Lemonade – Minus Tide

Lemonade

Recenze ze začátků září.

Lemonade – Lepší než šuměnka

Nová deska brooklynské trojice zní jako plynulé pokračování předchozího dlouhohrajícího alba Diver. Kromě výraznějšího kýče rocku a disca osmdesátých let se daleko neposunuli a pouze vybrušují specifický synth-popový zvuk s etno prvky. Přesto na albu Minus Tide nabízí příjemné letní osvěžení a výlet k vodě bez nutnosti kupovat letenky.

Přestože kapela Lemonade vznikla v San Franciscu, již delší dobu sídlí v Brooklynu a do tamější hudební scény jsou její členové namočení i jinak – bubeník Alex Pasternak je DJ, baskytarista Ben Steidel zase majitel obchodu s deskami. V projektu Lemonade nicméně trojice zachovala slunečnou atmosféru pobřeží Frisca, kterou kříží s chillwavovým sněním Delorean a starými melodiemi vlny balearic disca.

I na novince Lemonade pokračují ve specifickém synth-popovém zvuku. Kombinují osmdesátkovou nostalgii a taneční rytmy s uvolněným zpěvem a prvky world music, jako jsou zvuky indiánských flétniček, marimba nebo hojně používané perkuse. Ačkoli si kapela drží současný zvuk, na tomto albu je osmá dekáda 20. století ještě výraznější, než na předchozí dlouhohrající desce Diver – syntezátory jsou diskotékovější, vokálové echo roztahanější. Občas se objeví i klouzavé vybrnkávání elektrické kytary jako v rockových baladách a jednou dokonce zavyje i barový saxofon.

I když první nahrávky Lemonade jsou stylově jinde a i po prvním výrazném singlu Lifted se hledali, ve svém současném zvuku melodických písní s vrstvenými strukturami se za poslední 4 roky usadili pevně. A to natolik, že Minus Tide zní jako třetí a čtvrtá strana Diver. Bohužel na novince chybí hity typu Ice Water nebo Vivid a při poslechu celého alba se málokterá píseň samostatně vryje do paměti. Stejně jako u předchozího dlouhohrajícího počinu si Minus Tide budete víc užívat až po několika posleších, kdy začnete jednotlivé písně rozeznávat od prvních tónů.

Album plyne jako řeka, v horkém počasí zchladí lépe než šuměnka a stejně tak bude příjemným společníkem na procházkách za posledními slunečními paprsky. Atmosféra hudby Lemonade se opakuje ve skladbách znovu a znovu dokola, a ztrácí tak občas na síle a podmanivosti, kapela přesto dokáže nezaměnitelným stylem evokovat vláčné letní dny a západy slunce na pláži. Jen škoda, že album nevyšlo alespoň o měsíc dřív – mohlo se stát jedním z letošních soundtracků k létu.

65 %

Lemonade – Minus Tide (Cascine, 2014), 43:35.

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When Computers Sleep, They Have Nightmares Mixtape

Computer’s night journey from falling asleep through digital nightmares and R3M fase to dawn.

Dutch E Germ – 40oz angel (IN.RAK.DUST LP, 2014)
Translation - Untitle (Ornine remix)
Infinity Frequencies – Particles (Computer Afterlife, 2014)
Sharp Veins – Laminatd
Safe Dash – Final
Ornine – Well Bone (Hi Ku 2)
Ghost Kwini – Black Google (Dark Address EP, 2014)
Arca – Thievery (Xen, 2014)
Infinity Frequencies – Remember (Computer Afterlife, 2014)
TCF – 486669f0e9b8990384108f3d54c6a8f036adeb8bc17c394b61f378911f854d27
Arca – Wound (Xen, 2014)

Interview with C-drík for Secret Thirteen

Digging as a neverending obsession

C-drík by Andrea Kriszai
C-drík by Andrea Kriszai

C-drík Fermont (aka Kirdec) is a musician, singer, composer and drummer originally from Congo based in Berlin. He specializes on releasing electronic, experimental and industrial music from Asia, Africa and South America. Although he’s lived in Europe for most of his life, his origin as well as innate curiosity have lead him since the 90s to explore the unknown fields of non-Western unusual music, which he releases on his label Syrphe. He’s been also making a lot of music by himself both in solo projects and bands of various genres from breakcore and industrial to ambient and synth wave, as well as music for film and theater. He’s a straight edge, who respects the nature, antisexist and antiracist and his approach to life is wilful and thorough. This interview for Secret Thirteen was originally conducted in September 2013 in his community flat located in suburban part of Berlin and was updated in September 2014.

You run a label, write a book and essays, play with different people, create music for different projects, give lectures, travel around the globe – how do you manage being your own boss?

I prefer to do most things myself, because when something goes wrong, the only responsible person is myself. I don’t have to get mad at somebody except me and I also know which direction I take and why. I work a lot and some people wouldn’t follow me, if I would work with collaborators. Some of the projects I do take a lot of energy and time and I can afford to tell myself: OK today, I can’t sleep, cos I need to do that. And I would never ask somebody else not to sleep because of me.

I take some path which is not really usual, for example the label’s direction, organising tours and playing in places and continents where most people don’t especially go. And it’s easier for me to do that alone, because many of my friends don’t want to follow me in some countries for example, thinking that there is nothing interesting or it’s not worth it or it’s dangerous because of unstable political issues.

Are you a person of no compromises?

Mostly yes (laughter).

You have both European and African origins in your blood and you also lived in different places of the world. Would you mind to tell a bit about your past and how did it affect you, not only in terms of art and music, but also in terms of your life direction?

I was born in the Congo (Zaire), Africa and lived there for only 2 years. Then I moved to Belgium, where I grew up and lived most of my life. Then I also lived in the Netherlands for a little bit. After that I stayed for 6 months in Far-East Asia, but moving from one place to another, on tour basically. Now for four years I live in Germany.

How did this affect me? I guess that even if my culture was somehow more Western European back then, I always had a connection to Africa. Through the family or food and eventually music. So that shaped me a little bit.

Then I wondered why I saw so few Africans in this scene – let’s say electronic, industrial, punk and so on. I wanted to understand why we were so few and why most other people of African descent I knew weren’t at all into this music. I guess all this shaped me somehow. I also travelled here and there for holidays when I was a kid and I always wanted to know more about different cultures, languages, music etc.

In the primary school I was the only non-white kid, back then it was still possible in Belgium. Some excluded me somehow and that shaped me as well, regarding the fact that I am a stubborn person – when I do something I want to finish it, I want to look like I want to and nobody will never forbid me to dress like I want, to have the hairdo or piercings I want and so on. But I’ve been in conflict many times with everything: family, teachers… I fought for it and I won anyway.

So you are a discoverer since you are a kid. Because that’s what you still are now, you discover new musicians for many years.

Somehow yes, but when I was a kid, I wanted to be an astronomer. In fact I got a lot of books about astronomy and astrophysics as well as scientific books for kids and teenagers. I was totally into it and with the time I’m still into astronomy. I do read a lot, but I don’t study it, cos I have no time for that.

When I was a teenager I started to listen to alternative electronic music like EBM or industrial music, I wanted to discover more and more, all the time. I discovered Front 242 first, then I discovered other bands like Skinny Puppy and Esplendor Geométrico, Laibach, Borghesia. And I thought OK, if I can find a band in Yugoslavia or in the USSR, maybe I can find something in Japan or in Brazil. So I wanted to go further and further and I started to dig. It became an obsession and so it still is now. I was thirsty all the time, it was never enough for me. I wanted to discover more and more and more music.

So let’s talk about Syrphe for a while, cos that’s were this passion leads to. You started it in early 90s and we think it was the first label that was focusing on this kind of music those times?

I started the label in 2002, but I run a tape label between 1991 and 1996, indeed. It was not called Syrphe, but it’s connected anyway. I published there my music and some artists from a bit everywhere, like De Fabriek from the Netherlands. But I also published some compilations including bands from South Africa, Chile or Japan and back then it was not always common, except for Japan. So I was one of the few ones and then with Syrphe I’ve been probably one of the first person to focus on alternative electronic music artists from Africa and Asia. There were few things before, but not so many. I think of Sonic Arts Network which published a very interesting compilation in 2007 with musicians from Iran, Palestine, Egypt, Angola… Or Somnus which published a Japanese, Taiwanese, Hongkongese compilation in 1994 or Etat Lab ten years later that was also focused onto Japan, Taiwan, Hong Kong and of course the South African tape label Network 77 that started to publish music in 1984 already.

For me it was important to be focused on it because this non-Western music is somehow oculted. It’s going better, mostly for the Middle-Eastern music or Arab experimental and electronic music, as well as the Chinese scene.

So how has this musical scene evolved during the years you have been focusing on it and running the label?

Wow, it exploded! Definitely. I remember, when I founded my tape label Sépulkrales Katakombes, it was so difficult to find anything from Africa. I just found Jay Scott in Cape Town producing tapes with international bands, but also bands from South Africa like his own project, Sphinx, and others like Willow and Carnage Visors as well… But this was my only contact there. I was trying hard. I wrote to some punks from the Philipines or Panama – and it was without internet back then. It was difficult. There were certainly little things going on here and there, but it was difficult to reach those artists. Now with the internet it’s so easy to communicate, and also a lot of people travel easily. Some of the musicians have members of their family living in Europe for example, so they come to visit them now and then. They bring back music eventually…

I’d say that during the past 10 years it literally exploded in many countries: China, Lebanon, Egypt, Indonesia… It’s pretty impressive. There are lots of young people just going deeper and deeper and now in some of those countries you can find something like an identity. In the past it was often a copy of what you can find in Europe, US, Australia, Japan. Now its changing. Quite fast.

Read more on Secret Thirteen

Leto – Zbytky ozářených ploch

Recenze pro Artalk.

Leto SkyWireBlog

Manželská dvojice hudebníků Leto začátkem srpna vydala debutové album Zbytky ozářených ploch, které syntetizuje syrovost kytar s popovými prvky. Svou nevtíravou atmosférou je ideální pro přivítání podzimu, kdy slunce chladne a zapadá pod horizont, až se propadne do Slezska.

Hudebnice a vizuální umělkyně Palma a muzikant Indoš pocházejí ze slezského hudebního podhoubí, kde se lidé střídají v nástrojích i kapelách. Proto není velkým překvapením, že spolu už jeden hudební projekt jménem Boss a sekretářka mají. Proč tedy založili další kapelu? Částečně kvůli Indošově touze vrátit se ke hře na kytaru a jejímu čistému zvuku, částečně jako vyústění jeho tvorby, která se pro těžkopádnějšího Bosse a sekretářku příliš nehodila – některé motivy na debutu Leto jsou staré až 5 let.

Indoš s Palmou čekali na moment, kdy „pop nebude sprosté slovo“ a ony starší motivy budou moci poskládat do písničkového leporela. Sami přiznávají, že cestu k hravějším skladbám s využitím popových zvuků syntezátoru jim zametli především slezští soukmenovci Planety se svou předloňskou deskou Peklo, peklo, ráj. Konec konců, jejich člen Záclona je slyšet na Zbytku ozářených ploch za bicími a Orel si zahostoval ve skladbě Les. Dále, co se nástrojů týče, Leto používají automatického bubeníka, Indoš hraje na kytaru, Palma na klávesy a z 95 % stojí za mikrofonem. A také za texty, které v hudbě Leto hrají velkou roli.

Leto – Tuny vzduchu

Palma je vizuální umělkyně zabývající se grafickým designem, grafikou a kresbou a tyto činnosti plynule spojuje s hudbou – ať už tvorbou webů (např. původní web vydavatelství MMM, na kterém jim deska vyšla), tak plakáty lákajícími na hudební akce, VJingem nebo videoklipy (mimo jiné videoklip pro Planety). Pro svůj debut pak vytvořila obal s použitím linorytu.

Podle způsobu tvorby se dá říct, že vizuální stránku spojuje i se samotnými texty. Palma se v nich usilovně nesnaží o skryté významy ani v nich krypticky nekóduje tajuplné příběhy a šifry; jsou spíše plynulým sledem asociací, v představách vizuálním zhmotněním pocitů a nálad, které popisuje. Anebo, jak vysvětluje sama autorka – představí si situaci a tu jednoduše popíše. Jazykem se nezaobírá; důležitější pro ni je, co chce říct.

Ukázka textu z písně Domy:
Ostré hrany řežou prostor
Promyšlená pravidla
Domy divných, přímých tvarů si přivlastňují svět

Nakonec i samotný název Zbytky ozářených ploch evokuje vizuální asociace stejně silně jako texty. Hudebně se Leto blíží spřízněným slezským projektům a také vlivům, které jmenuje: Pinback, Blonde Redhead nebo The Tall Ships. Mně osobně evokují i raný devadesátkový emocore jako Sunny Day Real Estate a začátek skladby Sekera pak indie rockové Granddaddy. Všechny vlivy jsou v hudbě Leto ale slyšet spíše jako vzpomínka než jako upocená snaha „znít jako někdo“. Pro jejich kytarovou hudbu střídající syntezátorové plochy a kytarové vyhrávky s příjemným zpěvem bez příkras je příznačná uvolněnost a nenucenost. Palmin zpěv deskou proudí ve stejném duchu. Má příjemný, chladivý hlas, kterému sluší echo, díky kterému někdy připomíná Bilindu Butcher z My Bloody Valentine (Ptáci neboHranice). A který někdy zní, jako by si zpívala sama pro sebe (refrén písně Domy).

Leto_03
Leto – Zbytky ozářených ploch

Melodie a zvuky kláves jsou občas až dětsky hravé nebo teatrální (Tuny vzduchu), díky čemuž jinak melancholická hudba nabývá na lehkosti. Indošova kytarová složka je zručná, syrovější a vyváženě používá zvukové efekty – tu rozleje trochu delaye, tam si postaví menší hlukovou zeď, tady si zabrnká jako doma v obýváku. Živé bicí Záclony pak dodaly skladbám dynamiku a sílu, přestože Leto na koncertech používají výhradně automatického bubeníka. Celkově se i přes obavy autorů hudba z debutu Leto popu nepřibližuje natolik, aby se stala příliš předvídatelnou, co se rytmu, struktury skladeb nebo melodií týče, a maximálně zachovává autentický přístup dvojice.

Navíc má celé album konzistentní atmosféru a plyne jako nedělní odpoledne, zdánlivě pomalu, dokud si člověk neuvědomí, že už zapadá slunce a za chvíli se rozsvítí pouliční lampy. Leto na nic netlačí, a právě proto to funguje. Jak v jednom rozhovoru řekl sám Indoš: „Jednoduchost a tisíc piv – tak to mám rád.“ Já osobně také a proto vím, že toto příjemné překvapení budu letošní babí léto poslouchat ještě mnohokrát.

Leto: Zbytky ozářených ploch (MámaMrdáMaso & Silver Rocket , 2014.)

Gagarin Records 15th birthday fanzine

Last year in autumn, Felix Kubin‚s Gagarin Records label celebrated 15 years of its extraordinary existence. Therefore, a special fanzine called „Institut fur gegenlarm“ been created by Alexa D!saster, who also made a compilation of Gagarin Records and its sublabel Apokalypso. I was responsible for interviews with the artists. Here are some of my favourite bits and bites of the interviews. 

Gagarin Records Fanzine Sky Wire

Jurij Gagarin was first man in Space. Is there something you are first at?

David Fenech: I was maybe the first kid to watch humans walking on the moon on television! I was born the night before that historical event happened and I know that my parents were already watching TV. So now, I am a « kid of technology » with my thought on the Moon…

Do you think music is useful? And why?

Brezel Göring (Stereo Total): Music has the wonderful of power to make hard work look ridiculous and stupid.

Adi Gelbart: Oboes are good burning material for your fireplace. Deep-house records are decent Frisbee substitutes. Bass flutes are useful for fighting fleas.

Do you feel like a renessaince person? And do you remember the last day when you didn’t make any music, video, opera, score writing or anything like that?

Ergo Phizmiz: I sometimes dress like a Renaissance person, but more often than not I’m dressed as a bad-golfer. I don’t remember the last day I didn’t make anything, but that’s just because it’s the only thing I know how to do, particularly.

What kind of paranormal activity would you like to do?

Mark Vernon: I would like to record people’s thoughts with the power of my mind and then broadcast edited highlights through my ears. WAV or FLAC only. I’m not doing it if its just mp3 quality.

Stan (Vernon & Burns): I have ESP – Extra Sexual Perception. I can get aroused by anything – fruit, vegetables, rocks, supermarkets, the proceedings of the UN Security Council, the Fernsehturm, this interview. I also have a poltergeist in my pants. I only do paranormal activities.

Barry Burns: Stan wouldn’t know what a normal activity was. I would like the ability to see into the past. Or have the gift of being able to speak to the living. Maybe through a crystal ball. Or just in the street.

What is necessary while doing beat box? Are there any beat-boxer gloves or fitness for your tongue? Or anaerobic aerobic?

Mark Boombastik: You need at least one mouth. And its better if you have not lost all your teeth yet. A bit of practicing would be maybe good… Don’t lose yourself in skills – lose yourself in visons.

I created accidentally a system nobody else can easily play… if I’ll be dead one day, a person who would want to perform my songs like I did have at least has to learn to do beatbox and play the machines like I did. I’m like Bruce Lee – if you want to copy me, you have to invest a lot of time and energy to reach this skills and mistakes I have today.

Would you kiss Apocalypse on her lips, or do you prefer optimistic thinking about the future while dancing calypso?

Meryll Hardt: Yesterday I dreamt that Marcel Duchamp was in my living room. His lips were rose and when I kissed him I woke up saying „c’est la vie“. I guess it was apocalypse.

If you could open a space bar, how would you call it and what would you serve there?

Jesse Stiles: My space bar would be called „Force Restart.“  All the drinks would be named after computer keyboard shortcuts.  We would have a drink called „Zapping the P-RAM,“ one called „Target Boot,“ „Empty Trash,“ „New Folder,“ etc.

What was your worse socially awkward situation while being part of Gagarin Records? And the best moment?

Peter Um: There’s been a few, mainly on the Gagarin 10th Anniversary Tour.

1) Once Brezel Goring’s disposable teacup fell out of the tour van into the gutter as the door opened and I picked it up, trying to be helpful in a wishy-washy Englishman kind of way. He grabbed it and threw it back out in this gesture of distilled punkiness and I was mortified.

2) On the last show someone (probably Brezel again) initiated some kind of impromptu jam session of everyone on the tour. Because I am a non-musician I couldn’t really improvise anything so after spending about 5 minutes trying to get Echokrank’s vocoder to work while everybody else noodled behind me I just resorted to shouting “Mannheim, let’s ROCK!” and it wasn’t funny at all.

3) In Hamburg we went to this bar where it was traditional to get really stoned. There was a Queen concert playing on the TV and I zoned in on the perfection of Freddie’s performer shtick, and then Mark Boombastik took me to task about the politics of the art of Queen, likening this particular televised stadium gig to a form of grand larceny. I was too caned to explain myself and I just kind of sat there shamefully like a stupid kid who hasn’t thought things through.

Lots of good moments though. The gig at the Golden Pudel where I was using a CD for backing and Felix was doing rewinds and fucking with the pitch control and I was trying to adjust my vocals whilst laughing. Also Ergo Phizmiz is a wonderfully silly fellow and I have memories of crying with laughter even though I am incredibly stressed and tired. And Echokrank playing for little kids in the Atomium was very special too. 

Read also: Felix Kubin DVD out + Profil + Interview