Posts Tagged ‘Netherlands’

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Jacco Gardner is a baroque pop multi instrumentalist. He creates a unique sound by combining the sounds of harpsichord, strings, flutes and other classical instruments with raw psychedelic effects.

“Fading Cosmos” and “Autumn In Lisbon” were both recorded in Lisbon during the Somnium recording sessions, but they were not included on the album. The reason for this is that they are while being thematically similar, significantly different in their approach. Somnium was intended as one 43-minute journey, while these two tracks respectively interpret the concept of transformation within 8 minutes of improvisation. The concept of a journey of exploration, mixing cinematic and electronic sounds with a more jazz and folk, live improvisation type of performance has been very inspiring while working on this EP. I’ve been listening to a lot more jazz and progressive than I had before, mainly because I was introduced to a lot of really inspiring stuff by my girlfriend María Pandiello, who is performing Somnium with me right now on synths. Her presence has been very influential, but also the sense of adventure and discovery she brings. Some influences I feel like were major inspirations on this EP are Popol Vuh, (early) Vangelis, Bo Hansson, (early) Patrick Cowley, Francis Bebey, Piero Umiliani, Silver Apples and of course some (mainly Saucerful Of Secrets era) Pink Floyd. All these artists come from different parts of the world, but I still see them very connected on a basic principle, creating a psychedelic progressive trip through the process of experimentation with electronics, a foundation of Synthedelia. 

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During the creative process, the line between what was calculated and what was a total “happy accident” became very blurry, and I just went with that, which resulted in the type of sound that it has. Live sequencing synthesisers while jamming to this on other instruments, like bass or electric piano, seems like a pretty basic concept, but I had not really explored this interaction and it’s full potential in depth before. I found it a very exciting and liberating feeling, to feel both focused and precise and totally free at the same time while working alone in the studio. I’ve always been able to immersive myself in something very intimate and personal, and to really escape to another place while I’m working alone. Also, the mood of Lisbon and the area where I live became very present, as I often went on solitary walks, mainly at night. To me, the city holds something almost mystical and very powerful, which can be very present in the area I live, and it undoubtedly found its way into these two tracks.

The first ideas for “Fading Cosmos” came after conversations I had with my brother, about the tragic reality that the endlessly rich cosmos around us is rapidly becoming invisible because of an increase of artificial light, leaving us in the solitary darkness of human progress. I wanted to offer some potential visibility into our cosmic neighbourhood with this track, but also to escape into a world of wonder and mystery.

“Autumn in Lisbon” was written after walking around on a beautiful but stormy autumn day in Lisbon, not long after I moved there. The air was full of changes and a mysterious future was showing her powerful presence while hiding her face.

Both tracks feature acoustic guitar, synths, bass, drums, percussion and electric piano, all greatly manipulated via analogue tape. It was mastered by Simon Heyworth, who did an amazing job on it. I felt the same about his work on Somnium, so I naturally asked him for this EP as well, and I’m very happy with it. Every time I can feel the immense experience he has in making otherworldly creations feel truly immersive. I’ll likely work more with him in the future if he’s up for it as well.

released June 14th, 2019 “Fading Cosmos” is released on 12″ vinyl on Full Time Hobby (ROTW) and Excelsior Recordings (BENELUX), and digitally on Polyvinyl Record Co. (US).
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pip blom debut album boat 2019

Promising young indie rocker’s Pip Blom are looking to break beyond the canals of their Amsterdam hometown with new album “Boat”. Due out through Heavenly Recordings. “Boat”  was first recorded by Dave McCracken at Big Jelly Studios in Margate on England’s southeast coast. It was then mixed by Dillip Harris in — of all places — a shipping container that sat along the banks of the Thames in East London.

Based on the title and various studio locations, Blom clearly has a fascination with water and travel. But it turns out those themes were already on her mind well before she and her band even began working on their debut LP. “Before we had even made the album I decided that I wanted to call it Boat. I envisioned a really big cruise ship in the 10,000-times bigger ocean. When I think of boats I think of journeys, traveling, going somewhere and having a goal. And I think that that has been what the last couple of years have been for us.”

The bouncy lead single, “Daddy Issues”, and its music video, a “love letter to classic cinema.” Blom broke Boat down Track by Track.

“Daddy Issues”:
We decided to play this song for the second time when we had to play a pretty important gig in London. We had already played it the day before in Manchester, and our managers weren’t the biggest fans. They said, “Are you sure you want to play it in London too?” We were very stubborn and said, “Yes, we are going to make it work.” When we finished the gig, our managers ran up to us and said, “This is such a good song, you guys were right, think it’s definitely a single.” And look where we are now!

“Don’t Make It Difficult”:
There are a few songs on this record that have demo parts in them. Me, Dave and Dilip agreed on the fact that sometimes there’s no point in trying to beat a demo part. The bridge guitar that goes round and round in your ears is the perfect example of that. We tried to record a different one in the studio, but it wasn’t close to this one. I feel quite proud that we’ve used parts that I recorded at home with a crappy amp and a mic hanging from a duct-tape thread. It gives an extra personal touch to the record that means a lot to me.

“Say It”:
We recorded the album in two legs. “Say It” was saved for the last leg. We thought it wouldn’t be too difficult to play that one, but because of all the changes in dynamics and parts it was a hard song to record live. It took more time than expected, but I think we captured the energy from the studio perfectly. I really like the combination between the gentle and soft singing in the verses and the quiet though busy instruments that bring the singing to a next level.

“Tired”:
This song is the most straightforward song on the record if you ask me. When I started off writing songs I didn’t have a clue how many varieties you can have in terms of song structures. “Tired” is one of the oldest songs of the record and thus the most straightforward one. I am really happy that this one has made it to album because it represents us as musicians very well. It’s not about doing the most difficult things, it’s about the melody and the energy.

“Bedhead”:
This is the song we had the most discussions about. Gini is not a big fan of the drum computer. We tried multiple times to rehearse this song without it but it didn’t go anywhere. It sounded very weird and not cool. So after lots of conversations between us, the band, we asked Dave (the producer) what he thought. He immediately said that we should keep the drum computer in. We did, and I think it really works. I am very happy that we had a chance to step away from just the regular band vibes and add something to the album that’s not really common in the indie scene.

“Tinfoil”:
I really tried creating something different with this track. I don’t know a lot about different keys and tempos but I wanted to make song that’s in 3/4 instead of 4/4. I had never tried it before so it was quite the experiment. I always start off with guitar and drums. And after I came up with a guitar part that I liked, i decided I wanted this song to sound ominous and kind of sexy. The rest is history.

“Ruby”:
Al
and Mike were the technicians at the studio. One day Al was in and helped with recording “Ruby.” I was messing around a bit with my crappy Behringer delay pedal when Al turned around and said, “Wow, that’s really cool, you should use that.” Dave came running down the stairs and said, “Yes yes yes! Let’s record this.” We used it in the bridge and I think it really lifts up the entire part. It sounds weird, like aliens, but that’s what I like about it.

“Set of Stairs”:
When we started rehearsing the songs for recording, this was one of the songs that felt right immediately. Especially the verses are so full of energy. We recorded this one in the first leg. But when we went back home and had a listen to all rough edits, I wasn’t happy with the way I sang it. So the first thing we did when we returned to the studio was sing it again. It needed spice.

“Sorry”:
This song is my personal favorite. It was really hard to sing the chorus. I am not a trained singer and this was really high for me. After five takes of the high backings, my voice was completely gone. I loved recording those though; Dave and I were together in one room and his energy helped me so much to nail it in the end. When I wasn’t able to sing it in tune, he turned around with and said with his thick Scottish accent, “That’s awesome. We’re almost there.”

“Aha”:
This was a weird one. I always make demos and send them to everyone else. And when I make those demos, I usually stick to a maximum of two guitar parts because we’ve got two guitarists. I am not sure what happened to “Aha,” but the chorus in the demo had seven guitars playing different stuff. During the recording process we tried to stick to the same rule with just using two guitar parts. But “Aha was the exception. This one needed mayhem. And it’s there.

Blom and her band, called Pip Blom,

Jacco Gardner

Here we have 16 minutes of new music from Jacco Gardner out June 14th. Listen to Side A, Fading Cosmos, now.

Jacco follows up 2018’s sonically adventurous, instrumental album “Somnium” with a new 16 minute EP “Fading Cosmos.” Written and recorded during the “Somnium” sessions in Lisbon, Portugal, Jacco looks to the stars once again for inspiration. Where Somnium was deeply influenced by Kepler and his stargazing innovations, Fading Cosmos asks “what’s next?”

Korg synths bubble and fizz, basslines carry the groove and a beautifully picked acoustic guitar line comes together to bring to mind the work of Michael Rother and Conrad Schnitzler but with the lightness of one of Jacco’s big inspirations – The two tracks were mastered by Simon Heyworth (Eno, Oldfield, King Crimson) and are cut at 45rpm on black vinyl.

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Jacco Gardner is a baroque pop multi instrumentalist. He creates a unique sound by combining the sounds of harpsichord, strings, flutes and other classical instruments with raw psychedelic effects.

releases June 14th, 2019

Exclusive: Pip Blom Share Eerie, Seaside "Ruby" Video

Dutch indie rocker Pip Blom and her band are preparing to release their debut album Boat, out on May 31 via Heavenly Recordings / PIAS. After a searing showing at SXSW last month (their first set of U.S. dates), the band have shared the video for “Ruby,” premiering exclusively at Paste.

After 2018’s solid Paycheck EP and recent single “Daddy Issues,” the 22 year-old singer/songwriter’s new song “Ruby” is another rapturous gem of post-punk adjacent indie rock. With clamoring guitars and vocals that range from sassy to melancholic to euphoric, “Ruby” embodies the ephemeral rush of joy you get from a gentle beachside breeze.

Set on the seaside, the music video captures Blom visiting a UFO hypnotherapist after catching a glimpse of something eerie. The video’s director Raymond van Mil said of the cryptic clip, “We made a few jumps in our imagination, and we were explicitly not trying to explain or illustrate the lyrics. We started with flamingos. Apparently there are two distinct families standing some 20 meters apart on one exact place in Zeeland/the Netherlands. We went there and were in amazement, it looked so alien in the Dutch landscape. From there the UFO story unfolded and was fun. Was it a dream? A memory? A documentary? Only Pip knows.”

Ruby, Video by Raymond Van Mill. Shot on analog film, Super 8 – Kodak Ektachrome / Kodak TriX

‘Ruby’ taken from ‘Boat’ LP out 31st May on Heavenly Records.

“Somnium” is a nod to the novel of the same name, written in 1608 by Johannes Kepler and is regarded as the first ever science fiction novel. “This book fascinates me because it was basically Kepler travelling in his mind to a non-existent world while describing it, and his journey, with amazing detail. Many of his imagined sensations are actually really what happens when one travels into space, which happened almost four hundred years later. You could call it a vision of the future through his dreams, and I find this aspect very mysterious and powerful.”

This form of mind travel is what Jacco has set out to create in a sonic, almost alchemic, capacity. Hence the reason for his vocals to be left out of this spiritual journey. “I deliberately removed my voice from the experience, as it made it more difficult for me to achieve the intended state of mind. I think it makes the journey more interesting, more deep, and more intimate. I didn’t feel the need to show my face while one drifts away into thought. Somnium is a visionary experience. The album is more than just a trip, it is about contact with a deeper – hidden – reality.”

If the concepts behind this record sound otherworldly and intricately woven then Jacco has also succeeded in making a record that does the same. Analogue synths hum and glide pristinely, bass lines dance buoyantly, dense atmospheres build and form and thoughtfully crafted melodies come and go, floating around as though in space. There are nods to early pioneers of such dreamlike ambience and cosmic exploration – Bo Hansson, Vangelis, Cluster, Tangerine Dream, Eno and Oldfield (the album was mastered by Simon Heyworth whose production credits include the latter three, including Tubular Bells) – but it also exists as a futuristic pursuit, one that is chasing something ahead as well as exploring the past. This is because to Jacco both are equally valid. “The past has always felt very much alive to me and so full of mystery that I have to conclude that the present and the future are probably no different.” 

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Now living in Lisbon and immersed in literature, cinema, philosophy and with new winding streets to wander, Gardner’s ideal listening scenario is to take the album for a walk yourselves, consume it complete and without interruption. “Somnium could be seen as a tribute to the album, a dying format in today’s fast-paced society. It can often be difficult to enjoy a meaningful uninterrupted moment. This album is where true mystery and wonder is waiting to be discovered.”

releases November 23, 2018

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Jacco Gardner has announced his new album “Somnium” for release on 23rd November.

Gardner has been known to create swirling psychedelic pop boosted by his rich, resonate and baroque voice but on his third album, his vocals are gone and in their place is an equally seamless melodic exploration but an instrumental one, with a synthesized occult edge. Somnium is a nod to the novel of the same name, written in 1608 by Johannes Kepler and is regarded as the first ever science fiction novel. “This book fascinates me because it was basically Kepler travelling in his mind to a non-existent world while describing it, and his journey, with amazing detail.”

This form of mind travel is what Jacco has set out to create in a sonic, almost alchemic, capacity. Hence the reason for his vocals being left out of this spiritual journey. “I deliberately removed my voice from the experience, as it made it more difficult for me to achieve the intended state of mind. I think it makes the journey more interesting, more deep, and more intimate. I didn’t feel the need to show my face while one drifts away into thought. Somnium is a visionary experience. The album is more than just a trip, it is about contact with a deeper – hidden – reality.”

Now living in Lisbon and immersed in literature, cinema, philosophy and with new winding streets to wander, Gardner’s ideal listening scenario is to take the album for a walk yourselves, consume it complete and without interruption.

“Somnium could be seen as a tribute to the album, a dying format in today’s fast-paced society. It can often be difficult to enjoy a meaningful uninterrupted moment. This album is where true mystery and wonder is waiting to be discovered.”

Jacco has plans to bring Somnium on the road early next year and promises to be the perfect accompaniment to this exceptional listening experience.

The upcoming album “Somnium”, out November 23.

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FINAL line-up for Grauzone Festival 2018! Several amazing acts added a.o. The Soft Moon, Official: Lydia Lunch & Weasel Walter – Brutal Measures, Cocaine Piss, The Myrrors, Ulrika Spacekhackedepicciotto, Sally Dige, unit moebius & Volition Immanent, A unique line-up feat. more than 20 of the best and most exciting, cutting edge and classic acts incl several exclusive performances, a symposium, an exhibition, a movie, DJs, a pre party and more!
Please share, tag your friends and comment!
tickets: http://bit.ly/2AWT6SX
Event: http://bit.ly/2mf7lv4
Preparty: http://bit.ly/2kM3XbQ

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Legendary industrial & electronic pioneers Cabaret Voltaire Official will perform a rare exclusive show at Grauzone Festival 2018. One of the most influential acts of the last 40 years, they paved the way for Depeche Mode, New Order, Ministry, Nine Inch Nails and dance, techno, dub, etc. Now consisting of founder Richard H. Kirk, the show will feature -analog- machines, cassettes, multi-screen projections and new material which promises to be a unique experience

Cocaine Piss from Luik/Liège have been ripping up stages with their fast, effective, aggressive live shows. In no time these noise punks have become a cult band, and are even called ”the future of Belgian music”. Think of Bikini Kill, The Slits and riot grlll. Their album The Dancer (2016) was recorded by legend Steve Albini (pixies, nirvana). They will play Best Kept Secret Festival and other big fests later this year but this is your chance to see them in an intimate setting where they will surely blow you away!

Drab Majesty fantastic album ”The Demonstration” was chosen as post-punk album of the year 2017. They blend classic 80s New Wave, goth and early 4AD with a futuristic originality. This is one of the best new darkwave, gothic dreampop, shoegaze bands around and their only Dutch show. This is a must see!

Hypnotic, psychedelic, desert drone krautrock: The Myrrors from Arizona! Their 4th album Hasta La Victoria (2017) is a ”masterpiece” (said influential online magazine CVLT Nation) and their spacey live shows are a huge experience! ”The raddest psych band you will hear today” (cvlt nation).

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Held in the Dutch city of Groningen for the 32nd edition of Eurosonic Noorderslag. Rightly heralded as Europe’s most prestigious event for breaking new acts, this year’s festival will once again provide maximum exposure to around 400 artists from across the continent over the course of its four days. As with previous years, the festival will also host the European Border Breakers (EBBA) alongside the European Festival Awards. With so many acts to choose from, you are unsurprisingly spoiled for choice here’s the best acts you should be particularly excited about seeing.

HMLTD   ( Thursday 18h  January @ 23:45) 

The six-piece HMLTD, whose origins lie somewhere between the UK, Greece and France, have arrived as one of the most confounding acts to appear on the London scene in recent memory. With equally galvanizing music and visuals, stories of chaotic and incendiary live shows to packs of mosh-pitting followers and compatriots, as well as art installations where the lines between performers and audience are ever-blurred, this is not ‘just another’ band.

Blackberries (Wednesday 17th, All Round Poolcentrum @ 20:45)

Hailing from the city of Solingen in GermanyBlackberries make elegant psychedelic rock that fluctuates between melodic pop and freeform jams, often in the same pieces of music. Second album Greenwich Mean Time came out in 2016 and despite forming in 2009, they’re still relatively unknown outside of their native city. We suspect that will change very soon.

Pale Waves  (Friday 19th January ESNS PLAY 21:20) 

Pale Waves from Manchester are Heather (vocals, guitar), Ciara (drums), Hugo (guitar) and Charlie (bass). After spending the last couple of years touring and writing, the band released their debut single ‘There’s a Honey’ in early 2017. The foursome followed up with two more singles, reflecting their ability to write well polished indie pop songs that have left fans begging for a debut LP. Pale Waves could be the biggest band of the year

Canshaker Pi (Thursday 18th, Heerenhuis @ 23:20)

This time last year Canshaker Pi proved to be one of the highlights of Eurosonic Noorderslag. Having already enraptured none other than Stephen Malkmus who produced their debut album, they’ve gradually established themselves as one of the most exciting bands to emerge from the Dutch underground in years.

Freya Ridings  (Thursday 18th, Lutherse Kerk  21:20 )

Her self-released singles have notched up millions of streams and views, and she went on the road in the fall for her first headline tour as well as supporting Tash Sultana and Lewis Capaldi. 23-year-old Londoner Freya Ridings showcased her enchanting voice and unique talent on the piano with debut single ‘Blackout’. Follow-up ‘Maps,’ a spine-tingling cover of the Yeah Yeah Yeahs classic, earned her major support from Spotify through New Music Friday and other major playlist additions.

Hater  (Thursday 18th, Huis De Beurs @ 20:00)

Malmö is becoming something of an indie rock hotbed having first unearthed Fews a couple of years ago. Following hot on their heels are Hater, a four-piece led by the inimitable Caroline Landahl whose vocal stylings fall somewhere in between Molly Rankin of Alvvays and Annelotte De Graaf, better known as the brains behind Amber Arcades. Their Red Blinders EP brightened up a somewhat cold December and we’re expecting the band’s live show here to make a similar impact.

Housewives  (Thursday 18th, Vera @ 22:15)

Arguably one of the most left field bands to grace the Eurosonic Noorderslag bill in a long while, this South London outfit create music that’s beyond genre categorisation and as a result, stand out as one of this year’s unmissable acts. Last year’s FF061116 long player heralded them as uncompromising experimentalists in a similar vein to Steve Reich, Einsturzende Neubaten, or more recently, Factory Floor. Prepare to be mesmerized.

Superorganism  (Friday 19th, Machinefabriek @ 20:00)

This London-based outfit have already appeared on the Jools Holland show, been compared to Gorillaz, and have acquired Frank Ocean and Vampire Weekend as fans. Which is pretty good going after just a couple of singles. Their self-titled debut album is out in March and while still early days in their fledgling career, it’s probably fair to say you’ll be hearing a lot more about this eight-piece as the year goes on.

Iceage  (Wednesday 17th, Vera @ 23:45)

This Copenhagen four-piece should need no introduction having released two of the decade’s finest long players in 2011’s debut New Brigade and 2014’s third offering Plowing Into The Field Of Love. With a new album said to be imminent, this opportunity to hear some of those songs alongside the older more familiar material of yore is not to be missed.

Žen  (Thursday 18th, Huis De Beurs @ 21:25)

Žen are an all female band from Zagreb who make ethereal effects-laden sounds that recall the halcyon era of 4AD and Creation Records from back in the day. Their third and latest LP Suncani Ljudi came out last month and is well worth checking out. As is their live show which bears all the hallmarks of being one of Eurosonic’s main highlights this year.

Isaac Gracie (Friday 19th January LUTHERSE KERK 00:00) 

Isaac Gracie rose to prominence when a demo of ‘Last Words’ was uploaded to Soundcloud. Dusty, careworn and distant, it was a quite beautiful introduction to this now fast-rising British talent. With two lo-fi, self-produced EP’s and a live recording out there and plenty more to come, the live shows are equally as stripped back and intimate. One electric guitar, and one untouchable vocal. It’s the antidote to a busy stable of peers, and the very essence of the modern man in one striking and poetic musical talent.

KEIR  (Friday 19th January Stadsschouwburg 22:50) 

Here is a refreshing new artist from Bristol who sounds like a seasoned performer. Keir is blessed with a powerhouse of a voice, a great sense for writing hooks and infectious pop rock songs, influenced by artists from Patti Smith, Gertrude Stein, Howlin’ Wolf and Edith Piaf to Aretha Franklin. Keir tries to keep it somewhat secretive but material like singles Squeeze Me and Probably and some rave live reviews will make it terribly hard to keep this huge talent from the spotlights.

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