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Monthly Archives: May 2020

New Zero God (feat Tim Jones) – The Secret is Love

While being quarantined during the COVID-19 pandemic New Zero God decided to write this song during the lock down and asked our good friend, Tim Jones, to add some of his magic to it.

Tim Jones is a founding member of the Stone Premonitions Music Collective, formed in northern England in 1994. He started out singing and playing guitar in New Wave/Punk bands Neon and Punishment Of Luxury in the late 1970’s. In recent times, Tim has concentrated on his work with psychedelic band Census Of Hallucinations and prog rock outfits The Rabbit’s Hat and Body Full Of Stars.  He has engineered and produced many artists over the years and his music is currently available from fallingarecords.com

We thought we’d give away the song for free since it is a song about COVID-19 and this virus is everyone’s problem and we shouldn’t put a price on it.

Tim Jones – Guitar, Mike Pougounas – Vocals, Keyboards, Akis Nikolaidis – Guitar, John Psimopoulos – Drums, Michalis Semertzoglou – Bass, Babis Efthimiou – Programing

Music & Lyrics by Mike Pougounas

Produced & Mixed by Mike Pougounas

Mastering by John Psimopoulos

Artwork by Steisy Mandaltsi

 
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Posted by on May 29, 2020 in Rock

 

Οι εκδόσεις Nightread παρουσιάζουν: Το Κλειδί της Εύας – Mike Pougounas 

Κυκλοφορεί από τις εκδόσεις Nightread το πρώτο μέρος μιας τριλογίας που ακόμα δεν έχει όνομα.

O Mike περιπλανιέται σε έναν κόσμο που βρίσκεται μέσα στο μυαλό του. Σε αυτόν τον νέο κόσμο, οι απαντήσεις στα ερωτήματά του καθώς και οι εκπλήξεις που τον περιμένουν σε κάθε του βήμα, παίρνουν μορφή από τις εμπειρίες της ζωής του, τους φόβους και τα τραγούδια του. Σε αυτό το ψυχεδελικό ταξίδι συναντά τους προσωπικούς του ήρωες, και κάποιες ξεπερασμένες αντιλήψεις του μαζί με έναν νέο φίλο, τον Κώστα, που κινδυνεύει να μείνει για πάντα σε αυτό τον φανταστικό κόσμο αν δεν βρουν τον σωστό τρόπο να επιστρέψουν στην πραγματικότητα. Κι ο Κώστας, του αποκαλύπτει ένα μεγάλο μυστικό…

 

Ο Mike Pougounas γεννήθηκε στην Αθήνα το 1965 και σπούδασε σκηνοθεσία κινηματογράφου.

Ασχολήθηκε με την μουσική από μικρός και έχει κυκλοφορήσει μέχρι σήμερα 11 στούντιο άλμπουμ με τα συγκροτήματα Flowers of Romance, Nexus και New Zero God.

Από το 2012 μέχρι σήμερα, επιμελείται και παρουσιάζει την δίωρη εβδομαδιαία μουσική εκπομπή The Blackout Radio Show with Mike Pougounas, για τον Αμερικάνικο ραδιοφωνικό σταθμό KOWS 92,5FM η οποία αναμεταδίδεται και από ιντερνετικούς σταθμούς στον Καναδά, στην Αγγλία και στην Ελλάδα.

Εκτός απο το Tribe4mian, άρθρα του αναρτώνται συχνά στο Merlin’s Music Box, και κάποια έχουν δημοσιευθεί στο Ελληνικό περιοδικό Planet of Songs και στο ηλεκτρονικό The Revista 13 από την Αργεντινή.

Η πρώτη του ιστορία που εκδόθηκε σε βιβλίο ήταν το “Why Can’t I Be You?” στο βιβλίο «Ο Κήπος των Κρεμασμένων».

Το 2008 βραβεύτηκε στο Διεθνές Φεστιβάλ Πάτρας για την ταινία του “Vlad ο Δαίμων”.

Το Tribe4mian σας παρουσιάζει εδω την αρχή τού βιβλίου για να ψηθείτε και να το απολαύσετε ως το τέλος!

                                            ΤΟ ΚΛΕΙΔΙ ΤΗΣ ΕΥΑΣ

«Τώρα μιλάς σοβαρά ότι ο Τζάστιν Σάλιβαν έγραψε τραγούδι για ελληνικό βουνό;» ρώτησε και γυρόφερε το κολονάτο ποτήρι στο χέρι του…
«Ναι, ρε συ, την Στρογγούλα στα Τζουμέρκα» απάντησα και τσούγκρισα τα ποτήρια μας με ένα χαμόγελο…
Το τραπέζι ήταν γεμάτο άδεια πιάτα με υπολείμματα φαγητού. Μερικά ψίχουλα βρίσκονταν πάνω στο λευκό τραπεζομάντηλο γύρω από το πιάτο μου και επειδή αυτό ήταν κάτι που μου συνέβαινε συχνά αλλά με ενοχλούσε, σκεφτόμουν ότι μπορεί να έπασχα από κάποια ψυχοσωματική διαταραχή…
Παρόλα αυτά, είχα την αίσθηση ότι ήμουν λίγο ζαλισμένος, a bit lightheaded που λένε οι Αμερικάνοι…
Η σκέψη ότι το είχα μεταφράσει στα αγγλικά με έκανε να τινάξω ελαφρά το κεφάλι μου για να συνέλθω.
Τα μιλούσα σχεδόν όλες τις ώρες στην καθημερινότητά μου, ωστόσο ακόμα με εντυπωσίαζε που έκανα και τις σκέψεις μου σε αυτή την γλώσσα και όχι στα ελληνικά.
Από την πόρτα που οδηγούσε στην κουζίνα ακούστηκαν οι δύο γυναίκες να γελούν μιλώντας ακατάληπτα.
«Χαζογελάς, έτσι;» έκανε ο Βασίλης και ήπιε μια γουλιά από το κόκκινο κρασί που είχε στο ποτήρι του.
Είχε σηκώσει λίγο τα μανίκια του μαύρου πουκαμίσου του αποκαλύπτοντας ένα λεπτό στρώμα από μαύρες τρίχες στα χέρια του.
«Φίλε, σε ευχαριστούμε πολύ για την πρόσκληση» είπα παίζοντας αμήχανα με τον φελλό του μπουκαλιού. Και συμπλήρωσα:
«Έχω να σε δω 15 χρόνια και ερχόμαστε απόψε σε αυτό το υπέροχο σπίτι και… τι να πω; Πραγματικά, το γούστο της Φλώρας στο ντεκόρ είναι τρομερό.»
Πίστεψα ότι θα τον κολάκευα με το ψέμα μου. Τα πάντα ήταν άσπρα, ρε γαμώτο. Οι κουρτίνες, οι τοίχοι, το στρογγυλό ρολόι στον τοίχο με τους δύο λεπτούς μαύρους δείκτες του να δείχνουν ότι σε δύο λεπτά θα ήταν μεσάνυχτα, το ύφασμα στα έπιπλα του σαλονιού. Κι αν ήταν κάτι που δεν άντεχα ήταν το άσπρο.
Όλα άσπρα, εκτός από το πουκάμισο που φορούσε, το γαλαζοπράσινο διαφανές κουτί του πικάπ που ακουμπούσε πάνω στο γυάλινο έπιπλο και που μπορούσες να δεις όλο τον μηχανισμό του, και την μεγάλη βιβλιοθήκη που έστεκε δίπλα του, γεμάτη δίσκους βινυλίου.
Ξεκούμπωσε το άσπρο κουμπί κάτω από τον λαιμό του για να πάρει μια ανάσα και ψιθύρισε σκύβοντας πάνω από το άδειο πιάτο του…
«Μπορείς να μου πεις που βρήκες αυτή την κοκκινομάλλα; Είναι άπαιχτο μωρό…»
«Τη γνώρισα σε μια συναυλία των Cinematic Orchestra. Eίχα πάει να πάρω ένα ποτό από το μπαρ και μέσα στο στριμωξίδι η Μεγκ δεν πρόσεξε, με σκούντηξε και το έχυσε πάνω μου. Οπότε, πιάσαμε την κουβέντα.»
«Πάντως μιλάει πολύ καλά ελληνικά!» είπε ο Βασίλης ανασηκώνοντας τα φρύδια του…
«Είναι εδώ πέντε χρόνια και ήδη είμαστε μαζί τέσσερις μήνες.»
«Σωστόοος…» έκανε ο Βασίλης κλείνοντάς μου το μάτι καθώς σηκώθηκε από το κάθισμά του.
«Πάω να δω τι κάνουν τόση ώρα», είπε και χάθηκε στην διπλανή πόρτα.
«Βρε, κορίτσια! Γιατί δεν το λέγατε; Θα πεταγόμουν εγώ να το πάρω», τον άκουσα να λέει καθώς οι δύο γυναίκες χαχάνισαν με την έκπληξη του.
Γύρισα και κοίταξα έξω από το παράθυρο.
Το πορτοκαλί φως από μια κολόνα στον δρόμο έσπαγε το σκοτάδι της νύχτας.
Κοίταξα το ρολόι στον τοίχο. Είχε πάει 12 ακριβώς.
Μπορεί να μεγαλώσαμε μαζί με τον Βασίλη και μπορεί να είχαμε και οι δύο εθιστεί στην μουσική από μικροί, αλλά οι δρόμοι που ακολουθήσαμε στη ζωή ήταν εντελώς διαφορετικοί. Ο πατέρας του ήταν διευθυντής μιας από τις μεγαλύτερες εταιρίες γαλακτοκομικών της χώρας και το όνειρό του ήταν να πάρει την θέση του, ο γιος του.
Υπήρχαν βράδια που μαζευόμασταν όλη η παρέα στο δώμα στην ταράτσα του σπιτιού ενός φίλου και ακούγαμε το Ummagumma των Pink Floyd. Mια πράσινη και μια κόκκινη λάμπα ήταν οι μόνες πηγές φωτός που, ας πούμε, φώτιζαν το δωμάτιο ώστε να μπαλαμουτιάζει ένα κορίτσι της γειτονιάς πάνω στο διπλό κρεβάτι που είχε χωρέσει με τα χίλια ζόρια και που για μεταφερθεί είχαμε βοηθήσει όλοι. Οι βραδιές ολοκληρώνονταν όταν ο καθένας μας έπαιρνε ένα κομμάτι βαμβάκι ποτισμένο με καθαρή βενζίνη. Ρουφούσες βαθιά και η ζάλη θόλωνε τα πάντα – άλλοτε οι φωνές ακούγονταν βαριές και αργές κι άλλοτε ψιλές και γρήγορες.
Αργότερα ο Βασίλης έφυγε για σπουδές στο ΜΙΤ στην Μασαχουσέτη…
«Ρε μαλάκα, τα κορίτσια πήγαν και αγόρασαν μιλφέιγ!» είπε μπαίνοντας στο δωμάτιο διακόπτοντας τις σκέψεις μου.
«Ωχ! Γαμάτο;» έκανα.
Οι δύο γυναίκες τον ακολούθησαν χαμογελαστές.
«Όχι, ρε συ!» είπε η Φλώρα μπαίνοντας στην τραπεζαρία κρατώντας έναν δίσκο με τέσσερα πιάτα μιλφέιγ…
Πίσω της ερχόταν η Μεγκ με ένα πλατύ χαμόγελο να φωτίζει το γεμάτο φακίδες πρόσωπό της, ενώ προσπαθούσε με τα δυο της χέρια να πιάσει σε κότσο τα μακριά κόκκινα μαλλιά της.
«Η Μεγκ μου έλεγε στην κουζίνα ότι η κάνναβη, η κοκαΐνη, η μεσκαλίνη και η ηρωίνη χρησιμοποιούνταν τον 19ο αιώνα σε μεγάλη κλίμακα για ψυχαγωγία», είπε η Φλώρα. «Δεν ήταν απαγορευμένα».
Ακούμπησε τον δίσκο στο τραπέζι, ενώ ο Βασίλης κάθισε στην θέση του κοιτώντας λαίμαργα το γλυκό.
-«Μωρό μου…», είπε η Φλώρα. «Το δώρο που μας έφεραν τα παιδιά είναι ένα μπουκάλι Λαγκαβούλιν. Και θα το ανοίξουμε μετά από αυτό», είπε δείχνοντας με το δάκτυλό της τα πιάτα.
«Ελάτε ρε παιδιά!!! Δεν ήταν ανάγκη…» είπε ο Βασίλης ανοίγοντας διάπλατα τα χέρια του για να βουτήξει χωρίς καθυστέρηση το πιάτο του.
Γελάσαμε όλοι με την αντίδρασή του.
«Ξέρεις», είπε ο Βασίλης μασώντας την πρώτη μπουκιά και κοιτάζοντας στα μάτια τη Μεγκ, «ο Πάπας Λέων ο δέκατος τρίτος συνήθιζε να πίνει μία μίξη κρασιού με κοκαΐνη, ενώ ο Κάρολος Ντίκενς και ο Κόναν Ντόιλ γούσταραν κι αυτοί να διεγείρονται… πνευματικά». Έκανε μια κίνηση σαν να χτυπούσε ένεση στο μπράτσο του και ξέσπασε σε γέλια μαζί με τη Φλώρα…
«I am missing a few words here», μου είπε μπερδεμένη η Μεγκ κουνώντας τα χέρια της γύρω από το κεφάλι μιας και δεν κατάλαβε όλες τις λέξεις.
Της εξήγησα για τους δύο συγγραφείς κι εκείνη χάρηκε που το αντικείμενο της κουβέντας μας της άρεσε.
«Παιδιά, ακόμα και ο Ρόμπερτ Λιούις Στίβενσον, αυτός που έγραψε το Δόκτωρ Τζέκιλ και Μίστερ Χάιντ γινόταν κόκκαλο με κοκαΐνη», είπε με σπαστά Ελληνικά και όλοι συνέχισαν να γελούν με έναν τρόπο που μου φάνηκε κάπως υπερβολικός. Έκοψα ένα κομμάτι από το γλυκό και το έβαλα στο στόμα μου.
«Εσύ πού τα ξέρεις όλα αυτά, Μεγκ; Μάικ, σοβαρά τώρα, πες μου τι στο διάβολο έχει σπουδάσει αυτή η πανέξυπνη Σκωτσέζα», είπε o Βασίλης.

«…και η πολύ χαριτωμένη Σκωτσέζα», πρόσθεσε πονηρά η Φλώρα.
Η Μεγκ κάθισε στην καρέκλα δίπλα μου και μου έδωσε ένα φιλί ενώ ταυτόχρονα χαμογελούσε, με τα γαλάζια μάτια της καρφωμένα στα δικά μου γεμάτα αγάπη.
Τα μαλλιά της μύριζαν καρότο λόγω μιας ειδικής λακ που χρησιμοποιούσε. Έλεγε ότι έτσι συντηρούσε τα μαλλιά της κόκκινα – καροτί για να είμαι ακριβής – και λαμπερά. Γύρισε μπροστά της, άπλωσε τα χέρια της γύρω από το πιάτο της και έμπλεξε ντροπαλά τα δάκτυλά της.
«Έχω σπουδάσει ψυχολογία κι έχω δουλέψει βοηθώντας άτομα που έχουν πρόβλημα με το αλκοόλ και τα ναρκωτικά», είπε η Μεγκ.
Τα γέλια σταμάτησαν και πάνω από το τραπέζι απλώθηκε απόλυτη σιωπή.
Ξαφνικά Η Μεγκ κι εγώ δεν μπορέσαμε να συγκρατηθούμε άλλο και ξεσπάσαμε σε τρανταχτά γέλια.
«Μαλάκας είσαι, ρε; Δεν βλέπεις με ποιόν είναι;», φώναξα στον Βασίλη δείχνοντας με το χέρι τον εαυτό μου.
«Εμ βέβαια, εσύ είσαι λίγο τρελούτσικος, σου χρειαζόταν ένα κορίτσι σαν την γιατρίνα μας από εδώ», είπε η Φλώρα και ξέσπασε κι εκείνη σε γέλια.
«Οκέι, οκέι, φέρτε τα πιάτα να τα πάω μέσα και να φέρω κάτι σπέσιαλ», είπε ο Βασίλης και σηκώθηκε όρθιος βαστώντας το άδειο του πιάτο.
«Μωρό μου, πάρε και το δικό μου», είπε η Φλώρα και του έδωσε το πιάτο της.
«Εσείς… πιάτο για τον νεροχύτη;» είπε ο Βασίλης και έδειξε την Μεγκ κι εμένα.
Άδειασα το δικό μου και πρόλαβα να το ακουμπήσω πάνω από το πιάτο της κοκκινομάλλας την ώρα που του το έδινε.
Ο Βασίλης χάθηκε στην κουζίνα αλλά επέστρεψε σχεδόν αμέσως.
«Έχω ένα φοβερό τσάι με γεύση μανταρίνι», είπε. «Γουστάρετε;»
«Ναι, παρακαλώ», είπε η Μεγκ.
«Ευχαρίστως θα έπινα κι εγώ ένα», απάντησα.
«Φέρε για όλους, αγάπη», του είπε η Φλώρα και ο Βασίλης χάθηκε ξανά πίσω από την πόρτα της κουζίνας.
«Πώς είπες, Μεγκ, εκείνα τα μανιτάρια που είναι στα παραμύθια και που είναι παραισθησιογόνα», ρώτησε η Φλώρα τη Μεγκ.
«Αmanita Muscaria. Είναι πολύ τοξικά».
«Δηλαδή, μπορεί να πεθάνεις;»
«Συνήθως όχι, αλλά μπορεί να στείλουν στο νοσοκομείο. Πάντως, υπάρχουν πολλά είδη και κάποια από αυτά είναι θανατηφόρα. Είναι ένα που ονομάζεται Death Cup». Γύρισε και με κοίταξε για βοήθεια στην μετάφραση.
«Εεε… δεν ξέρω αν υπάρχει ονομασία γι’ αυτό το μανιτάρι στα ελληνικά, βρε μωρό μου. Έτσι κι αλλιώς νομίζω πως αυτά τα μανιτάρια φυτρώνουν στη Βόρεια Ευρώπη. Δεν τα έχουμε εδώ.
«Αχά… ναι», είπε η Μεγκ και τα μακριά σπαστά καροτί μαλλιά της σκέπασαν το δεξί της στήθος καθώς γύρισε να μιλήσει στην Φλώρα.
«Συνήθως το Amanita Muscaria το έτρωγαν οι σαμάνοι, οι μάγοι στη Σιβηρία και στην Φινλανδία και στις Σκανδιναβικές χώρες. Αυτοί χρησιμοποιούσαν το σώμα τους για να διυλίσουν το μανιτάρι και μετά κατουρούσαν σε κούπες για να το πιουν οι άνθρωποι της φυλής τους και να τριπάρουν. Να δουν διάφορα.
«Όχιιιι…», είπε η Φλώρα.
Η Μεγκ κούνησε το κεφάλι της καταφατικά κάνοντας «αχά…»
Εκείνη τη στιγμή εμφανίστηκε ο Βασίλης με το τσάι. Τέσσερα φλιτζάνια που μας τα σερβίρισε ο ίδιος.
«Άκου Βασίλη, η Μεγκ λέει…»
«Άκουγα από μέσα».
«Μπρρρ…», έκανε η Φλώρα με μια έκφραση σιχασιάς.
«Νομίζω ότι η πώληση του Amanita Muscaria απαγορεύτηκε στη Μεγάλη Βρετανία το 2006», είπε η Mεγκ.
Γύρισε και με κοίταξε κι εγώ ανασήκωσα τους ώμους μου κάνοντας έναν μορφασμό σαν να έλεγα, «Που να ξέρω εγώ;»
Ρούφηξα μια γουλιά από το τσάι. Δεν έκαιγε όπως νόμιζα και για να πω την αλήθεια η γεύση του ήταν λίγο ξινή και μύριζε μανταρίνι.
«Ε;», μου είπε ο Βασίλης και με κοίταξε περιμένοντας τη γνώμη μου
«Ωραίο!», του είπα.
«Δεν στο ’πα εγώ;
«Και Η Αλίκη στην Χώρα των Θαυμάτων έλεγαν ότι είχε γραφτεί υπό την επήρεια ναρκωτικών», συνέχισε η Φλώρα…
«Ναι, είναι μια θεωρία που εμφανίστηκε στην δεκαετία του εξήντα», απάντησε η Μεγκ, «αλλά για να λέμε την αλήθειά, την εποχή που ο Λιούις Κάρολ έγραψε το βιβλίο γινόταν ευρεία χρήση του οπίου και των ναρκωτικών γενικά…»
Με την άκρη του ματιού μου έπιασα μια κίνηση, σαν κάτι να έτρεξε δεξιά μου πίσω από τον καναπέ. Κοίταξα τον Βασίλη που ήταν προσηλωμένος στην συζήτηση για την Αλίκη στη Χώρα των Θαυμάτων.
Ήπια και το υπόλοιπο τσάι. Πράγματι, ήταν πολύ εύγευστο.
Τελικά του είχαν έρθει μια χαρά τα πράγματα του Βασίλη. Κάπου τον ζήλευα. Θαρρείς και η κρίση δεν τον είχε επηρεάσει και…
Κάτι κινήθηκε ξανά κάτω από τον καναπέ. Κάτω από τον μεγάλο άσπρο καναπέ. Μου φάνηκε σαν κάποιο ζώο σε μέγεθος μικρής γάτας αλλά με περίεργο χρώμα.
Κάτι ειπώθηκε και οι άλλοι τρείς άρχισαν να γελάνε. Γέλασα κι εγώ για να μην φανεί ότι δεν πρόσεχα.
«…και έκανε έτσι, με το χέρι στον ώμο του, και έδιωχνε τα ανθρωπάκια», είπε ο Βασίλης και γέλασαν ξανά. Γέλασα κι εγώ και…ωπ!… Νάτο! Γύρισα αργά-αργά το κεφάλι μου και κοίταξα κάτω από τον καναπέ.
Ήταν ένα μικρό κίτρινο ιπποποταμάκι. Ένα τόσο δα ιπποποταμάκι σε μέγεθος μικρής γάτας, με δυο στρογγυλά γλυκά ματάκια που με κοιτούσε έχοντας βγάλει το κεφάλι του κάτω από τον καναπέ. Ξεροκατάπια αλλά δεν είχα σάλιο για να καταπιώ. Η καρδιά μου άρχισε να χτυπά γρήγορα και δυνατά.. Δεν αισθανόμουν καλά. Άρχιζα να πανικοβάλλομαι. Γύρισα και κοίταξα τον Βασίλη που μιλούσε κάνοντας χειρονομίες αλλά δεν τον άκουγα! Οι σκέψεις μου ακούγονταν δυνατά μέσα στο κεφάλι μου, πιο δυνατά κι απ’ τη φωνή του Βασίλη. Γύρισα και ξανακοίταξα κάτω από τον καναπέ. Το ιπποποταμάκι δεν ήταν πια εκεί. Αισθανόμουν μούσκεμα στον ιδρώτα.
Σηκώθηκα όρθιος. Ο Βασίλης σταμάτησε να μιλά και με κοίταξε.
«Είσαι καλά Μάικ;» ρώτησε.
Έγνεψα «ναι» και η Μεγκ μου έπιασε το χέρι.
«Που πας μωρό μου;
«Πάω λίγο στην τουαλέτα», απάντησα, κάνοντας μια άσχετη κυκλική κίνηση με τα δυο μου χέρια, εννοώντας ότι θα επέστρεφα. Καταλάβαινα ότι πρέπει να είχα γουρλώσει τα μάτια μου.
«Είσαι καλά; Φαίνεσαι κάτασπρος. Μήπως θέλεις να έρθω κι εγώ;» ρώτησε.
«Όχι, μωρέ, είμαι εντάξει».
«Ευθεία στον διάδρομο, η πρώτη πόρτα δεξιά, φίλε», φώναξε ο Βασίλης.
Άκουγα τις φωνές τους σαν να μου μιλούσαν από άλλο δωμάτιο. Η καρδιά μου αντηχούσε μέσα στο κεφάλι μου. Άνοιξα την πόρτα του μπάνιου και μπήκα μέσα. Μαύρα πλακάκια, άσπρη λεκάνη, άσπρος νιπτήρας, άσπρο μπάνιο και άσπρες πετσέτες. Σκατά… σκέφτηκα και γέλασα.
«Δεν έχει σκατά πουθενά, αλλά όλα είναι σκατά», μονολόγησα. Δεν είχα όρεξη να γελάσω. Ένιωθα ότι το πρόσωπό μου δεν ήθελε να κάνω κανέναν μορφασμό. Όλοι οι μύες μου είχαν τραβηχτεί προς τα κάτω. Έριξα νερό στο πρόσωπό μου και κοιτάχτηκα στον καθρέφτη. Άνοιξα ένα από τα διπλανά ντουλαπάκια και κοίταξα τα καλλυντικά. Σαν να είχα ηρεμήσει κάπως.
«Τι σου κάνει ώρες ώρες το μυαλό», σκέφτηκα.
Άρχισα να παίρνω βαθιές ανάσες. Ίσως έπρεπε να πάρω τη Μεγκ και να την κάνουμε για το σπίτι. Ναι, αυτό έπρεπε να κάνουμε. Έκλεισα το ντουλαπάκι και πήγα μέχρι την πόρτα…
Οι φωνές τους δεν ακουγόντουσαν τώρα. Ίσως μιλούσαν ψιθυριστά…

 

ΤΟ ΚΛΕΙΔΙ ΤΗΣ ΕΥΑΣ του Μιχάλη Πούγουνα διατίθεται απο:

Απευθείας από τον Μιχάλη Πούγουνα

AΘΗΝΑ

Ars Nocturna

Το Δισκάδικο

Syd

Ιμάντας

Dirty Noise

Le Disques Noir

Old School Records

Music Works

ΘΕΣΣΑΛΟΝΙΚΗ

Lotus

 
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Posted by on May 26, 2020 in Books/Literary

 

Altar of Eris – Isolation (29 May 2020)

Emerging from the abyss, postpunk / darkwave outfit Altar of Eris present the ‘Isolation’ EP’. Their sophomore release, here they lend listeners a glimpse into their own dark and raw musical reality.

Hailing from Seattle, Washington, Altar of Eris is a three-piece band comprised of Travis Stanley (vocals, synth, lyrics, drums and social media), Nick Trimmer (bass, drums and production) and Brandon Bannister (guitar, drums and band relations).

This six-track offering is forged with elements of darkwave, postpunk, industrial, and electronic body music with vocal musings somewhat reminiscent of The Fall’s Mark E. Smith. Their trademark sound is characterized by the utilization of drum machines, eerie synthesizers, bludgeoning bass, and melodic guitar riffs. There is something here for both new wave and old schoolers of goth and post-punk music.

“Isolation is a hallmark release for Altar of Eris. As a newly formed band, this is our most polished release to date. Named for the fact that this EP was recorded in quarantined isolation, this EP touches on themes of social segregation, broken hearts, promises and dreams,” says Brandon Bannister.

“It also explores the occult, existential pessimism, and classic horror – I feel we have created something immersive while opening a door into the void. The music we create is rooted in themes of trauma, grief, heartbreak, philosophy and the occult with the intent of cathartically exploring life and music through a lens of self-loathing and existential dread”.

Altar of Eris’ influences are wide-ranging and pull from both classic and modern acts of a similar genre, including The Cure, Clan of Xymox, Joy Division, Boy Harsher, Ritual Howls and Drab Majesty.

The ‘Isolation’ EP is a true DIY project. In addition to writing and performing the music featured here, the band members in Altar of Eris handled the recording, mixing, and mastering themselves at their home studio in Seattle, while Nick Trimmer produced the EP.

Altar of Eris’ sound is something as intangible and esoteric as it is an outlet to express complicated feelings and uneasy emotions. If one was to paint their sound with broad strokes, it could be summed up as brooding, aggressive, melancholic, dark and creeping.

The ‘Isolation’ EP follows the ‘Table of Discord’ EP from several months ago on New Year’s Day. That was released both digitally and as a limited edition of 100 red cassette tapes, hand numbered and wrapped in black tissue paper (plus MP3 download and bonus track).

The ‘Isolation’ EP will be released on May 29 and available everywhere, including Spotify, but It can already be ordered via Bandcamp.

TRACK LIST
1. Three-fold
2. Transmigration
3. Labyrinth of Tears
4. Violent Dreams
5. Someone Else
6. Your Ghost

CREDITS
Recording, mixing, and mastering was done by Altar of Eris in Seattle
Written by Altar of Eris. Lyrics by Travis Stanley
Produced by Nick Trimmer
Travis Stanley – vocals, synth and drums
Nick Trimmer – bass and drums
Brandon Bannister – guitar and drums

Keep up with Altar of Eris
Bandcamp | Merch Facebook | Instagram | Soundcloud | YouTube | Twitter | Spotify | Apple Music | Press contact

 
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Posted by on May 24, 2020 in Goth

 

FIERCE – Remixes & More by Hante.

Hante. is the one woman project from Parisian artist Hélène de Thoury.

Striking, cold, and synthesized, her unique blend of darkwave and electronics is simply breathtaking.

On the heels of her beloved 2019 album “Fierce,” Hante. has just released “Fierce – Remixes & More,” a collection that includes previously unreleased songs, an alternative version of the song “Respect” along with exclusive remixes.

Just released by Metropolis Records on all digital and streaming formats along with a limited edition purple vinyl edition.

For orders click HERE or HERE

 
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Posted by on May 14, 2020 in Electronic, Goth

 

Wolfhounds – Can’t See The Light (A Turntable Friend Records 15 May 2020)

London-based C86 legends Wolfhounds have announced their new album ‘Electric Music’, set for release on July 3 via A Turntable Friend Records. Ahead of this, they present lead single ‘Can’t See the Light’, a powerful track that opens fire on side one of the forthcoming record with captivating video by David Janes.

“Musically, ‘Can’t See The Light’ has a discordant guitar line – perhaps carrying echoes of John Barry’s The Persuaders theme – until it reaches a desperate crescendo; this feeling is captured brilliantly by David Janes’ claustrophobic and darkly psychedelic video,” says Wolfhounds’ frontman David Callahan.

A spitball of melancholy fury, this is an explosive tune about how anger turns inward after the low expectations of a country’s myriad self-defined gatekeepers have crippled the ambitions of those who want change for the better. With a bass-heavy rush, ‘Can’t See The Light’ builds desperately to a semi-tonal release of noise, sounding simultaneously claustrophobic and liberating.

“All tunnels eventually emerge into the sun (as David Janes’ accompanying paranoid and sick-a-delic video shows) but while you’re underground it can seem like darkness is perpetual and inevitable,” says Callahan.

Always ahead of the times, The Wolfhounds have never nailed the spirit of now more succinctly and devastatingly than on this new single and other songs on the new album.

Originally formed as teenagers in 1984, The Wolfhounds released four critically acclaimed LPs before initially disbanding in 1990. By that time, they released music on the legendary and influential C86 cassette via NME, recorded three John Peel sessions for BBC Radio One, and toured the UK and Europe extensively as headliners and as support for My Bloody Valentine, The House of Love and The Wedding Present. The band’s acknowledged and audible influence stretches from Nirvana to the Manic Street Preachers, and all the way to Fontaines DC – but musically they remain ahead of all.

The band reformed in 2006 at the request of St Etienne’s Bob Stanley to celebrate 20 years since the release of C86, and inflicted a severe guitar noisefest on an unsuspecting indiepop crowd at London’s ICA. Since 2012, they have been recording and releasing new material, including ‘Middle Aged Freaks’ (2015) and ‘Untied Kingdom or (How to Come to Terms With Your Culture)’ (2017), repeatedly showing that they can still blow any act half their age offstage. In 2018, Wolfhounds released ‘Hands in the Till – The complete John Peel sessions’, a 12-track album released via A Turntable Friend Records.

The Wolfhounds are back and better than ever with their new ‘Electric Music’ LP – probably their greatest album yet.
 The band has become truly (hyper-)active again, performing at several popfests (including Berlin and New York) and stand-up comedian Stewart Lee’s All Tomorrow’s Parties, as well as regular club dates in the UK and Europe. Stewart Lee also wrote the extensive sleevenotes for the record.

The band continue to be more relevant and adventurous than ever and, despite their indie roots, have more in common with the likes of Richard Dawson and Sleaford Mods than their old jangly peers. Electric Music grabs their home country’s woes by the horns and gives them the kicking they deserve!

As of May 15, ‘Can’t See The Light’ will be available everywhere, including Apple MusicSpotify and Bandcamp. The full ‘Electric Music’ album will be released on July 3 on vinyl, CD and digitally.

CREDITS
Recorded, engineered and mixed at Cosmic Audio, Epping, by Ant Chapman
Additional home and phone recordings by Andy Golding and David Callahan
Mastered by Rory Attwell
Formulated and promulgated in Essex and London
Produced by the Meerkats

David Callahan – vocals, guitar, samples
Andy Golding – vocals, guitar, banjolele, bulbul tarang, keyboards
Richard Golding – bass guitar
Pete Wilkins – drums
Rhodri Marsden of Scritti Politti plays the bassoon
Extra vocals from Katherine Mountain Whitaker.
Sleeve by Andy Royston
Sleeve notes by Stewart Lee
Videos by David Janes www.brtlby.com

Keep up with Wolfhounds
Bandcamp | Facebook | Twitter | Spotify | Apple Music | Press contact

Keep up with A Turntable Friend Records
Facebook | Bandcamp | Soundcloud | Twitter | YouTube | Instagram | Press contact

 
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Posted by on May 14, 2020 in Post Punk

 

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Vision Video – In My Side (single, out now digitally)

Athens-based post-punk new wave outfit Vision Video present their debut single ‘In My Side’, a shimmery pop number reminiscent of early Cure, along with an equally impressive b-side ‘Inked In Red’.

Vision Video is vocalist and guitarist Dusty GannonEmily Fredock on vocals and keys, drummer Jason Fusco (Shehehe), and bassist Dan Geller (I Am the World Trade Center, The Agenda). These tracks were recorded and mixed by Tom Ashton (The March Violets, Clan of Xymox) at Sub Von Studios, and mastered by Joel Hatstat at High Jump Studio.

Not afraid of the dark, Video Vision pays homage to 1980s new wave and gothic-rock with heavy influence from 2000s emo and disco punk. They synthesize a masterful blend of gothic rock, shoegaze, pop and punk rock. With depth and originality, they aren’t afraid to write a hook, resulting in their own unique flavor of accessible and dancey goth-pop.

Having served in war-torn Afghanistan as an Army Infantry Officer, an experience that left an indelible mark on his psyche, Gannon returned home to serve on a new frontline as paramedic and firefighter. These experiences inform Vision Video’s songwriting, resulting in a serious look at the dark side of humanity processed through a retro-goth filter.

“Lyrically, ‘In My Side’ is about trying to find normalcy in relationships that are inherently toxic or detrimental. I think it’s easy to conceptually understand that someone isn’t right or healthy for you, but the reality is often so much more complicated because we don’t choose who we love. I likened this to being hunted down by a serial killer in the song. It’s also sort of my homage to 80’s horror and slasher flicks. The idea is that you can try all you might to get away from this person, but sometimes there’s no denying it, no running from those feelings, despite the red flags,” says Dusty Gannon.

“B-side ‘Inked in Red’ is a song I wrote about trying to find meaning in post-war life. I was trained to be a soldier, whose job it is to kill, for such a long time. Once that experience ended, I had a lot of difficulty seeing myself fitting into civil society. This is a song about feeling like you’re just in the wrong place and time, and that it’s just not ever going to change, even though you’re doing everything you can to find new meaning and contentment.”

Vision Video formed in March 2018, named for a now-defunct local video rental store out of nostalgia for a fave Friday night ritual of renting horror movies, thereby keeping a piece of Athens history alive through the band’s name. Their music is influenced by Bauhaus, Joy Division, The Cure, The Smiths, Type O Negative, The Clash, Washed Out and New Order.

Dusty Gannon explains how things came together: “I worked with Jason at the Georgia Theatre bar and told him about some goth-rock and post punk songs I had been working on. He was quick to offer to play some drums. Eventually we had quickly written 3 or 4 songs very organically and effortlessly. Dan heard about us through mutual friends. He had sworn to never play in another band, but we brought him out of retirement, so to speak.”

Emily soon joined and everything came full circle. “I used to sneak into Go Bar to see Dan DJ parties and play with his synthpop band ‘I Am the World Trade Center’. I was fascinated by how well they got a crowd going. It had a huge impact on my desire to play music. Little did I know I’d be close friends and in a band with him 12 years later,” says Gannon.

“I met Tom Ashton at a Goth Night that I DJed a few years ago. I have been a big fan of The March Violets since I was a teenager. Pretty bad-ass to record with someone whom wrote music that helped shape your musical taste.”

‘In My Side / Inked In Red’ is out now across digital platforms, including Apple Music and Spotify. Their debut album is expected later this year.

CREDITS
Written by Dusty Gannon
Performed by Vision Video
Recorded and mixed by Tom Ashton (March Violets, Clan of Xymox) at Sub Von Studios.
Mastered by Joel Hatstat at High Jump Studio

Dusty Gannon – Vocals and Guitar, Emily Fredock- Vocals and keys, Jason Fusco- Vocals and drums, Dan Geller – Bass

7″ Single Cover Art by Ryan Dunn
Photos by Jaysen Michael of Secret Playground Photography

Keep up with Vision Video
Bandcamp | Facebook | Instagram | YouTube | Soundcloud | Spotify | iTunes |  Press contact

 

Jonny Polonsky unveils ‘Sign In The Window’ from new ‘Kingdom of Sleep’ album

NYC-based singer-songwriter, multi-instrumentalist and producer Jonny Polonsky presents ‘Sign in The Window’, an upbeat and sanguine offering from his new ‘Kingdom of Sleep’ LP with video directed by photographylegend Paul Elledge (Rolling Stone, Forbes) and edited by Neal Ostrovsky. This follows Polonsky’s earlier-released singles ‘The Weeping Souls’ and ‘Ghost Like Soul’ featuring Cedric Bixler-Zavala (The Mars Volta/ At The Drive-In).


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With a rich history collaborating with the likes of Johnny Cash, Neil Diamond, Tom Morello (Rage Against The Machine) and Donovan, he is back with new original material as a solo artist. Self-produced by Polonsky, this LP was mixed and mastered by Mike Tholen (Chris Connelly, Revolting Cocks).

“The song itself was originally written several years ago when I was living in LA. It’s a nocturnal number, a small, moody epic in the vein of Arcade Fire or the Pixies. It reminds me of what it felt like to be going down Mulholland Drive late at night in the summer with the windows rolled down, smelling the jasmine,” says Polonsky.

“Some songs take a lot of coaxing and utilization of craft, even some (gasp!) planning or forethought. For this one though, I was playing guitar in bed one night and it just appeared. The song is a kind of yearning for transcendence, that feeling of knowing you’re on the threshold of new beginnings or a new way of being. It’s a thrilling and terrifying place to be. The world you were familiar with is no longer and the new one has yet to appear. You’re floating in space, feeling rootless and vulnerable, but you know deep in your core that everything will be okay if you can just relax and surrender to what’s happening.”

Originally hailing from Chicago, Polonsky writes interstellar anthems for a new generation of mindfreaks. Songs of sex and death and love…hymns of despair and transcendence. A celebration of what it feels like to be human; from the exalted, grandest moments of euphoria and bliss, to the universal pain of loss and letting go. Beauty at every turn.

photo by Jason Robinette

Over his storied and dynamic career, Jonny Polonsky has released six full-length records over 23 years. His early DIY demos led to support from many music luminaries, including Reeves Gabrels (David Bowie, Tin Machine), Marc Ribot (Tom Waits, Elvis Costello), Zander Schloss (Joe Strummer, Circle Jerks) and John Zorn, who invited him to play CBGB’s Gallery with his band with Marc Ribot on guitar, Sebastian Steinberg (Soul Coughing) on bass, and Sim Cain (Rollins Band) on drums.

Reeves Gabrels’ introduction led to Frank Black support, representation by Pixies manager Ken Goes, and Frank Black producing a demo recording, which led iconic record producer Rick Rubin to sign Polonsky to American Recordings.

The instrumentation on ‘Kingdom of Sleep’ ranges beyond the standard guitar, bass and drums: 1980’s Blade Runner-like synthesizer soundscapes, Middle Eastern finger cymbals, gongs, bass clarinets, piccolos, harmonica, bass fiddles, and a children’s choir.

“The video for ‘Sign In The Window’ was directed by my old friend Paul Elledge. He’s done videos, album art and photos for Smashing Pumpkins, Ministry, and countless other bands. He also directed the video for my song Ghost Like Soul, as well as other videos of mine, plus lots of my album covers. We made the video last November in Chicago, back when you could go anywhere. It was 35 degrees and the heater in the car didn’t work. It was brutal in a first world kinda way, and we had fun regardless of the weather,” says Polonsky.

“This album came together as most of my records – gradually. I’m always writing and recording, and after awhile, I notice a unifying theme or atmosphere kind of pokes its head up. The songs that want to be grouped together raise their hands and volunteer for service, nothing is very consciously calculated on my end. I was listening to a lot of Cocteau Twins, I got heavily into them while writing and recording these songs.”

The ‘Kingdom of Sleep’ LP follows ‘Fresh Flesh’ (2018), which was recorded at Rick Rubin’s studio and features guest performances by Mark Lanegan (Screaming Trees, Queens of the Stone Age) and drummer Kevin Haskins of Bauhaus, Love and Rockets, and Tones on Tail. ‘UNRELEASHED: Demos and Rarities 1996-2018’was also issued as a limited-edition colored-vinyl Record Store Day gatefold edition (also available digitally and on CD).

Polonsky’s 1996 debut album ‘Hi My Name is Jonny’ was met with great critical reception from The New York Times, MTV and internationally. After touring with Frank Black for several months and the Lollapalooza summer tour, Polonsky took a hiatus.He resurfaced in 2004 with ‘The Power of Sound’ LPand  supported Audioslave on their 2005 American tour. In 2006, Polonsky formed the short-lived Big Nose with Brad Wilk and Tim Commerford (Rage Against the Machine, Audioslave), and collaborated with Maynard James Keenan (Tool, A Perfect Circle) for Puscifer, with whom Polonsky wrote, recorded and toured in 2007-2010.

Polonsky’s 2012 album ‘Intergalactic Messenger of Divine Light and Love’ was recorded at Rick Rubin’s recording studio in Malibu and Akademie Mathematique of Philosophical Sound Research, and mixed by Jim Scott (Tom Petty, Slayer). The 2015 album ‘The Other Side of Midnight’ followed, mixed by Dean Hurley at David Lynch’s Asymmetrical Studios.

The ‘Kingdom of Sleep’ LP is out now, available everywhere digitally, as well as on CD and clear vinyl with gatefold sleeve. It can be ordered at https://www.jonnypolonsky.com/music

ALBUM CREDITS
Produced, engineered, arranged and composed by Jonny Polonsky
‘Sign in the Window’ recorded by Josiah Mazzaschi at Cave Studios, Los Angeles
Everything else recorded by Jonny Polonsky at Ground Round Sound, Brooklyn
Mixed and mastered by Mike Tholen
Performed by Jonny Polonsky
Additional musicians:
‘Sign In the Window’ features Katie Burden on bass and Matt Hankle on drums
‘You Turn Me On’ features Matt Walker (Smashing Pumpkins, Garbage, Filter, Morrissey) on drums
‘Ghost Like Soul’ features Cedric Bixler-Zavala (At the Drive-In, The Mars Volta) on spoken word
Cover artwork by Jorge Castillo

Keep up with Jonny Polonsky
Website | Facebook | Bandcamp | Twitter | Instagram | Soundcloud | YouTube | Spotify | Press contact | Booking contact

 
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Posted by on May 12, 2020 in Alternative, Rock

 

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An exclusive interview with Jürgen Engler (Die Krupps)

Jürgen Engler of German industrial metal/EBM band DIE KRUPPS is this week’s special guest of The Blackout Radio Show with Mike Pougounas.

Die Krupps formed in 1980 by Jürgen Engler and Bernward Malaka in Düsseldorf, Germany.

We discussed about the band’s latest album “Vision 2020 Vision”, the history of the band and the way he sees international politics now as well as many other issues.

AN INTRODUCTION

The following is taken from the band’s official website :

Critics worldwide hail them alongside KRAFTWERK and EINSTUERZENDE NEUBAUTEN as pioneers of Electronic and Industrial music, bands like FRONT 242 and NITZER EBB called them their inspiration, and their musical ideas found their way into the sound of a wide spectrum of music, from DEPECHE MODE to the innovative pioneers of Detroit Techno. Over 30 years and many internationally successful albums, DIE KRUPPS have developed an unmistakable signature sound that is meant to stay!

After monumental and industrial beginnings with the album ‘Stahlwerksinfonie‘, the foundation for Electronic Body Music was laid by the single ‘Wahre Arbeit Wahrer Lohn‘ (both Album and Single Of The Week in the British NME), and the following albums ‘Volle Kraft Voraus‘ and ‘Entering The Arena‘, which created international interest in the band’s characteristic synthesis of hard electronics and highly danceable beats. European wide releases secured the band a large following, that was only meant to increase in the ’90s.

After a 3-year break, international chart positions of a remake of their classic track ‘Wahre Arbeit’, now called ‘The Machineries Of Joy‘, which was a collaboration with NITZER EBB (U.S. Billboard Dance Charts Top 10), marked the next chapter in the history of the band. The following widening of their musical spectrum, which saw the addition of a more metal inspired aggressive vocal style and guitar riffs on the album ‘I’, and the essential single track ‘Metal Machine Music‘, was like a slap in the face of conservative critics and listeners alike. The mini album ‘A Tribute To Metallica‘ underlined this daring step, gaining the attention of Lars Ulrich and Co., who helped to secure the band a deal in the U.S.

The highly successful albums (european-wide chart positions, Germany Top-20) ‘II – The Final Option‘, ‘The Final Remixes‘, which consisted of remix interpretations of DIE KRUPPS tracks by fellow bands such as NINE INCH NAILS, THE SISTERS OF MERCY, FAITH NO MORE, CLAWFINGER and many others, and the album ‘..III – Odyssey Of The Mind‘, were again inspiration to many upcoming new bands, such as RAMMSTEIN, whose song ‘Tier’ was a direct adaptation and tribute to DIE KRUPPS’ ‘The Dawning Of Doom‘ from the album ‘I’.

After several worldwide tours, and another chart-topping album, ‘Paradise Now‘ (Germany No.17), on which the band collaborated with Arthur Brown (‘Fire‘), it was decided to bring a temporary stop to the bands extraordinary career.

2005 marked the 25th anniversary of DIE KRUPPS, which was reason enough for the 2 original members Engler and Doerper to prove to the rest of the world that DIE KRUPPS are far from being dead. The reunited group played festivals across Europe and proved that their live shows are as energetic as ever. The audience response was overwhelming and proved that the band had not lost any ground during its absence.

In November 2007, DIE KRUPPS’ new album ‘Too Much History‘ was released. The album included re-recordings of the greatest hits from almost every album the band had released in the past, plus several unreleased new tracks, including ‘The Great Divide‘, ‘5 Millionen‘ and several collaborations, with Client B from the band CLIENT, and again Douglas McCarthy from NITZER EBB.

The end of 2008 saw the release of a remix album of the 1982 album ‘Volle Kraft Voraus‘, entitled ‘Volle Kraft Null Acht’. KMFDM, FUNKER VOGT, PROJECT PITCHFORK, LEAETHER STRIP, SPETSNAZ and MODULATE are only a few acts who besides many others contributed to the project. The 2 singles ‘Volle Kraft Voraus’ and ‘Ende Der Träume’ topped the German Alternative Charts for weeks.

In 2010 the mini-album ‘Als Wären Wir Für Immer‘, consisting of all new material, hit the stores. It also stayed in top positions of the Deutsche Alternative Charts for many weeks, and re-entered during the NITZER EBB/DIE KRUPPS European tour in April of 2011. The tour, which was launched under the motto ‘Join In The Rhythm Of Machines‘, was a huge success. A joint NITZER EBB/DIE KRUPPS EP, consisting of re-worked versions of each band’s favorite songs, was sold exclusively at the shows. Those songs were also played live, followed by the definite highlight for many fans, the anthemic ‘Machineries Of Joy’, which saw both bands perform the song together for the first time.

At the end of 2012, the first single from the upcoming album ‘The Machinists Of Joy‘ was released. ‘Risikofaktor‘ made it No.1 in the German DAC Charts again, and stayed in the pole position for a full month.

2013 was to become the year when DIE KRUPPS machinery went back into full swing. The machines were greased, the dust shaken off, the factory gates opened again. After shift operation was restored, the long-awaited new prototype ‘The Machinists Of Joy’ rolled off the assembly line on 25.10.2013. With this most recent effort DIE KRUPPS seamlessly picked up the streak of their genre-defining releases in the ’80s and ’90s. DIE KRUPPS still deliver ‘Metal MACHINE Music’ – heavy, danceable, sometimes epic machine-music, adorned with well-placed guitar attacks and the ever-onward hammering of the ‘steel-o-phone’, paired with critical contemporary lyrics, setting themselves off from what has become the norm today.

Referring to their top-10 Billboard-hit from 1989 ‘Machineries Of Joy’, the album title already hinted at a stronger focus on electronic sounds, rather than guitars, which dominated the current outfit of DIE KRUPPS. Nevertheless, hard guitar riffs were interwoven with the pumping signature sequencers. The album also made it to No.1 in the German DAC Charts, where it was holding the pole position again for several consecutive weeks. The second single of the album ‘Schmutzfabrik‘ peaked at No.2, staying there for 7 weeks.

In mid-February 2014, the factory bell rang in the night shift on European stages, to be known as ‘THE MACHINISTS OF JOY’-TOUR 2014. 12 dates on which DIE KRUPPS were going to present their first studio album of the new millennium in sweat-inducing manner!

On August 28th 2015, DIE KRUPPS returned with their new release ‘V – Metal Machine Music‘. Back to the distinctly guitar-based sound from the late ’90s, the new songs showed a much increased level of aggressiveness! DIE KRUPPS had never before combined such heavy guitars and powerful sequencers. The upcoming shows proved that this direction was well reserved by the audience Europe wide. Alongside mastermind Juergen Engler (vocals, steel-o-phone), the line-up was machinist Ralf Doerper on Korg MS-20 synthesizer, Marcel Zuercher on guitar, with Volker Borchert from former metal band Accuser on drums, and Nils Finkeisen on second guitar. The album ‘V‘ made the official sales chart in Germany and cracked the Top 40! The singles ‘Battle Extreme‘ and ‘Kaltes Herz‘ both made it to No.1 in the German DAC Charts, the latter stayed in the pole position for 6 consecutive weeks!

Steel, hard work, muscle strength, sweat, machines … but also structural change, unemployment, dislocation, xenophobia and anxiety about the future: powerful words that DIE KRUPPS have always used and filled with content, that they attach visions to, that they transform into a solid base for their music – their very own, unique sound that has consistently evolved over the past four decades and that continues to be unmistakable.

“Vision 2020 Vision” is their latest masterpiece, a concept album: music, artwork and lyrics are inextricably linked, they fuel and cross-fertilize each other. The world of Engler and Dörper is monochromatic and grim, but the imminent world they see through their lens, ought to, and indeed must, frighten you.

In all this, DIE KRUPPS’s themes are as topical and relevant as ever: “Extinction Time” and “Vision 2020 Vision” describe our world on the edge of the abyss. Chaos and violence rule the streets, governments are powerless. The great flood will come, wash everything away and leave nothing but darkness. “Alllies” and “Fuck You” are directed overseas; where egoism, borders and ruthlessness are dictated from the very top while Europe looks on passively, turning into a compliant minion. “Human” is a reckoning with the whole human race which has been regressing for several decades. Civilizations increasingly turn into hordes of wild, murderous barbarians.

The title song puts in a nutshell where this development is bound to take us: “Violence will soon explode, frustration reaches overload, revolution is imminent, we’re in the year of discontent” (quote: “Vision 2020 Vision”). What remains is the hope that Jürgen Engler will be proved wrong in this instance.

Side-projects: Die Robo Sapiens – Male

Apart from the songs of the new DIE KRUPPS album as well as a couple of old ones, I am spining tracks taken from the new releases of Rotersand, Adoration Destroyed, Cubanate and many more.

The show goes on air as follows:

Mad Wasp Radio [UK] – Saturday 19:00 – Wednesday 00:00
Wicked Spins Radio [UK]-Thursdays 19:00 – 21:00
KOWS 92,5FM [CA-USA]- Tuesday 22:00-00:00
Fasching Web Radio [CANADA]- Wednesdays from 17:00 – 19:00
Mercury Radio [Greece] Wednesdays – 22:00-00:00 (EET / UTC+3)

 
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Posted by on May 11, 2020 in Electronic, Interviews, Radio

 

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I LIKE TRAINS – The Truth (Atlantic Curve 6 May 2020)

Leeds-based trailblazers I LIKE TRAINS present ‘The Truth’, an eye-opening lead track that forebodes their potent, hard-hitting new album ‘KOMPROMAT’, written as an instinctive gut reaction to a world that has changed beyond all recognition. This is a record that digs beneath populism’s rise, from the divide and conquer tactics that caused Brexit in the UK, to Trump’s ascent in America and the subsequent reign of lies and misinformation, to discover the grubby hands that have engineered it all.

The British quintet will release their fourth studio album via Schubert Music’s newly founded Atlantic Curve label in late summer. This is the band’s first record since 2012’s ‘The Shallows’, which focused on how the internet and smart technology is re-wiring the human mind and affecting our concentration spans. Now, with ‘KOMPROMAT’, it’s clear that this same technology, in the wrong hands, has taken an even more sinister turn. The game has changed – and I LIKE TRAINS have changed with it.

The accompanying deep-fake karaoke video was directed by previous co-conspirator Michael Connolly, a Leeds born artist and designer, who says “The track is relentless and I wanted the film to feel the same. Claustrophobia and confusion were my watch words. I combined deepfakes, distorted visuals, and digital cut-up techniques to create an intense level of disorientation. It sums up the last four years in geopolitics for me.”

‘The Truth’ was the last track to come together during the group’s recording sessions – a summation of the way in which facts are bent and, in many cases, utterly dismantled. Over a burring build of disco-inflected post-punk that recalls LCD Soundsystem and early DFA Records, “The truth is no longer concerned with the facts”.

“I’d been writing this list on my phone for a couple of months, adding a couple of lines
to it every so often. I’d read a news article or a tweet and I’d make reference to it. I decided to dig out this list in the last couple of days in the studio [for this track]. It’s pretty much the order I wrote it in – it came together on the fifth take and it was a pretty cathartic process,” says the group’s vocalist and lyricist David Martin.

Formed in 2004, I LIKE TRAINS is made up of David Martin (vocals/guitar), Alistair Bowis (bass), Guy Bannister (guitar/synths), Simon Fogal (drums) and Ian Jarrold (guitar). They have never shied away from confronting the possibility of humanity’s collapse. Earlier records, like the towering Godspeed-influenced ‘Progress Reform’ (2006) and ‘Elegies to Lessons Learnt’ (2007) took tales of tragic characters and events from history and applied them to the modern day, while ‘He Who Saw The Deep’ (2010) looked uneasily ahead to the climate change battle we are on the verge of losing.

While ‘KOMPROMAT’ sounds like none of those records, it contains DNA from all of them. I LIKE TRAINS has essentially gone back to go forwards in some ways, returning to some of the primary influences that inspired the band’s formation: Joy Division, The Birthday Party, Gang of Four, Television and The Velvet Underground.

“An I LIKE TRAINS record doesn’t really start to take shape until there’s a theme. That point came following Edward Snowden’s NSA leaks in 2013,” says David Martin.

“We didn’t set out to write a record about current affairs, but the path we set out on converged drastically with that daily discourse. The album inadvertently became about populist politics across the world. Brexit, Trump, Cambridge Analytics and covert Russian influence ended up at the centre of it all”.

At the time, Martin started writing about low-key, insidious intrusions on our privacy. As global events unfolded, however, so did the importance of those themes: the perception of what is true and what isn’t true being challenged on a daily basis and how that confusion could be used to manipulate populations into thinking and voting in certain ways.

Several years ago, British filmmakers Ben Lankester and Matt Hopkins released the feature documentary ‘A Divorce Before Marriage’, which follows the band members over three years, capturing their struggles first-hand. Then, as now, one thing is for sure – while I LIKE TRAINS often look back and also to the future, ‘The Truth’ speaks very much of the here and now. Available across digital platforms as of May 6, the full ‘KOMPROMAT’ album will be released on August 21 on black vinyl LP, limited edition silver vinyl LP and CD, as well as digitally.

I LIKE TRAINS will be under interrogation on Saturday, May 9th. Hard hitting music journalist Simon Catling will be pressing for answers on ‘KOMPROMAT’. Join the live-stream on I LIKE TRAINS’ YouTubeFacebook and Twitter from 20:30 (BST).

CREDITS
Performed by I LIKE TRAINS
Music by Guy Bannister, Alistair Bowis, Simon Fogal, David Martin, Ian Jarrold
Lyrics by David Martin
Produced and mixed by Lee Smith and Jamie Lockhart at Greenmount Studios (Leeds)
Mastered by Tom Woodhead at Hippocratic Mastering
Album artwork by Michael Connolly
‘The Truth’ video created by Michael Connolly

Keep up with I Like Trains
Website | Facebook | Twitter | Instagram | Soundcloud | Bandcamp | YouTube | Spotify | Apple Music | Press contact

 
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Posted by on May 9, 2020 in Post Punk

 

Jasmine Dreame Wagner – Switchblade Moon EP (National Gold Music Publishing 26 June 2020)

Jasmine Dreame Wagner’s Switchblade Moon EP is the first installment of a song cycle that explores the sprawling American landscape. Wagner’s meditations on climate change, economic recessions, and dystopian narratives pay tribute to the great American songbooks of Joni Mitchell and Nina Simone, the arrangements of Scott Walker and Annette Peacock, the novels of Don DeLillo and Rachel Kushner, and the poetry, multidisciplinary works and operas of Anne Carson, while traversing America’s cultural echolalia of nostalgia, reference and homage.

Recorded over several years at The Bunker Studio in Brooklyn, NY, 4th Street Recording in Santa Monica, CA, Old Soul Studios in Catskill, NY, and at various apartments and homes in Brooklyn and upstate New York, the tracks feature performances by Wagner (vocals, grand piano, acoustic guitar, synthesizer), Joe Magar (double bass), Oscar Albis Rodriguez (guitar), Charlie Rauh (guitar), Charlie Dye (percussion), Chris Barrick (vibraphone), John Panza (percussion), Lauren Hilary Clune (guitar), C. Ryder Cooley (saw), and Meghan Maguire Dahn (backing vocals).

As an artist working across music and film, poetry and lyric essay, Wagner’s lyrics are foremost in her arrangements. Her compositions are inspired by twentieth-century songwriters captured on analog tape machines, chamber works performed in open halls and carpeted living rooms, and political protest songs and pop music from the 1960s and 70s.

Wagner has toured across the United States, self-releasing music and booking her own tours over the course of her career. She collaborated on the video for “Switchblade Moon” (the EP’s title song) with Director of Photography Jonathan Schwarz and Editor Maisie Weissman and shot and edited the album art photography, a series of documentary photographs of American car and consumer culture. She considers directors Wim Wenders and David Lynch, producers Berry Gordy and Brian Wilson, with their holistic visions and saturated visuals, as major influences on her work.

Wagner is also a poet. She is the author of On a Clear Day (Ahsahta Press), a collection of poems and lyric essays deemed “a capacious book of traveller’s observations, cultural criticism, and quarter-life-crisis notes” by Stephanie Burt at The New Yorker and “a radical cultural anthropology of the wild time we’re living in” by Iris Cushing at Hyperallergic. Her debut poetry collection, Rings (Kelsey Street Press), was hailed as “powerfully exercised, technically masterful, and encyclopedic in its scope” in a starred review in Publisher’s Weekly.

The Switchblade Moon EP vinyl 12″ ships with a limited edition zine and full color postcard. Limited orders will also receive a signed original artwork by Jasmine Dreame Wagner.

 
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Posted by on May 8, 2020 in Alternative