SPC ECO

Name: SPC ECO

Latest release: 3-D [2009]
File under: Shoegaze

"Right about/Right about
Right about/Right about
Right about/Right about
Now..."

That's the best refrain of 2009, from SPC ECO's "For All Time", a scenic waltz of a song.

3-D is the most relaxing album of 2009 so far. The entire album is awash with the shoegaze staples of dreamy vocals provided by Rose Berlin, bass and other noises provided by ex-Curve member Dean Garcia and shimmering guitar from Joey Levenson; it all comes together fantastically. Listen away and dream.

Q+A

Who are you, where are you from and what is your role in SPC ECO?
Joey: "I'm Joey, and I torture the guitar for SPC ECO. I live in South Korea, but I'm in Japan and the US quite often (I'm American). Dean and Rose preside grandly over London town."

Dean Garcia was formerly in dream pop group Curve. How has their music influenced SPC ECO?
Joey: "I think Dean would agree that Curve and SPC ECO share some sonic similarities, however, IMHO, I think SPC ECO has a lot more of a sonic assault than Curve. Rose is a different creature than Toni [Halliday, Curve vocalist] is (just as grand, an epic singer), and then there's my psychedelic input, so that makes a different beast altogether. A sonic juggernaut, if you will."
Dean [Garcia, bass]: "Obviously there are certain elements that are bound to cross over, like the bass and aspects of drums, but the voice is the thing that separates the two enormously. Rose's voice is just heavenly to me - the perfect touch, understated and pure; I can't imagine any other voice for SPC ECO, it just wouldn't work for me. Knowing that Rose will glide through the tracks makes it the best, most fully realised record I could ever make."

I haven't tried yet (I will soon) but I imagine listening to 3-D as I sleep is going to take me to some wonderful places in my dreams. Where does 3-D take you?
Joey: "Dean often says that 3-D really moves him, it moves me as well. Its not just shoegaze, its not just noisy or psychedelic. It's emotionally gripping and has such a fun groove at the same time. I think we did well our first time out. :)"
Dean: "I'm not sure, I'd probably just fall asleep in a very colourful way, deep into a multi-verse of dreams."

The band seems very much against the filesharing culture of the 21st century. I can see both sides of view. If I said that if it wasn't for an illegal download I would have never ordered the physical 3-D release, what would you say?
Joey: "Oooh... well, you can't deny that it's out there and a lot of people do it. Well, if I like it or not, musicians and listeners alike use filesharing extensively, so we have to just work with the situation. Oh, and thanks for buying the CD."
Dean: "One minute It pisses me off and in another I have to be more zen about it otherwise I end up in a bad, stressful place... I have never made music for money but have always made a living out of music and at the point of making what I believe to be the best music I've ever written and been involved with I make next to nothing financially because of the current trend and general thinking that music should be free of charge. I still believe people should pay for their music (even if it is donation based) and especially for CDs or vinyl. MP3s I can understand and accept more because they are generally shitty little hollow files that can't touch a full quality CD or vinyl version, so I understand and accept them as a promotional tool. I welcome people to donate what they can afford for the album MP3 version (however small) to check out the album, but when you get torrent after torrent linking you to full CD resolution versions of your original work(s) free of charge, it does piss me off. And you get the arseholes who think it's completely acceptable (their job even) to fuck over everyone and anyone they choose weather they're established or not by publishing and republishing endless host links to the work... it's stealing, whatever way you look at it, and it ain't right. I also believe that if you're interested in an artist and their related work you will find out about it one way or another (Myspace, Facebook, Twitter etc.) without illegal activity, but however it works for you is fine, I suppose, just so long as you do end up supporting the artist(s) by buying a CD (as you have) or by going to see them live. Unless, of course, you feel you could create and produce all of your own music to satisfy your needs... (end of rant) :)"

What's next? A tour (come to Bristol)? A new album?
Joey: "We'd like to tour, but we'd prefer to have an extended tour, not just some shows now and then. Rose is in university now and Dean has some things on his burner, and I'm in Asia, but if someone has an attractive idea, we'd consider it for sure! A new album is not being considered yet, but we do have a 7" record with a new B-Side coming later this year. We're all really satisfied with 3-D, and we hope everyone (and a lot of new fans) will feel the same as we do. Thank you!"
Dean: "We would love to tour all over as Joey says... show us the itinerary and we'll be there :). But as ever you need funds to make this happen, without them you're pretty much fucked and not in a good way. Thanks to all those that have come to see us live and have shelled out for the record... it's very much appreciated and we love you for it... *raises glass and drinks heavily* ;)"

"Moving on slowly..."

website

IROHA

Name: Iroha
Latest release: Iroha [later in 2009]
File under: Metal/shoegaze

I first heard Iroha at that Mono gig I posted about. I didn't realise it at the time, but the un-announced, un-named support act that did 3 or 4 songs was Iroha. The first thing that hit me, as a big Jesu fan, was "this sounds like Jesu". Of course, although I didn't realise it at the time, standing on stage in front of me strumming away was Diarmuid Dalton...of Jesu. That would explain the resemblance, then.

So I did some digging when I got home, found out they were called Iroha and checked out some familiar stuff on Myspace. If you like the shimmery guitar that's prominant in shoegaze then you'll like these guys. Add some heavier riffs more a metallic edge and that's where they'll appeal to the Jesu crowd. A self-titled debut album is on the way soon...and a lot of touring.

Q+A

Who are you, where are you from and what is your role in Iroha?

Andy: "My name is Andy Swan. I’m from Birmingham, England and play guitar and write songs for Iroha."

What kind of emotions do you try to convey in Iroha's music?

Andy: "There isn’t any specific emotion I deliberately set out to convey via the music and lyrics of Iroha although, if I take an objective view, I do tend to unconsciously lean toward themes relating to the passage of time and melancholic feelings of nostalgia."

You have worked with Justin Broadrick in Final and Diarmuid Dalton has worked with him in Jesu. How big an influence is Justin?

Andy: "I first met Justin when he was 14 or 15 and I was 16. We met, quite by chance, at a music stall in Birmingham’s Rag Market. Unbeknownst to eachother, we had both visited the stall on a regular basis but quickly struck up a friendship when the owner of the stall introduced us both to the music of Throbbing Gristle. We were both obsessive about music and quickly became immersed in the burgeoning experimental electronics scene of the early 80’s. We formed Final as a result and, being of such tender years, I guess we were both very receptive to new sounds and ideas but Justin was a huge influence on me personally what with his enthusiasm, love of music, endless ideas and friendship. And now, 25 years later, I don’t think there would be an Iroha if I’d not met up with Justin and Nic [Bullen, ex-Napalm Death, Final etc.] again in late 2007."

There are obvious similarities, but what do you feel are the main differences between Iroha and Jesu?

Andy: "I think Iroha’s songs are more traditional in a verse-verse-chorus sense whereas Jesu’s songs seem to be less defined in their structure; almost like abstract poetry. I’ve tried writing like that but have always ended up frustrated and have had to revert back to a regular structure."

You supported Mono on some dates here in the UK earlier this year. How were you received and how was the experience?

Andy: "It was an incredible experience and one that we wouldn’t have had without the generosity of Mono who are amongst the most humble people I’ve met. Playing only our third gig at The Scala was a little daunting although nowhere near loud enough for our liking!"

Cheers Andy. Good luck with the touring and new album.

GHASTLY CITY SLEEP

Name: Ghastly City Sleep

Latest release: Ghastly City Sleep [2007]

File under: Post-rock, ambient...

I really hate the term "post-rock" sometimes. It seems to be used to describe any band that utilise atmosphere and write songs over 5 minutes long. I'm at the point now where I'm not even sure what it is anymore due to the term being thrown around so much. The best way I can describe Ghastly City Sleep is ambient post-rock. Throw in some shoegaze too. Maybe. I just don't know anymore.

Anyway, GCS use a variety of instruments to create a very relaxing soundscape. Maybe that's what the Ghastly City is? The opener of their self-titled debut EP, "Ice Creaks" is the highlight of the release, a 9 minute jaunt through their post-ambient-gaze sound. The EP features the services of members from Gregor Samsa, and whilst the band may be similar in parts, clones they are not. GCS' debut full-length will be out later this year.

Q+A

Who are you, where are you from and what is your role in the band?
Brandon: "Brandon Evans, Richmond, VA/Brooklyn NY,

singing/guitaring/synthesizing/keyboarding/stressing/depressing/struggling for the uplifting..."

What's the story behind the band name?
Brandon: "Originally Jeff Kane and I, when we were in City of Caterpillar, were contemplating starting our own label to put out our records and we decided to use the name "The Ghastly City Sleep"... we never got the chance to bring it to fruition. When City of Caterpillar split up, it just seemed right to continue on and use that as our name, though Kevin never really did make it to practices... and the band took about 17 lightyears to gel and cool and form... yet it still feels right as for our name. It's a state that we as humans naturally reside in... it's hard and rare to break through, it's just not in our surroundings most of the time... not in these societies we build."

Can you explain the EP sleeve; the format and what the text refers to?
Brandon: "The record sleeve contains the lyrics to the songs and other writings. They are broken up in fragments/shards of the whole, to give even less of a stable end-meaning, but more a means to apply emotions within each individual, to their own lives and stories... not mine as me so much... just states of flux and drift, struggle or triumph... set up like an old newspaper or classified, revolutionary propaganda flyer... you could pick it up and read any little bit to spark off personal interest/insight."

With the GCS members adept at so many instruments, do you spend much time deliberating over which instrument will play a certain section of a song?
Brandon: "Yeah, for sure, of course... it's quite the nature of the beast really, and it could be much more, if we were more adept at more instruments, or maybe simply if we had more... depends right... hah. However, we, for the most part, still stick to more standard rock instruments, whether it be guitar, bass, drums or keyboard, you know... but then experiment from there on out; adding whatever we feel like expanding out to in which the song may be calling for/or what spacial depth it contains to stretch... I think holding on to those instruments comes from our backgrounds, and the way we like things to feel in the live setting... but yeah. It's goddam nervewracking sometimes the amount of time we can waste when we get caught in one of our own snarls trying out a million different little ideas or tones that maybe just dont matter... or they do more than ever... who knows... it's just it happens for us."

How has the band evolved since the 2007 EP and how will this evolution be noticeable on your upcoming full-length?
Brandon: "Well, the most influential and noticeable impact effecting our songwriting for our upcoming full-length has been Pat adding a sampler into the gear mix... many of our new songs now involve as a starting focus in writing... electronic beats, and sometimes drones, that we then build upon; or spark the interesting skeletal-structure melodies... better yet, it is now a constant instrument added into the mix of songs, like bass or guitar or keys. It's become a staple... not just a flare or frequent additive. In addition to the sampler, I feel we are experimenting with minute little parts for more instruments now and the layering a trifle more than the last... the new songs feel more beatbacked moving... a sorta sexy slight bodydance sadness maybe. That, and we are sort of hoping to do a little more of a dubstyle mixing to the whole this time. With this new stuff, I get images of being in a blanketed, arctic white... spanning out, and deep below; a drift you can just keep holing and holing into its depths without a change; just sheer, glimmering shininess that evokes a loneliness where you become comfortable and reach moments of dancing to yourself without a care... just quick, fleeting moments that take forever to form, you know. That's my crazy head though..."

Thanks to Brandon for his time, and a shout-out to Janelle of GCS too for being really sweet. Visit the links below!

FOXTAIL SOMERSAULT

Name: Foxtail Somersault

Latest release: Fathom [2007]

File under: Shoegaze

The first thing that attracted me to Foxtail Somersault was their name. It's so playful, happy and it just rolls off the tongue. It's also a good indication of their sound. Shoegaze is often a grumpy climate, but nobody told Foxtail this. Fathom is their only release so far, a very upbeat and dreamy set of songs with some very catchy melodies and lyrics. Influences are obvious but Foxtail have very much their own sound. It's impossible not to sing along to the likes of "Divingboard" and "Escalator" (in your head at least) and the journey ends with the very post-rockesque "A Love Song Part 1". The fact that they have remained in my top 10 most played artists on Last.fm despite only having one official release (and just 5 songs at that) is testament to the quality contained within it. The band have undergone some line-up changes since, but hopes are certainly still very heady indeed for any upcoming material. Some words from the band themselves, then...

Q+A

Who are you, where are you from and what is your role in Foxtail Somersault?
Seiken: "I'm originally from Okinawa, Japan, grew up in Los Angeles, and currently reside in San Francisco. I play guitar and write some of the songs."
Brian: "My name is Brian, I’m from Santa Cruz and I play bass for Foxtail."
James: "James, from San Francisco. My role in Foxtail is to provide comic relief, Dr. Phil services, artwork, accounting, and I’m also our backup lead guitar player."
Mark: "Mark. I'm originally from Syracuse N.Y. and now reside in Oakland. I provide beats, and being from Oakland, the street cred (just to perpetuate the stereotype)."

Shoegaze is obviously a huge part of the music you make. What is your personal favourite album and song from the genre?
Seiken: "Favorite song: a toss up between "Thorn" and "When You Sleep" by My Bloody Valentine, album: Loveless [My Bloody Valentine], I was blown away the first time I heard it, and it still amazes me everytime I hear it."
Brian: "It’s funny, I’m actually not really much of a shoegaze authority. I guess I’d still have to say that Souvlaki’s [Slowdive] my favorite overall shoegaze staple, and my favorite song off it would be "Country Rain"."
James: "It’s hard to zero in on a single album, but I think A Storm In Heaven by The Verve is one of best."
Mark: "Like Brian, I don't carry a huge knowledge base regarding shoegaze. I have been drawn to the more dreamy or experimental sound and the atmosphere it creates. I'd have to say the Godfathers of the guitar sound of shoegaze, The Jesus and Mary Chain, are up there, Catherine Wheel, and I really dig Curve's shoegaze-electronica mix. I think the most indelible for me though, was Lush's second album Spooky and "Nothing Natural". I'm struck by how that song can be all at once beautiful, pretty, powerful and angry."

You recently parted ways with vocalist Catherine. How is the search for a replacement going, and do you think a male vocalist could work with Foxtail Somersault?
Seiken: "We're going into new uncharted waters moving forward, we now have two female vocalists, Becky Uline and Elizabeth Anderson (no relations with our bass player Brian Anderson). I've entertained the idea of a male vocalist, but was never serious about it."
Brian: "Well we’ve just now resolved our vocalist situation and have actually brought on two singers. We’re very excited about the potential. As far as a male vocalist goes, it’s simply hard for me to imagine it... we’ve featured female vocals even before I joined the band and it simply seems like the way it should be with us. When it comes to shoegaze, my preference is always for the material with female vocals."
James: "Finding a replacement is difficult and we’re admittedly a difficult band to audition for. We’re working on a situation now that could involve a pair of equals, vocally similar to Stereolab without the quirkiness. I think it would be hard for us to plug a male vocalist into the mix, the sound we’re looking for is “pretty” and/or “sexy” (... but not too sexy). It would be amazing to hear a male vocalist pull that off, but it might make for some long and awkward road trips."
Mark: "It was a difficult decision. She's [ex-vocalist Catherine] unflinchingly positive and upbeat. It's been quite a process replacing her, but in the long run, with two vocalists coming in, we quite serendipitously found something much more original than we could have imagined. As far as a male vocalist goes, the groups I mentioned, Catherine Wheel and The Jesus and Mary Chain, both have male vocals, but I wouldn't describe their sound as really that pretty. It's tougher to balance that aggressive guitar sound with a male vocal."

The band embarked on last year's Lollapalooza tour in Chicago. How was the experience and how were you received?
Seiken: "I had a wonderful time, it was unpleasantly hot in Chicago, but performing on a stage approximately 15 meters wide, with our backs to a great lake, and facing downtown Chicago was incredible. I could really crank up my amps with no fear. The people listening seemed to really enjoy it. One of the attendees was Marcus Collins who works for Apple, and we were offered to take part in an Apple sponsored itunes download."
Brian: "Lollapalooza was an absolute blast. It was the first time I’d ever done any extended travelling with a band – we drove there and back in a large Ford van that had its share of problems, but we made it in one piece with no theft, no drama between us, and no speeding tickets. We stopped by Kansas City on the way there and played a small show for a group of people who’d heard of us and were really excited to have us. As far as the actual gig went... well, we were the very first band to play and had the 11:30 am slot on Friday morning, so we didn’t have a huge crowd. But, it was nice to lure away a few people who were sprinting across the park to stake out a good spot on the lawn for Radiohead. It means a lot to me to think we might’ve cost a few people ideal vantage points for Radiohead – I don’t know if I’d be willing to risk it myself."
James: "Lollapalooza was as insightful as it was amazing. We were playing pretty early, so we didn’t get to play for thousands of people, but the experience of being there and playing on a big stage was invaluable. It was also nice to take a long road trip with the band, we’re all best friends and we had a blast."
Mark: "Lollapalooza was such a great experience. Even the adverse events of van break downs and my "rock and roll" moment backstage during Radiohead lent to great memories. While we were billed for early Friday, we can say that we opened Lollapalooza. Yep, the whole shebang! And while we played, virtually every music fan saw us as they ran to stake their place for Radiohead. So technically, we can say we played for as many people as Radiohead... just not all at once!"

In what ways does your upcoming full-length differ to Fathom, and when can we expect a release?
Seiken: "As much as we would love to do a full-length, the next release will be another EP. The difference mostly will be the composers behind the tracks. I was the lead composer of Fathom, but for this next release, we all contributed much more - James composed a couple of the tracks, and Brian another. I have over a half dozen tracks that need some attention for our next next release, which will most likeley be our first full-length."
Brian: "I think we’re hoping to get this thing wrapped up my mid-March. It’s going to be quite different from Fathom due in large part to our new singers – we’ll probably be trying to incorporate two vocal parts on everything we do and see how that works out. The songs have a slightly different feel... a bit more rhythmically driving and riff-based, maybe a bit more rocking than either "Divingboard" or "Motionland", but not quite as dark as "Call and Respond". And, "A Love Song Part 1" will finally have a sequel."
James: "Our next release will sound a little louder than Fathom, but sticking to the same set of formulas in terms of instrumentation. The vocals will obviously be different. We put two vocal tracks together as an experiment and it transformed one of our recordings into a completely different song. If that scenario works out consistently across the entire album, the vocals will be much more of a highlight on this release. Release date is TBD... we’re perfectionists. :-)"
Mark: There's still that trademark guitar sound, so that hasn't changed. Nor has the presence of an instrumental. There are a couple of more "groove oriented" tracks which lends to a nice change of pace, from one release to the next. As far as a release goes, your guess is as good as mine, but I'm keeping my fingers crossed that it's before my wife gives birth!"

Many thanks to the band for their input. Keep an eye on their progress and check out the links below.

website