Looks like April has been the drumming season for us.
So yep, Florent Marcadet is done recording his drums for the upcoming EP.
And what a pleasure it has been. The guy simply killed it and gave a really cool vibe to the songs.
I can’t help but smile whenever I hear his takes. This is really ace material, can’t wait to share that with the world out there.
So with Flo’s drums blasting in my headphones, I started working on the bass lines and have finalized the demos for two songs.
Bass is something we’ve always overlooked in the past without really focusing on placing the right notes with the right rhythmic pattern at the right time. Don’t wanna do things this way this time. Because I have time ahead (who really cares when this EP is gonna drop right?), I’m sweating this motherfucker like never before and I want those bass lines to perfectly fit in. Which brings me to changing a few guitar parts here and there and focusing on the drums grooves instead of the riffs when writing bass lines.
This is a very, very different way of working for me and for now, I’m loving every bit of it.
The other drums related good news is we hired our friend Lucas who joined the band for all upcoming events.
We started rehearsing the set for this summer’s shows and are having a blast right now.
I’m so happy he joined in. He’s such a nice guy and a talented drummer.
Plus we’re gonna have so much fun going out on tour with his drunken brother of a lighting tech of ours that I simply cannot wait to get back to it.
Writing and recording songs on your own at night in your apartment while everyone’s asleep is fun but the coolest thing about playing music is playing it in front of people and meeting with them after the show.
I’ve been missing that a lot these past few years.
Hopefully we’ll get to play a lot more shows in the upcoming months.
IGGY POP Post Pop Depression
Let’s be honest, I never cared much for Iggy Pop. Probably because aside from a few Stooges songs and a couple of his solo hits that I enjoy listening to every now and then, I just never bothered to lend an ear to his music. And without Josh Homme here, I probably never would have cared for that new record either. That my friends, would have been a bloody shame. This is a very, very classy record and probably one of Homme’s greatest work as a songwriter. Driven by Iggy’s cavernous vocals, these songs creep and crawl all the way up to maximum sexyness in a very Bowiesque fashion. Not every septuagenarian does that to me.
LED ZEPPELIN Physical Graffiti (Remastered Deluxe Edition)
This whole “40th anniversary remastered by Jimmy Page stuff” gives me the charming opportunity to buy for the Xth time records I already have. Step number six with the phenomenal “Physical Graffiti” in its triple LP deluxe edition. As with every new Zeppelin remaster, the “companion disc” consisting of demos and alternative versions of songs is as useless as it gets and might probably not even appeal to the deadest of die hards but the rest spreads pure magic as the remastering process brings new depth to these classic tracks. Zeppelin’s most adventurous record in its most glorious edition.
Like many of us after Lemmy’s passing, I instinctively went back to the man’s back catalogue. Because after all, listening to the guy’s music can’t be any less uplifting than posting a Facebook tribute. So I went back to “Overkill” just to remind me of how fucking cool this band already was when most of us weren’t even born. Come on, just look at the tracklisting: “Overkill”, “Stay Clean”, “No Class”, “Damage Case”,… songs that never left the band’s setlists in 30 years and redefined the genre while blending thunderous rock’n’roll with the irreverence of punk-rock and the loudness of heavy-metal like never before.
PIXIES Indie Cindy
Can’t really understand the shitstorm the release of this album unleashed. 23 (long) years after “Trompe Le Monde”, “Indie Cindy” re-activates the machine with a compilation of freshly recorded EPs. And though most of the stuff present here got bashed by both the media and the fans, I can’t help but feel like there’s (once again) something really magical in those beautiful people playing together. The unique way Frank Black lays incredibly delicate and subtle vocal melodies (and so much more) other Joey Santiago’s lyrical guitars is quite simply, in my very humble opinion, as good as indie-rock can get. Heroic stuff right there. Fuck the haters.
Had really been impressed with the band’s previous work, the hit-packed “Legend”, a beautiful mix of heavy guitars, airy vocals and sharpened songwriting at the service of incredibly catchy songs. “Nucleus”, the second delivery for German mastodon Nuclear Blast after the band’s departure from Rise Above, differs a bit with lengthier songs and a whole new approach on atmospheres resulting in a more challenging, yet fascinating record. While Magnus Pelanders sometimes overplays, the singer/guitarist/songwriter’s talent is highly undeniable. Pissing all over this fucking seventies revival trend, these dudes roam in a whole other league.
Live & banging
NADA SURF + MONTE DEL OSO, Bilbao (Kafe Antzokia), April 30th 2016
No matter how much I love how beautiful this venue is (an old Basque theater in gorgeous Bilbao), the acoustics there is simply pure catastrophe with an ugly as fuck reverb that sounds impossible to tame.
The Pamplona based openers Monte Del Oso learn that the hard way with an almost inaudible set. Their poppy, Spanish sung noise rock coming out as an undistinguishable collection of soundalike tunes. Not your ideal way of discovering a new band…
Things get a little better when personal heroes Nada Surf hit the stage with latest album mega-hit “Cold To See Clear”. Matthew’s voice is something to be heard live, beautiful and in perfect tune all along a 25 songs (!) setlist that flies at the speed of light. Pair that with what is (in my sometimes very humble opinion) one of the greatest drummers around (five stars bruiser Ira Elliot slays it on the band’s earliest material) and you’ve got yourself the ideal evening for every Nada Surf fan. The setlist truly is amazing, perfectly balanced between past and present (going back all the way to 1996 and 1998 with two excerpts from both “High/Low” and “The Proximity Effect”). Even after a 20 years long career, there’s still this freshness to these songs and to the band’s enthusiasm at playing them. Icing on the cake, after the lights are back on at the end of the show, the four dudes come back on stage to play “Blizzard of ’77” and “I Like What You Say” acoustically, with the PA turned off. Fucking beautiful, beautiful moment.
Another beautiful moment will be meeting Matthew at the merch booth, taking pictures and shaking hands with people which is something very few guys in bands at that level of “popularity” (pun intended) do.
Eternal love and respect to these gentlemen.
Thanks for checking out my monthly blabber.
‘Til next month fellas!