan Henry, but everything else we recorded in a piecemeal fashion at my place. During the recording, is where we were really able to nail our vocal melodies and style that we wanted to go for as well as totally rewriting sections of my guitar parts on “Existential Anxiety” last-minute. With 1⁄2 the band living an hour away, it is not always easy to get all members together to write so we really do most of our writing in-studio and our practices take the form of live shows. Not the most ideal method, but I like to think it has sufficed thus far.

CMM-Any particular gear you used in the making of it?

Jesse’s pedals used for the EP include: EHX-Pitchfork + Deluxe Memory Boy, JHS Morning Glory, ZVEX Fuzz Factory, Strymon- BlueSky/Mobius/Timeline, and Walrus Audio’s Iron Horse (used for some of Jonathan’s rhythm parts). Jonathan’s pedals include: Fulltone OCD, DOD Turbo Chorus, EHX Cathedral, and BOSS Super Chorus Amps: Vox AC30C2 with channels jumped to get that “space rock” sound for Jonathan. Jesse recorded through his Fender Twin Reverb. Bass was recorded direct-in into a Focusrite Scarlett 18i20 using a Darkglass B7K Guitars: Squier J Mascis Signature Jazzmaster, Squier Classic Vibe Thinline Telecaster, and Fender Jazz Bass with Darkglass Tone Capsule.

CMM-If you could score a soundtrack for any film director who would it be and what would the film be about?

JA: I think scoring a soundtrack for Alejandro Gonzalez Inarritu would be amazing! The film would be about an immigrant dealing with mental illnesses: depression, anxiety, and paranoia that the universe is not on their side. This person coexists with people who feel the same way and have mental illness as well, but they’re too proud to admit it due to an image they’re trying to uphold. The film puts you in the two different pair of shoes. The film surrounds the immigrant with imagery of destruction, and the things that keep this person living (which would be up to interpretation).

CMM-How do you see the state of the music and art scenes in the Pacific Northwest these days? Who are your favorite local bands and what venues do you enjoy performing in and seeing shows most?

JA-Right now the musical and artistic state of the Pacific Northwest is very dog-eat-dog. It’s very egotistical. There’s little to no support, and maybe that’s why we don’t see many PNW acts making it big out there. My current favorite local band is Hibou; a great dream pop act that’s underrated. We enjoy seeing shows at El Corazon.

JF-From what we personally experience, its hurting a bit. In our hometown, the favored scene consists of cover bands, blues/jazz, bar bands and country acts (around County Fair time). Which are all great in their own rite but the alternative scene has always suffered. There’s no venues or clubs for the alt scene so it falls on people putting on house shows which always run the risk of getting shutdown. We hope this will change someday. As far as other areas in the PNW, we’ve had a hell of a time getting on shows in the Seattle and Portland area. Venues seem to only be booking weekday shows which conflicts with our 9-5 lives and schooling, bands are unable to commit to show dates or ignore contact entirely, and other bands Jonathan had helped to get shows in Seattle ended up having a garbage turnout. It’s discouraging to say the least. But thanks to David Gross and his band The Lost Echoes, we will be playing in Portland for the first time on July 20th at Lovecraft Bar. We are playing with a band from Bellingham, Washington called Tetrachromat on July 6th and I just started listening to them. They are sweet. Go check them out! Some venues I enjoy visiting in the PNW are Wonder Ballroom and The Hawthorne Theatre in Portland. In Seattle, I like The Showbox

CMM-What direction do you see your new recordings moving in and what do you have planned for a follow up release?

JA: For the most part we have found our sound, but there’s always new ideas inspiring us to challenge that sound. We want to explore different sounds. We hope to release a few singles following up to our LP release. We’re still unsure how many tracks we’ll have on it.

JF: This band came to be by heavy experimentation, so expect new content to be similar but hopefully fresh and not fitting into just one pigeon hole.

"Open and Shout" an interview with I Need A Plastic Face

I Need a Plastic Face is a band from Turin (Italy). By the end of 2017 they set up a basement studio and bought an electric organ - a Farfisa Matador - and started writing the songs that make up their debut album "Knick Knacks", which was recorded and mixed in 48 hours. Their main influence comes from The Velvet Underground in terms of coexistence between dissonance and pop harmonies, however the band is also heavily influenced by electronic music, shoegaze and noise rock. I got together with band members Paul Mellor and Massimiliano Alf to talk about their early musical experiences, the music and art scenes in Italy and the making of their debut album "Kick Knacks" which will be available as a cassette from CMM this summer.

CMM - What were you all's first musical memories and what's the first music each of you heard that made a major impact on you?

INAPF - Our first musical memories are respectively footage of a Slipknot's live show and an actual live show by Franco Battiato witnessed as a spectator at the age of four. These are also the first musical encounters that respectively had a major impact on us.

CMM - How did the band form and what took you all into the musical direction that makes up the bands sound?

INAPF- We met in Turin shortly after we both moved here. A common friend really wanted us to meet and since the first moment we were totally willing to form a band. In the first days we struggled hard to find a drummer, nonetheless we figured out that we were doing fine on our own and came into buying a sampler and an electric organ, which led I Need a Plastic Face to exist.

CMM - What was the writing and recording process for the recordings like?

INAPF - Our songs were born by playing along with each other. We had no idea what was going to happen each time. For what is concerned about the lyrics, they were written together and were rather written instinctively. The recording time took two nights of live sessions.

CMM - Any particular gear you used in the making of it?

INAPF - Our album is mainly made by the combination between the bass and the organ, which we found peculiar in the way they worked out together. The only exception is the leading melody of "Somehow you're Happy", which is played by a traditional chinese flute called "hulusi".

CMM - If you could score a soundtrack for any film director who would it be and what would the film be about?

INAPF - We actually worked on the soundtrack of a film that we cannot speak about yet. Anyway we really hope to be working on a film about Tarkovskij's life, one day.

CMM - How do you see the state of the music and art scenes in Italy these days? Who are your favorite local bands and what venues to you enjoy performing in?

INAPF - The music in Italy is in a very crucial phase. There are plenty of interesting and special artistic realities throughout the whole nation. The only inconvenient is found in the lack of interest by the audience. Italian art is amazing. Our favorite local bands are too many to be mentioned, even though we would really like to endorse all of them. The same goes for many venues that work in a passionate and marvelous way.

CMM - What direction do you see your new recordings moving in and what do you have planned for a follow up release?

INAPF - We only look to be sure that nobody will make any horrible jazz cover of one of our songs.

CMM : News And Notes For 6/22/17

U2 bassist Adam Clayton to be honored at the MusiCares MAP Fund benefit concert in New York on June 26

MusiCares has announced that the 13th annual MusiCares MAP Fund benefit concert will honor 22-time GRAMMY winner Adam Clayton of U2 at PlayStation Theater in New York on June 26. Clayton will receive the Stevie Ray Vaughan Award in recognition of his dedication and support of the MusiCares MAP Fund as well as his commitment to helping others with the addiction recovery process. Performers on the night include Jack Garratt, The Lumineers, Macy Gray and Michael Franti, with Cat Deeley hosting the evening plus a special performance by U2 to close out the night.

You People "Dropouts" Vinyl LP Available Now

You People "Dropouts" LP's are in and available now at http://custommademusicva.com/release/dropouts-cd-cassette/ "Since their debut performance, Boston’s, You People have been quietly amassing a tattered catalog of noise-pop songs with feedback-soaked brutality. Slashing guitar circles over fuzzed-out rhythm and poignant half-confessional/half-accusatory lyrics sung in 3 part harmony; the whole affair constantly threatening to run off the rails at any moment. 4 years of explosive creativity has resulted in You People throwing down a much-anticipated heavy classic that harkens back to albums that shaped the band as impressionable 80s youth. “Dropouts” available on 12/16/16 is You People’s first full-length album and is a celebration of life’s failures, as well as its tempered victories."

Dog. Paper. Submarine "Posthuman Melodies" Cassette Out Soon On CMM

Swedish indie rock/post punk powerhouse Dog. Paper. Submarine just released their crushing new album "Posthuman Melodies" and CMM will have the pleasure of releasing the record as a limited run cassette with a release date planned for Friday July 7th. Check out this action packed album right now.

CMM Spotlight : An Interview With Mariana Rivals

Chris Spada and Brett Middleton began recording under the name Mariana Rivals in 2005 at art school in Brooklyn. Now living in Connecticut and California their long distance collaboration has produced three stellar releases that highlight their ambient, passionate and futuristic sound. We caught up with Chris and Brett to talk about their early musical influences, how they started playing together and the making of their latest E.P.

CMM-What music made the biggest impact on each of you as children?

Brett- When I was a kid, my mother played The Beatles in our house daily. Help!, Hard Day’s Night, Sgt. Peppers, The White Album found their way into my subconscious early on. The Beatles were music as far as I was concerned. I didn’t know much else for years. After awhile, I was exposed to Steely Dan, Led Zeppelin, CSNY and Michael Jackson among other artists. Steely Dan especially showed me just how tight and perfect a record could be.

When I started to seek out my own music, I got into U2 big time. Early stuff like October, War and Unforgettable Fire, but to me, U2’s best were the Achtung Baby-Zooropa years. The production and the way they built these huge songs from a simple guitar riff or synth line run through a very particular effect really stuck with me.

My preteen and teen years were all rock. Nirvana, Soundgarden, Stone Temple Pilots, etc and through that, I became interested in everything. Heavier stuff like Pantera, Sabbath, QOTSA, The Mars Volta, to Radiohead and all the way the way to Neil Young and pretty anything from the 60s and 70s. I was really into prog and jam bands for awhile too. I wanted to consume it all. This mentality influences me to this day. We’ll approach any given song a variety of ways before we settle on a direction. Its not uncommon for a song to have few different genre-specific versions before we say, “Ok, this is definitely more of a synth song than a guitar song.”

Chris-My parents were big into the Beach Boys, Steely Dan & the Beatles so it was a good base to start with as a kid. As a teenager I was really into punk, hardcore and shoegaze. Bands like The Misfits, Black Flag, Fugazi, Hot Water Music and The Appleseed Cast were super influential in showing me that you could make really impactful music without noodling guitar solos or unneeded complexity.

CMM-So Mariana Rivals formed when the two of you were attending art school in Brooklyn. What led to you all deciding to play music together and what were the main influences that went into forming you all's sound?

Brett-I had been playing for years by the time Chris and I met at Pratt Institute in 2002. Chris was just coming into performing and had a totally new outlook to it that I found refreshing. His approach really taught me to just let go. Chris brought all these influences and ideas to the table that I weren’t even on my radar. Particularly, punk rock, shoegaze and pretty much the entire Polyvinyl Records label roster. Because of that, I was able to loosen up and do things I didn’t even know I liked!

We started overdubbing on drum tracks I’d generally record at my parents house (they frown upon drums in a dorm room!), bounce a shitty mix, then run out to my car and take a drive in the country and blast them. We loved how these songs sounded in that car. The songs started out in a more acoustic-driven, mellow rock space, then quickly moved into a post-punk space. From there, we really started to plant the seeds for what eventually became the Rivals sound. We recorded two 8-10 song LPs and various other oddities. We also had revolving door of about 5 members over 2-3 years. Oddly, we then stopped playing together entirely for about 10 years! During this time, we both took time establish our careers, get married and have kids. I also recorded a lot with some other projects and on my own in NYC during this period.

Around 2013 we started talking about doing it again. I had just moved to California in 2012 and Chris was starting to send me some song ideas to test the waters. The first one that we really started working on in earnest was “Wasting” off our debut EP. We’ve been steadily working on new material ever since.

Chris-In my freshman year of college, the roommates were randomly assigned. Unfortunately, I quickly found out that I had very little in common with my roommates picked in the lottery. Naturally this lead me down the hall to the room that always had good music blasting. I immediately hit it off with Brett and we began to collaborate on his trusty Tascam tape deck. As Brett mentioned, we both were approaching music from different influences/angles so I attribute our sound to us fusing together our musical pasts.

When we started recording again after many years away, we had consumed almost a decade of new perspectives on music that influenced this new direction of Mariana Rivals. Bands like the War on Drugs, Craft Spells, Real Estate, Wild Nothing, and Hammock really left a sonic impression on me that absolutely changed the way we were writing music.

CMM-What was the writing and recording process for you all's new "Take/Chroma" single like? What are the songs about? Any particular gear that you all used

Brett-For me, Take/Chroma felt like a rather long, laborious record to make. Even though the final release totaled only two tracks. We started out with loftier intentions, it was going to be a longer EP with 5-6 songs. We even had most of them recorded to varying levels of completion. But then my wife and I found out we were expecting our second child and it became more difficult to balance that with career and taking on a larger Rivals effort.

Chris wrote the lyrics for both Take and Chroma. As far as meaning goes, I’ll leave that to him, but to me, Take is as close as we’ve gotten to a “love song” and Chroma is about an out-of-body experience during the apocalypse or something. Chroma is this weird mix of one of the very first chord progressions I ever wrote when I was about 12 and this sort of cosmic psychedelia not uncommon in Tame Impala songs or something from Desert Sessions. It starts in this unsettling, sparse place and then builds in a way that I find to be deeply satisfying.

The basic recording setup for each song was generally this:

We switched to Logic from ProTools before last year’s Monument and continued for Take/Chroma

DW Drumkit recorded with a 4-5 mic setup through tube preamps

Thunderbird bass sent through SansAmp pedal, recorded direct and compressed (usually heavily) in post

We have a couple of guitars: a couple of Gretschs, Fender Jazzmaster, Tele and Strat and a Gibson SG. We either record direct through a tube pre and maybe even the SansAmp pedal or we mic a couple of different amps with a variety of different mics until we find something we like. Most effects are added after. What really made Take/Chroma different from previous efforts was our synth game. Mainly the use of Juno 106 and 60 synths. We were really able to use synths as a way to texture the mix and reduce the amount of other tracks by half. What normally would’ve taken a few guitars to achieve, we achieved in 2 synth parts. Going forward, synths are going to have a big impact on our sound. For mix, we relied heavily on SoundToys plugins, namely Decapitator and Sie-Q. We wanted a lot of analog warmth or tape saturation and so I put Decapitator on pretty much every track. We also got into TAL reverbs and a dbx 160A compressor.

Chris-Take (to me at least) is a song about really wanting something that isn’t there. The idea that you are searching for something or someone that isn’t in pursuit of you. So it’s a bit of a creepy tune when you think of it. Chroma is a song about being disillusioned about a situation, environment you are in, someone you are around and the winding path you will go through to discover your next step. To Brett’s point, it does have an out of body vibe to it for sure.

CMM-What do you all find the most rewarding part about making music and art? Has there been a moment were you felt like everything came together all at once after years of honing your craft?

Brett-Chris and I are both musicians as well as artists and designers. That plays in heavily when we approach Mariana Rivals. We want it to be the full package. When we we were growing up, the record sleeve artwork, album notes and everything were as important as the music. We love making music but take as much pride in the artwork, website and videos too.

We have such a long history of playing together that we have a few moments where we’ve felt like things have really started to gel. Back in school we’d have those times when we looked at each other like “that’s pretty cool,” but for me, releasing Monument in 2016 made me think, “ok, now we’re getting somewhere.” I’m really proud of Take/Chroma too and I feel like our best is still yet to come.

Chris-The best part of being a designer and musician is that it really forces you to take complete control of what you want someone to feel when they listen to the music as well as see the visual art.

CMM-If the band were able to do a soundtrack for a film director of your choice who would it be and what would the film be about?

Brett-Tough question. I loved the work Survive did for the Stranger Things soundtrack and it really kick started my interest in synths again. I think doing a soundtrack to a series would be really fun. Something longer form.

Chris-I think it would be really fun project to score a movie. I’m a fan of the David Gordon Green’s movies, Prince Avalanche and Manglehorn, scored by Explosions in the Sky and David Wingo. The subtlety that the score brings to those films would be what I’m after.

CMM-The Oakland/Bay Area has always had a spectacular underground music and art scene. Any other bands and venues that you all recommend these days?

Brett-We feel a particular connection to bands like Rogue Wave, Tycho and Toro Y Moi—all bands from or transplanted in the Bay. Tycho and Toro Y Moi both started with the DIY principles we practice. Its fun to see Tycho tagging places on Instagram that are part of my daily routine and its interesting to think that we may be influenced by similar parts of the California landscape. Rogue Wave also followed us on Instagram, so we feel pretty good about that! As far as venues go, I’m into all the rehabbed theaters in California, particularly the Fox in Oakland. Not necessarily underground, but still a great space.

CMM-Any future plans for the band? Tours/recordings etc.

Brett-We’re currently demoing songs for a full length. We’ve got about 7-8 new songs right now and a few leftovers from the previous releases. It’ll be our first LP record so that’s exciting. In some ways, the songs feel like a logical progression from what we’ve done but in others they feel completely different. They feel more like sunny day music.

As for touring, it’s difficult for us to make that happen right now. I live in California and Chris lives in Connecticut and we get together in person once or twice per year when scheduling permits. We’d need to live at least on the same coast to be able to gather more musicians and rehearse regularly. We hope to try and make that a reality in a few years but only time will tell. We’re a studio band for now with the potential for a few one off shows here and there.

Chris-I’m excited at where the demos for the LP are going. Looking forward to getting together in person to get these tracked. Like Brett said, I’d love to get our music in front of live audiences but right now it’s a bit off into the future.

CMM-Any finals thoughts/comments?

Brett-Nothing other than stay tuned and thanks for featuring us, Dave!

CMM : News And Notes For Thursday April 20th 2017

JACK HARDY "FOR THE SAKE OF FINDING YOUR CLOTHES" VINYL EDITION

Custom Made Music are so excited to announce the Limited Vinyl Pressing of Jack Hardy's "For The Sake Of Finding Your Clothes". The album was released last year as a CD and Cassette and we couldn't be more thrilled to have it out on vinyl too. Each copy is hand stamped and comes packaged in a beautiful maroon colored silk screened jacket. Copies will be available this coming Friday April 21st at www.custommademusicva.com.

CITRUS CLOUDS RELEASE NEW VIDEO FOR "SHAPES AND THINGS"

Citrus Clouds have released this beautiful video for their latest single "Shapes And Things". The track is from their debut album "Imagination" out now on CD and Cassette from CMM. Filmed and Edited by Anthony "Tall Tony" Sziklay the psychedelic visuals really enhance the bands blissful shoegaze sound. We also couldn't help post this recent painting of Jake "The Snake" Roberts by the bands Vocalist/Guitarist Erick Pineda.

TONALS RELEASE "HOLY WATER" CASSETTE AND NEW DIGITAL E.P.

Canadian shoegaze/indie rock outfit TONALS will release their E.P. "Holy Water" this Friday April 21st on CMM. Their shimmering, reverb drenched songs are some of our favorite tracks to come along in some time. On top of the cassette the project has released a new digital E.P. featuring two new songs titled "Smog" and "Hitchhiker".

BAY AREA NOISE ROCK TRIO PORCH EMBARK ON THEIR FIRST EUROPEAN TOUR

Long running Bay Area noise rock unit Porch have made it to Budapest to begin their first ever European tour which runs from April 21st through May 14th. CMM had the privilege of releasing a 4 cassette discography set from these guys a couple of years back and the band also self released their most recent album "Walking Boss" on 180 Gram Vinyl. Check out the promo video and all the tour dates below.

21 APR - Budapest HU @ Robot

22 APR - Szeged HU @ Grand Cafe Verkert w/Pozvakowski

23 APR - Belgrade RS @ Elektropionir w/Mnjenje, Casillas

27 APR - Brussels BE @ Magasin-4 w/Sects Tape

28 APR - Cologne DE @ Limes Köln w/Octo

29 APR - Berlin DE @ Tiefgrund w/Grant National

01 MAY - Lausanne CH @ Squat FMR

03 MAY - Mulhouse FR

04 MAY - Reims FR @ L'APPART Cafe w/Harpon

05 MAY - Paris FR @ Espace B w/Harpon, Conformists

06 MAY - Lille FR @ Centre Cultural Libertaire w/Harpon

07 MAY - Dour BE @ XTRM Scandalous LABO w/Harpon

10 MAY - S Manchester UK @ Fuel

11 MAY - London UK @ Windmill Brixton w/Buzz Rodeo

12 MAY - Brighton UK @ Sticky Mikes w'Buzz Rodeo

14 MAY - Guildsford UK @ Buffalo Club w/Buzz Rodeo

Desolate Noise : An Interview with La Terminal

Peruvian post punk/noise rock outfit La Terminal offer up 10 high energy tracks of blistering rock n roll on their debut self titled album. The band made up of Raúl Guzman (bass guitar), Diego Pinto (drums), Mauricio Valdivia (lead guitar) and José María Málaga (lead singer and rhythm guitar) create a sound that draws from the spirits of early Jesus And Mary Chain, Dinosaur Jr and Sonic Youth but with a haunting twist that adds touches of early death rock and industrial. I got together with Jose to talk about the formation of the band, the writing and recording process of their debut album and the underground music scene in Peru.

CMM-How did La Terminal form and what were the main influences that went into developing you all's sound?

Jose-The band started as a power trio with Luis Cueto, Raul Guzman and me (Jose Maria Málaga) in the last months of 2007. In the beginning the band had a strong influence of peruvian post punk mixed with grunge and indie guitars. After that the band moved in a new direction that focused more on alienation. Guido Nuñez became our new drummer (Luis cueto left the band), and he gave to us a strong rhythm and attitude on the stage, that with Mauricio Valdivia’s guitars, gave us a more novel sound that we brought to the recording of this album. You can also clearly recognize that we have been influenced by grunge, punk, shoegaze and noise rock. And now with the addition of yet another new drummer Diego Pinto, the influences are open again and the possibilities are exciting for us.

CMM-What was the writing and recording process for the debut album like? What are the songs about? Any particular gear that you all used?

Jose-The songs were written over a 10 year period. The first and the last song of the album were written when I lived in Mexico City and I had a long list of questions about my life. In fact all the songs talk about that dark background that plays between questions and answers within my relation with life, time, aging, losing people, death, failure, idealization of exits, anxiety. All of these are things that we share between members and when one of us talks about this, we are all talking at the same time.We use distortions, fuzz and different types of reverbs (big muff, Satorisonic Fuzz, RAT, Marshall Reflector, Whammy, Digiverb of Digitech) and a delay mix with reverb in the voice (sometimes)

CMM-What music made the biggest impact on you as a child?

Jose-The alternative explosion in the beginning of 90's and the dichotomy "Guns n' Roses / Nirvana"

CMM-If the band were able to do a soundtrack for a film director of your choice who would it be and what would the film be about?

Jose-We think Gregg Araki or Gus Van Sant. And perhaps it would be a murky surreal voyage, like "Valerie and her Week of Wonders" but with "boys" of 33 years old. He he.

CMM-What is the underground scene like in Peru? Any other bands that you all recommend.

Jose-In Peru we have rock bands since the 50's, but we start to have more underground bands in the early 80's with the "Rock Subterraneo" explosion in Lima. Although during the years there were activities in other province cities, it was always centralized in the capital, production and media. This has led to the formation of "alternative circuits" linking provincial cities, joining bands not only from Peru, but also linking some of the Peruvian south with northern of Chile. Here you can find today many different manifestations that break the barriers of rock and enriching our underground with harsh noise, electronica, fusion, psychedelia and shoegaze, etc. I would like to recommend paying attention to bands and projects such as Stonearth, Warida Libre, _Bas, Asteroide, Ruidosfera, Quilluya, LLasaq, Los Death Monkeys, Vertigo, Zio Vila, Orquidea, La Muka, Hombre del Espacio, Los Morts, Registros Akasicos, 3AM, El Aire and from the north of Chile Desfound, Kalasasaya, Waldo Ponz and Vortex.

CMM-Any future plans for the band?

Jose-We now have a new alignment, with which we are working in new rhythmic structures. This opens up to us even more areas for experimentation and these new compositions will form part of a forthcoming album. We will be recording the demos in April and start the live performances of the album on May 27th in Arica, Chile, within the ESPORA FESTIVAL. We hope to take the band on tour to Argentina at the end of 2017.

Six Records CMM Wants You To Know

Future Islands "Ran" Single (future-islands.com)

"Ran" is the lead single from Future Islands new album "The Far Field". As always singer Samuel T. Herring puts everything he has into his passionate, heart felt vocal delivery. He's quickly emerged as one of the more enigmatic frontmen in recent years and "Ran" is the perfect example of why he's deserving of such stature. Bassist William Cashion's signature swing is the driving musical force behind this one and he's complimented well by Gerrit Welmers's alluring atmospheric keyboards. It's infectious rhythm and lulling undertones are undeniably appealing and showcase the bands first rate song writing ability and drive to explore new horizons. "The Far Feild" is available today courtesy of 4 A.D.

Guided By Voices "August By Cake" 2 X LP (GBV INC)

Few musicians actually make it to their 5th album much less their 10th but there is a very minuscule group who can say they have made 100 albums. Off the top of my head I can think of maybe James Brown, Hawkwind and Merzbow. "August By Cake" is GBV founder Robert Pollard's 100th album and is also the bands first double album. Packed with amazing anthems like "Dr. Feelgood Falls Off The Ocean" and "5° Degrees On The Inside" the album marks the return of longtime guitarist Doug Gillard and first appearance by new acquisition Bobby Bare Jr. both of whom make their presence felt in full effect. Other favorites include the jangling sounds of "Hiking Skin", the Gillard penned "Goodbye Note" and psychedelic noise of "Fever Pitch". Here's to another 100 albums from the most prolific man in rock n roll.

Lucius "Million Dollar Secret" Single (ilovelucius.com)

It's no secret that I love Lucius, so I was really excited to hear this brand new single. Clocking in at a brief two minutes and twenty three seconds "Million Dollar Secret" is a soothing, passionate number that highlights Holly Laessig and Jess Wolfe signature voices in fine form while maintaining a breathtaking array of ambient tones. The track recently appeared on an episode of the HBO series Girls and the band are also featured in the upcoming David Byrne documentary "Contemporary Color" which you can check out the trailer for below.

Milon S/T E.P. (milonbristol.bandcamp.com)

Off the chart musicianship, cagey rhythms and brilliant dynamics is what you will find on this debut release from Bristol based art/jazz unit Milon. Led by tenor saxophonist Dino Christodoulou and electric guitarist Neil Smith the group unleash seven introspective pieces that continuously keep things on the move. The guitars range from crisp clean chords to frantic "strangulation" like solos while the saxophone style is more aching to that of Sonny Rollins. Drummer Roberto Nappi and bassist Pasquale Votino lay down an unbeatable foundation that's not afraid to wander into the outer realms of experimentation. The band sync together amazingly well, much like the four lions that got together to form Voltron. "Calabacin" is an absolute shredder while "Ayia Luna" and "Woody's Beat" offer up a bit more swing. This is the type of record that has me picking up something new with each and every listen. It challenges you while you can tell the band are challenging themselves throughout the entire thing. A truly stellar release across the board.

Sage "Procrastinate" LP (sagerulez.bandcamp.com)

Sage are a promising new band from Cochrane, Ontario Canada. Their debut E.P. is full of crushing riffs and pounding drums that harness a raw, primal energy that channels the likes of Dinosaur Jr, Buffalo Tom and Nirvana (they even do a cover of "Aneurysm". The catchy melodies and hooks on tracks like "Sinking Boats" and "Lukewarm" gel well with the dirge driven riffs of "Procrastinate" and "Fairweather Friends" while the slack rocker vocal stance and lofi-ish production won me over quickly as "Procrastinate" has all the key ingredients of a 90's underground rock n roll fan feast. A remarkable effort indeed.

Various Artists "Max's Kansas City 1976 and Beyond" 2 X LP (mvdb2b.com)

Max's Kansas City was a legendary New York City venue from the late 60's through the early 80's. The early day's saw appearances from Velvet Underground, New York Dolls, the Stooges, Bruce Springsteen and countless others until closing in 1974. The venue Reopened in 1975 under new management, Peter Crowley was hired as music director. The new young bands he booked helped spawn, in tandem with CBGBs, the New York City punk scene. In 1976 Peter compiled a studio album of acts associated with the club, Max's Kansas City 1976, to help promote the club. The album included the first recordings from legendary artists like Suicide, The Fast and Warhol-era veteran Wayne County, whose title-track gave a roll-call of many of the famous acts who'd regularly performed there. Now MVD entertainment has released this expanded 25 track 2 X LP/40 track 2 X CD titled "Max's Kansas City 1976 and Beyond" and it features tracks from New York Dolls, the Stillettos, the Offs, the Senders, Philip Rambow, VON LMO, Iggy Pop, Knots, Roland Alphonso, Cherry Vanilla, Nico, Joy Ryder, Johnny Thunders & the Heartbreakers and Sid Vicious. It's an incredible collection of raw in your face performances from the golden era of punk and also includes liner notes from Crowley himself. Simply put this is an essential collection of true New York punk/rock n roll.

"Five For Friday" with Natalie Bibby of WANWEIRD

WANWEIRD is the solo project of London musician Natalie Bibby. In less than a year she has released a spectacular E.P. titled "Honey & Salt" and a handful of impressive singles. Her sound is full of raw, angst ridden riffs that combine equal amounts of early 80's post punk with early 90's alternative rock. Bibby shares some of her favorite songs in this weeks edition of "Five For Friday" but first enjoy her latest single "Evelyn McHale".

Dig - I'll Stay High

I think Dig are probably one of the most, if not the most, underrated guitar bands of 90's. This is off their self-titled 1993 album, which is one of my top ten albums of all time. The songwriting on that particular album is really something, and it amazes me that they weren't bigger than they were. With this track they manage to make a hypnotic wall of sound with their three guitarists, and the use of the Wah pedal is genius.

My Bloody Valentine - You Made Me Realise

Back to 1987 with this one. I love this track because it's between the classic shoegazing sound of the band's 'Loveless' album, and the energetic lo-fi 80's punk rock sound. Bilinda Butcher's dreamy vocals contrast nicely with the aggressive biting guitars, creating a bewitching tension.

TAD - Leafy Incline

This one's from 1993; it would be impossible for me not to include a track from a seminal 90's grunge band, as that whole scene has inspired so much of my own music. I think love the guitar tone, the slow plodding verses, and then suddenly the energetic pre-chorus; emphasised by those awesome cymbal chokes. Super cool songwriting.

Slo Burn - July

This is one of my favourite tracks of all time, released in 1996 off their EP 'Amusing the Amazing'. The band features Jerry Garcia from Kyuss, which I think had broken up shortly before the formation of Slo Burn. I love the lo-fi trashyness of the track, especially those drums and gritty monolithic guitars. The build up at the start is awesome, especially when it all lets loose and goes nuts at around 0:40ish.

Allusondrugs - I Should Have Gone to Uni

Lastly, something modern. I actually had the privilege of playing with these guys a couple of years ago, and their live show is one of the best I've ever seen. It's rare that I hear a rock song post-2000's where I have a eureka moment, and think "oh my god, yeah, I totally feel that", and it's kinda magical. For me it seems like the overwhelming majority of mainstream post-2000's rock is lacking relatibility, maybe because too many bands are deliberately focusing on writing good songs just for the sake of it and getting famous...rather than writing about something they really feel. However, we could do with a band like this breaking out into the mainstream to shake things up a bit. Especially love the fuzzy guitars in this!

Six Records CMM Wants You To Know

Ancient Lake S/T E.P. (ancientlake.bandcamp.com)

Based in London Ancient Lake offer up a colorful collection of cinematic songs on their self titled debut E.P. The gliding feel of "East River Bend" sets the pace with it's sparkling tones, radiant vocals and rich shoegaze nuances. It takes you back to the late nights watching 120 minutes in the early 90's but puts a modern spin on things that gives the band a sound all their own. The more easygoing "Second Skin" creates a lulling mood that moves nicely alongside it's shuffling rhythm while the jangling guitars that flow throughout "Empty Like Valleys" are truly second to none. An impressive and beautiful debut from beginning to end that leaves me wanting more.

Ben Clayton-Wolfindale "Terra" LP (benclayton.bandcamp.com)

The dynamics and raw creativity shown on this phenomenal debut from English experimental composer Ben Clayton-Wolfindale is truly off the charts. From the gritty textures of opening piece "Larsen" to the pulsating rhythm of "Forecast" you never know what kind of sonic twist or turn you will be in store for. The dirge driven undertones of "Weary" carry an enigmatic element while the warbling stance of "I Want To Live on Another Planet" showcases an even wider array of expressive tones. Reflecting on the album Clayton-Wolfindale says "So terra is a comment on the unshakable feeling that the fundamental plates of our planet and societies are splitting apart. It begins in the fracturing, frozen fogs of the Larsen ice shelf and ends with my elegy for the profoundly sad passing of Leonard Cohen - one of my heroes. In between, I try and give a snapshot of life's multitude of other stresses and strains, hopefully with enough humour to prevent it become a slogfest,". Overall "Terra" is a compelling collection of incredibly inspiring work that I simply can't get enough of.

Gaspard Hers "Spots" E.P. (gaspardhers.bandcamp.com)

Gaspard Hers execute a primal dose of experimental madness on this brand new E.P. "Spots". It's a listening experience that moves through a variety of colorful waves beginning with the haunting tones of "Le Petit Royaume" which takes you down a dark and mysterious pathway of the unknown. The tribal like sounds of "Dub Party" and ominous demeanor of "Tennis" both evoke a calming meditative mood as it's spaced out stance and sheer intensity enhance this captivating journey while closing number "Ambience Fete" delivers a spellbinding collage of relentless percussion and unpredictable allure . Simply put "Spots" is a seventeen minute odyssey sure to delight fans of mind expanding, exploratory soundscapes.

Surfer Blood "Six Flags In F or G" single (joyfulnoiserecordings.com)

West Palm Beach, Florida indie rock unit Surfer Blood have been through a lot since their formation in 2009. Singer/guitarist John Paul Pitts and drummer Tyler Schwarz have rebuilt the bands lineup with guitarist Michael McCleary and bassist Lindsey Mill after the departure of original bassist Kevin Williams and guitarist Thomas Fekete (tragically lost to cancer in May). "Six Flags In F or G" is the latest single from the bands upcoming album "Snowdonia", their fourth overall. The track is highlighted by huge melodic vocal harmonies, flourishing layers of catchy guitars and a pin point rhythm section. They also show off their ability to create the kind of dynamics that really make a song great. The band hit the road for a full U.S. tour beginning January 27th in Tallahassee, FL. and "Snowdonia" will be out on February 3rd.

Tonals "Holy Water" E.P. (tonals.bandcamp.com)

"Holy Water" is the mind blowing debut from Canadian musician Brad Benoit's new project Tonals. The first thing I notice about the songs is Benoit's ability to make his own world and his own settings by creating such distinct sounds with each instrument. Everything has it's own place and it's own identity. Opening number "I'll Watch The Sun" sounds like you have come out of hyperspace and landed on a mysterious unknown planet some where in the outer rim of the galaxy. It's an epic, mind bending piece that moves like sap falling off a tree as hypnotic rays of sunshine keep the mood heartfelt and warm. The uplifting spirit of "I Found The Truth" is backed by a compelling beat as a lush vocal cadence guides you through it's sonic landscapes. It's also got a breezy, tropical vibe to it that reeks with undeniable appeal. Things wind down with the irresistible presence of "Dreaming For Two". It's the kind of track that pulls you in and allows you to get lost in it's massive waves of reverb drenched atmospherics. A remarkable release that fuses an experimental approach with a DIY indie rock attitude in an absolutely perfect way.

Topographic "From Above" E.P. (topographic.bandcamp.com)

Topographic is the brainchild of Massachusetts guitarist Jackson Haley. "From Above" is a short E.P. that explores Haley's love for guitar looping. "A Siren Song For The Birds" is full of multiple layers of deep melodies and vibrant tones that are quite orchestral at times but also harness a bit of aggression and grit alongside all of it's beauty while "Snow Day" is a quick lo-fi number that makes good use of intricate chiming tones to give it a sense of adventure and charm. I really like the openness that comes across on these two tracks. They are honest and inviting and make me want to hear more and more of Haley's work and ideas.

Six Records CMM Wants You To Know

Aura Blaze "Sweet Talkin' Woman" (ELO Cover) (aurablaze.bandcamp.com)

I've been hooked on Aura Blaze since I heard their debut single "A Glass Of Tears Half Empty" back in 2014 and was blown away by their self titled debut album which gives serious references to The Beatles, The Beach Boys and ELO so it's fitting they would offer up this stellar rendition of the ELO classic "Sweet Talkin Woman". It stays pretty close to the style of the original while adding a few personal twists and turns to the mix. I gotta say I love it and am also happy to hear there is new Aura Blaze material is in the works. Can't wait for their next album.

Bagaski "Yoail" LP (bagaski.bandcamp.com)

Bagaski are an experimental noise outfit from Greece. Their latest offering "Yoail" covers a huge range of sonic territory beginning with the spaced out sci-fi sounds of "Louise" which makes me think of powerful rays of light flowing from a newly discovered sun millions of light years away from Earth. The manic piano playing in "Elia S. Corba" meshes well with the apocalyptic rumblings that move underneath it while the sea of voices that flow throughout "Fager" are simply breathtaking. I find myself continually combing back to the collage like number "phylxx II". It's lulling presence evokes a sense of peace that is inviting and warm as it's psychedelic undertones and colorful textures create a sound that is other worldly to say the least. A stunningly beautiful and inspiring release indeed.

City Of Dawn "Every Sound Reminds Me Of Your Smile" LP (cityofdawn.bandcamp.com)

City Of Dawn is a project founded by Texas musician Damien Duque. First let me say this album is absolutely incredible. Opening piece "Find Me" intertwines layers of subliminal sounds that move with elegance and grace and establish a rich cinematic mindset. The glistening presence of "I Feel You Cuddle Quietly in my Dreams" brings to mind the likes of Eno and Tangerine Dream as the tones offer a wide array of colorful textures that seem to change with each passing second while "Lantern Fest" is one of the corner stones of the album as the track was inspired by Duque's recent experience at a Lantern Fest in Texas.The Lantern Fest is where thousands of revelers join together as a community and create an unforgettable spectacle of light. After an afternoon of live music, dancing, and s’mores, when the sun sets and the time is just right, attendees light the sky with lanterns representing their highest hopes, deepest regrets, and fondest dreams. Reflecting on the evening's festivities Duque says "The event is a memorable night to just sit back and look at tiny amber particles that unfold our memories & stories. Just seeing them brings inner peace and tranquility into the soul which in my perspective I can hear them float happily while showing off their amber light to the universe." Other highlights from the album include the uplifting sounds of "Every Sound Reminds Me Of Your Smile", the introspective touch of "The Sky In Our Eyes" and the mysterious nature of "The Light That Grows Beneath My Wings". This is one of the most well executed and most beautiful releases you will ever hear. TEN STARS!!!

Mythical Zenith "Hiraeth" E.P. (mitchellmacfarlane.bandcamp.com)

"Hiraeth" is the latest E.P. from multi-instrumentalist Mitchell MacFarlane who lives in Cape Breton, Nova Scotia. The pieces vary from frantic video game like numbers to more intricate math rock bits and passionate,theatrical soundtracks. "Ganymede" kicks things off with it's upbeat, highly melodic guitar riffs that are accompanied by washes of pulsating synths and an infectious rhythm. "Blue" makes good use of a galloping beat and highly detailed instrumentation that gives a slight hint at metal but leans more to the atmospheric side of things. "Eric" reminds me of legendary composer Mike Oldfield while "The Willow Tree" is even more dramatic and intense. Overall "Hiraeth" is a top notch collection of work from a most impressive young composer. Looking forward to hearing what's next.

Possum "Quick Damage" E.P. (possumyyz.bandcamp.com)

I can't get enough of this debut E.P. from Toronto based rock n roll unit Possum. These guys go full throttle right out of the gate as the blistering sounds of "Quick Damage" are backed by relentless garage rock riffs and psychedelic undertones. Things shift quickly into the dirge driven experimental piece known as "Sunslug". It merges an undeniable sense of menace with pulsating layers of ambient drones and shoegaze like swells. Before you know it the band are back into riff mode as the swirling surf tones of "The Invisible Man" are in full effect and show off the incredible musicianship this band is made of. The intricate guitar attack and pin point rhythm section are second to none as the matter of fact lead vocal delivery compliments everything in grand fashion. Things wind down with the slow passionate feel of "Sleepwalker" which shows off their sense of diversity and sends you off wanting more. A top notch debut from one of my favorite new bands.

Two Souls "A Ghost, A Shadow" Single (2sls.bandcamp.com)

Two Souls is the brainchild of St Louis based musician Demi J. Haynes. Her delicate vocals and comforting guitar playing create a surreal, ambient world on her brand new single "A Ghost, A Shadow". It's the type of song that makes you feel like it was recorded in an empty old house as it's ethereal mood is as eerie as it is beautiful. There's also a looming chorus of sound that filters in and out in just the right places and moves with a supernatural like presence. A truly captivating piece from an immensely talented up and coming songwriter.