sábado, 27 de abril de 2019

Está quase à porta o melhor festival de post-punk e minimal wave do país: o MONITOR


Faltam cada vez menos dias para a chegada da quarta edição do MONITOR, o "mini" festival que celebra a nova vaga de artistas em atuação nos campos da minimal wave, darkwave e post-punk. Depois de uma edição memorável em 2018 com nomes como L'An2000, Autobahn, Fragrance., Black Nail Cabaret ou Petra Flurr & 89st a marcarem estreia absoluta em território nacional, este ano passam a ser seis os nomes que poderemos ver pela primeira vez no país, na Stereogun, em Leiria. A abertura de portas está marcada para as 17h30 e os bilhetes ficam limitados a 240 pessoas por isso, podendo, é comprar (clicando aqui).

A abrir o festival, por volta das 18h00 da tarde de sábado, encontra-se o projeto da polaca residente em Berlim, Marta Raya. A eletrónica de cariz sonhador, tingida por texturas monocromáticas e minimais promete aquecer o ambiente do final de tarde enquanto apresenta em carne e osso a artista que, além deste projeto a solo, ainda se divide pela voz de Tanzkommando Untergang e Monowelt. Em Leiria Marta Raya apresentará o seu disco de estreia Hidden Emotions, editado em maio do ano passado.



Pelas 19h00 deverá subir a palco o projeto do marinheiro grego Tango Mangalore. Para os fiéis seguidores do programa Unidade 304 esta será certamente uma das atuações mais esperadas do ano e umas daquelas performances pronta para fazer queimar calorias. O universo lírico e marítimo de Tango Mangalore resulta das efetivas vivências que Lore D'Amato possui enquanto marinheiro, o que o levou a retratar nas suas canções esse mundo aquático, repleto de aventuras bizarras e obscuras, com melodias sinistras e narrativas mórbidas. A Portugal Tango Mangalore traz o seu mais recente disco de estúdio, Dear Shore, editado em outubro do ano passado.



O encerramento da primeira parte do festival está a cargo da dupla espanhola SDH (Semiotics Department Of Heteronyms), que certamente se tornará um novo fenómeno da synth-wave, a contar pelo resultado do disco de estreia homónimo editado o ano passado pela muito conceituada Avant! Records. O projeto de sintetizadores de Andrea P. Latorre e Sergi Algiz - que também faz parte da gestão da editora Cønjuntø Vacíø e da banda de post-punk Wind Atlas - sobe a palco pelas 20h00 para apresentar uma performance orientada aos sintetizadores que promete hipnotizar quem pisar a pista de dança.



A segunda parte do festival tem início marcado para as 23h00 com a carismática energia do quarteto de Amiens, os Structures. O quarteto traz na bagagem o bastante aclamado EP de estreia Long Life e um concerto que promete fazer história nesta edição, afinal isto é  música para dançar até cair. Através de ondas ásperas, uma voz autoritária, uma neblina engrossada pela onipresença das linhas de baixo, uma bateria ritmada e guitarras latejantes os Structures libertam uma atmosfera negra e viciante que fará aguçar o apetite de fãs de nomes como The Horrors, Autobahn e Frustration.



Outra das surpresas da noite está marcada para as 00h00 e ficará a cargo do quarteto italiano Talk To Her. Formados em 2015 a banda de Riccardo Massaro (baixo), Stefano Murrone (guitarra), Andrea Visaggio (voz, sintetizador) e Francesco Zambon (bateria) lançou o ano passado o seu primeiro EP de estúdio, HOME, que desde a edição se tem feito escutar bem forte. Através de uma sonoridade poderosa e uma abordagem entusiasta situada entre o post-punk moderno, o electro rock e uma mão cheia de ritmos, os Talk To Her prometem conduzir os ouvintes a passos de dança desenfreados.



Para fechar a icónica noite de 25 de maio de 2019, por volta das 01h00, subirá a palco o projeto francês que se destaca pela teatralidade da sua performance - Potochkine. Formados por Hugo e Pauline, a dupla que trabalha entre os territórios sonoros fornecidos pelas camadas de sintetizadores e as caixas de ritmos promete, além da música, acompanhar a sua performance com componentes da mímica e elementos circenses. É para dançar até o sol raiar.



Os bilhetes para o MONITOR - o Minimal Wave & Post-Punk International Rendez-Vous que a Fade In criou em 2016 - estão limitados a 240 pessoas e encontram-se à venda pelo preço promocional de 30€ até ao próximo dia 30 de abril, data a partir da qual passarão a custar 35€. Podem comprar os bilhetes e consultar todas as informações adicionais aqui

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Sabotage Club celebra 6º Aniversário com LÖBO, The Parkinsons e Sunflowers


Em Abril de 2013 José Maria Sousa, Ana Paula Flores e Carlos Costa, decidiram contornar as dificuldades da queda do mercado discográfico realizando um sonho - o da abertura de um club de música ao vivo, equipado com um excelente PA, onde artistas nacionais e internacionais pudessem ter as melhores condições para apresentar ao público a sua música.

A vontade de continuar a ser parte activa na divulgação de novos projectos, levou à criação do Sabotage Club, um club que veio preencher uma lacuna em Lisboa: a da não existência de um espaço com uma programação semanal e regular de musica ao vivo, no espirito dos míticos Rock Rendez-Vous, Johnny Guitar, Hacienda, Max´s Kansas City e CGBG, há até quem diga “Quando se quer ter uma experiência a la New York, vai-se ao Sabotage” – Victor Rua.

O clube oferece ao público a possibilidade de experienciar concertos num espaço intimista, onde se pode sentir a proximidade da e com a música. Projectos como Mão Morta, Pop Dell´Arte, Toy, Motorama, Mutantes, Legendary Tigerman, The Parkinsons, Reporter Estrábico, Cave Story, Emma Rutth Rundle, TAU, Paulo Bragança, Telectu, Lydia Lunch, Spindrift, King Khan, Cosmic Dead, Dean Wareham, Kid Congo, The Mystery Lights, The Coathangers, The Pretty Things, Archie and the Bunkers, Scott Kelly e King Dude foram alguns dos nomes que passaram pelo palco desta sala ao longo destes 6 anos.


O 6º aniversário do clube será celebrado em 3 dias. No primeiro dia (2 de maio) temos o regresso aos palcos dos LÖBO e a apresentação do novo disco de Jibóia. No segundo dia (3 de maio) preparem-se para uma explosão caótica de loucura com os The Parkinsons e os tão ansiados Biznaga de Madrid. A terminar em grande, uma noite (4 de maio) com o calor e agitação de Sunflowers, Fugly e Moon Preachers.

A porta abre todos os dias às 22:30, começando os primeiros concertos às 23:00. Excepto o primeiro dia (02 de Maio) que encerra às 04:00, nos restantes dias, a casa fechará pelas 06:00. Os bilhetes têm o custo de 10€ por dia e 25€ para quem queira vir aos 3 dias.

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Oiçam: Inês Pimenta


Inês Pimenta é uma artista lisboeta que se formou em jazz e intercalou a sua vida musical com a arquitetura e o design. Podem conhecê-la da formação de alguns grupos nacionais como os Fumaça Preta, Sequin e Joana Barra Vaz, demostrando um caráter bastante maleável aos diferentes universos musicais.

Inês estreou-se no Hot Club e participou na performance cultural Ignição Gerador a convite do Gerador. Em 2018 decidiu iniciar o seu caminho em nome próprio e editou o EP de estreia de tons jazzísticos, Son of Daedalus, onde são notórias as influências dos cantores/compositores do Brasil, a progressividade do rock e o sonho. 
Ícaro, mito que inspira Inês desde os 8 anos, reside em Son of Daedalus, personificando aquilo que a artista quer cantar. Um Ícaro que só precisa de acreditar no voo. 


Um voo em três actos:

Son of Daedalus pretende-se ser entendido para lá da música. A imagem é primordial. Surge mais do que mero veículo, é parte e completa a história. A música não vem desassociada de cor, de espaço, de lugar.

Um drama em três actos, onde cada música é um momento da história que por sua vez se traduz também num vídeo


Inês Pimenta atuou recentemente (24 de abril) na Casa da Música, Porto, passando também pelo Festival de Jazz de Mafra e pela Capela de Santo Amaro de Oeiras. O próximo concerto será a 15 de Junho, no EA Live, Évora.

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sexta-feira, 26 de abril de 2019

Marc Ribot, Carla Bley e Joan As Police Woman em Espinho até junho



A primavera já conta uma semanas e com ela aproximam-se os primeiros concertos do segundo trimestre do Auditório de Espinho. Marc Ribot, Carla Bley e Joan As Police Woman (na foto) são alguns dos nomes que animam os próximos meses do Auditório.

O guitarrista norte-americano Marc Ribot é o primeiro a subir a palco. Songs of Resistance 1942-2018 e YRU Still Here? são as mais recentes aventuras discográficas do homem que já colaborou com John Zorn, Laurie Anderson, Tom Waits ou Caetano Veloso, e revelam mais do que nunca a faceta revoltada do veterano. O primeiro compila uma série de canções ativistas que Ribot recriou, assim como alguns inéditos com assinatura do próprio; o segundo juntou-o novamente a Shahzad Ismaily e Ches Smith, com quem forma os impetuosos Ceramic Dog. Em Espinho, Marc Ribot apresenta-se a solo para uma performance a solo onde a intervenção será palavra de ordem. Dia 30 de abril.

Segue-se Tom Brosseau, dia 3 de Maio. Originário de Grand Forks, Dakota do Norte, o músico e compositor é dono de uma sensibilidade muito singular, um contador de histórias inato cuja voz foi apontada pela National Public Radio como uma das mais surpreendentes da folk contemporânea. Quem também passará pelo Auditório em maio será Lula Pena. O seu último disco, Archivo pittoresco, recebeu o selo da respeitada editora belga Crammed Discs (de Marc Hollander), explorando mais uma vez o fascinante mundo da música lusófona. Da MPB à bossa nova, passando pelo fado e o folclore português, Lula Pena tem revisitado ainda vários temas de compositores como Chico Buarque, Ederaldo Gentil ou Jerusa Pires Ferreira.



A 18 de Maio, Carla Bley traz consigo Trios (2013) e Andando el tiempo (2016), os mais recentes discos da conceituada compositora e pianista norte-americana ao lado de Steve Swallow Andy Sheppard. Peça fundamental para o melhor entendimento da música jazz, é com eles que, em formato trio, a música que já colaborou com Don Cherry e Charlie Haden e que integra o respeitado catálogo da germânica ECM (casa-mãe para trabalhos de Pat Metheny ou Arvo Pärt) se apresentará ao vivo para um espetáculo único no país. Antes, a 17, a Orquestra Clássica de Espinho convidas os vencedores do Concurso de Solistas da Escola Profissional de Música de Espinho para um espetáculo onde serão interpretadas obras de Claude Debussy Igor Stravinski.

A 24 de maio, os Alright Gandhi apresentam-se em Espinho para um espetáculo inédito em colaboração com o Projecto Benjamim, um extenso ensemble constituído por alunos do Curso Básico da Escola Profissional de Música de Espinho. A música dos alemães é marcada por uma abordagem pouco convencional à música pop, aliando complexidade, silêncio, improvisação a refrões que rapidamente se transformam em novas canções. No dia seguinte, a 25, o músico e produtor brasileiro Alexandre Kassin apresenta-se em Espinho para apresentar os temas do mais recente disco Relax, editado em 2018. Os dotes de Kassin como produtor levaram-no a trabalhar com artistas como Caetano Veloso, Los Hermanos, Gal Costa ou Tim Maia (postumamente, no disco Tim Maia Racional, Vol. 3), tendo sido apelidado pelo francês Gilles Peterson como “o Brian Eno do Brasil”.

O mês de junho inicia com um concerto da Orquestra de Jazz de Espinho. Miguel Moreira, na guitarra, e Eduardo Cardinho, no vibrafone, apresentam Encruzilhadas no primeiro dia do mês. A 14, Joan Wasser, conhecida como Joan As Police Woman, encerra o segundo trimestre do ano com um concerto de apresentação de JOANTHOLOGY, a primeira antologia da cantora e compositora norte-americana que reúne trinta das suas maiores canções.




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The Church em Portugal


Quase com 40 anos de carreira na bagagem os australianos The Church estão de regresso ao nosso país - 29 anos depois da última passagem pelo Cinema Alvalade em 1990 - para dois concertos agendados para setembro sob a chancela At The Rollercoaster. A banda de Steve Kilbey apresenta-se em Portugal a 10 de setembro, para um concerto agendado no Hard Club, Porto e desce até à capital onde tocará a 11 de setembro no RCA Club, em Lisboa. A setlist promete fazer escutar-se, na íntegra, o disco que celebra 30 anos, Starfish (1988), e que se mantém até hoje como um dos seminais álbuns de carreira.

Os The Church começaram por ver a sua sonoridade associada a géneros como a new wave, neo-psychedelia e o indie rock, que mais tarde forjariam em ritmos mais lentos com uma estética próxima da dream-pop e post-rock. O disco de estreia da banda Of Skins and Heart (1981), deu-lhes uma grande projeção a nível mundial mas foi com Starfish (1988) que os The Church se fizeram ouvir bem alto, tonando-se na banda de renome que são hoje.

Por Lisboa e Porto passam dois dos membros da formação original, Steve Kilbey (voz principal, baixo elétrico), que sempre se manteve como o líder da banda desde 1980 e Peter Koppes (guitarra, teclados, voz). A estes músicos juntam-se ainda Tim PowlesIan Haug e Jeff Cain, músico convidado para esta tour.


Os bilhetes para ambos os concertos vão custar 22€ e estão a partir de hoje (26 de abril) à venda nos locais habituais (bol online, FNAC, CTT, Worten). Todas as informações adicionais podem ser consultadas na página de Facebook da At The Rollercoaster.


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STREAM: NEUNAU - Il Ciclo del Vuoto [Threshold Premiere]


NEUNAU, the artistic project of Sergio Maggioni focused on sound research through an archaeological and museological approach, is going to release a new full-length album, Il Ciclo del Vuoto, next month. This new work comes two years after the debut Neunau EP (Parachute, 2016), and one year after P A S S I (2017), the "Concrete" single (_incisionirupestri_, 2017) and the phonodocumentary - produced by Sergio Maggioni and Pier Enrico Villa - Nel cemento (_incisionirupestri_, 2017).

NEUNAU's sound investigations develop from the smallest details conveyed by a sound source with the aim to produce audio tracks and documentary clips, where the main character is the sound itself, used to tell its own story. The album has been partially revealed beforehand with the release of the track "Nel Vuoto". If you are reading this, you definitely are a lucky person because this is a full experience that goes beyond the simple act of listening to it, and you can experience it in full in an advance premiere streaming, below.

Il Ciclo del Vuoto is set to release on 10th of May via the Italian independent label Boring Machines. You can pre-order the album here.



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quinta-feira, 25 de abril de 2019

FKA Twigs regressa com Cellophane, o primeiro tema em 3 anos


FKA Twigs está de regresso com sua primeira nova música em mais de três anos. Escrita e produzido pela música e produtora britânica em conjunto com Jeff Kleinman e Michael Uzowuru, "Cellophane" assume-se como a sua música mais vulnerável até à data, servindo como um primeiro vislumbre para o álbum vindouro. O sucessor do aclamado LP1, que marcou a estreia de Twigs nos longa-duração em 2014, não tem, no entanto, data prevista.

O single, que vem acompanhado por um vídeo dirigido por Andrew Thomas Huang, autor das mais recentes aventuras audiovisuais de Björk, manifesta um poderoso contraste com a vulnerabilidade da suas letras, com a artista multidisciplinar a elevar a pole-dance a todo um novo potencial artístico. 

Aproveitem para conhecer o vídeo, aqui.




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Fotogaleria: The Young Gods + She Pleasures Herself [Hard Club, Porto]


No passado dia 15 de abril fomos até ao Hard Club, no Porto para assistir ao último dos dois concertos que os suíços The Young Gods tinham agendados em Portugal. A camaleónica banda liderada por Franz Treichler trazia na bagagem o mais recente disco de estúdio, Data Mirage Tangram, o primeiro de originais em nove anos. 

A abrir o concerto dos lendários The Young Gods estava a banda lisboeta She Pleasures Herself que apresentou novos temas a incorporarem o próximo disco de estúdio XXX.

A fotogaleria do evento pode consultar-se na íntegra abaixo.



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quarta-feira, 24 de abril de 2019

STREAM: Z G A - Garden


Z G A é um produtor de música experimental/electrónica português atualmente residente no Reino Unido. O seu trabalho foca-se em música de "máquina automatizável-mas-mutável" e no seu cruzamento com sons orgânicos.
Z G A já colaborou com artistas musicais de géneros variados, desde metal até ao hip-hop, mas em Garden é onde ele encontra a sua mais recente e realizadora manifestação. Ao longo de 12 faixas, somos transportados para uma amostragem agressiva de algo entre as arestas polidas da natureza selvagem e dos cortes bruscos da vida citadina industrial. Garden, editado pela attenuation circuit (uma editora alemã sem fins lucrativos), é uma mistura melhor descrita como música experimental com todos os cânones da música de dança - os ritmos fortes e pulsantes são imergidos no contrastante comportamento estocástico que apenas a aleatoriedade gerada por computadores pode fornecer.
Garden explora o conceito de uma vala comum como um jardim. A capa, feita com experiências de arte gerada computacionalmente a partir de modelos não lineares iniciados aleatoriamente, expõe esta profundidade através da sobreposição de composições em vermelho e azul num fundo negro. A proximidade entre uma vala comum, um símbolo de morte sem identidade, e um jardim, um símbolo de vida constrangida no espaço é exposta e o resultado é tornado evidente como uma experiência sónica.


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The Spiritual Triangles partilha primeira compilação, UNIT I • UNTRANSLATABLE MUSIC



The Spiritual Triangles é a nova editora dedicada ao melhor da música de cunho experimental praticada em Portugal e além fronteiras. Depois da estreia nas edições com Dystopian Children, o oitavo trabalho de Superalma Project, e de editarem Vigília, de Schaulicht no passado mês de março, o terceiro lançamento do projeto encabeçado por Igor Almeida vem sob a forma de  compilação. UNIT I • UNTRANSLATABLE MUSIC é composto por 15 temas inéditos especialmente concebidos para a ocasião, englobando tanto artistas do roster como de outros músicos e artistas próximos da editora.

Para a sua primeira compilação, a editora sediada no Porto conta com a participação especial de Vítor Joaquim, conceituado músico e compositor português que se junta ao talento urgente de jovens músicos e produtores nacionais e internacionais. FARWARMTH, UNITEDSTATESOF, Sturqen e Blanc Motif completam o contigente nacional, ao qual se juntam os brasileiros Felinto, SetherianMuep EtmoSuperalma Project, a espanhola Sofía Bertomeu, a argentina RRayen, o austríaco Idklang, o indonésio Fahmi Mursyid, o russo Thlaaflaa e o taiwanês Clansie Cheng Daoyuan.

UNIT I • UNTRANSLATABLE MUSIC encontra-se disponível para audição integral no Bandcamp da editora e, futuramente, nas restantes plataformas de streaming. O disco conta ainda com uma edição física, em cassete, limitado a 50 cópias.


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Weyrd Son Records in interview: "Every single release touches something very deep and dear to me"

© Van's Ography

On February 5th, we flew to Brussels in order to learn more about the prolific Belgian label Weyrd Son Records, who has been taking Belgium's underground music scene by surprise since 2012. We had the opportunity to cross paths with its owner, Michael Thiel, and we spent the end of that afternoon getting to know how did he start the label, what happened after he decided that he would continue to work as a label manager, how did he sign the interesting names that are part of Weyrd Son' catalog and how the whole process of growth occurred, among other things.

Learn more about Weyrd Son Records by reading our interview below.

Hi Michael, hope you’re good. It’s a pleasure to be with you this afternoon. I wanted to know how did all the process involving Weyrd Son Records start (I know that it was primarily because of your father). Why did you decide to start it and what was the process that came after the release of the label?

Michael – Indeed, it’s all coming from my father as he was a musician, and some kind of synth music pioneer, back in the early '80s with a project called Snowy Red and he passed away in 2009, so this year marks the 10th anniversary of his passing. After he passed I got contacted by lots of record labels in order to reissue his work as Snowy Red, I had to shop between all. I finally chose for Onderstroom Records - which is a Belgian label - but what I really wanted to do with that, was to be totally involved with this project. I wanted that thing to be also something I would take as a personal journey, maybe try to know my father through his own work. So what I suggested to that record label - Onderstroom Records - was to take care of all the visual aspect, write down all the texts - because there is a booklet inside retracing the history of Snowy Red - so I've been doing this, well I would say all by myself, though of course it was first the idea of the label, and it was natural to work on that, as a gift from a son to his father. So it was indeed a journey because I had to contact everyone who was close to my dad back in the days. I've been interviewing them all, so I've learned lots of stories and I've been trying to write them down in that booklet and after 9 months the project was born, which is quite a mark to do that. It was giving me a great feeling working on this also because it was my dad. And what I did after that was to pay another tribute and be in charge of everything and maybe even more than what I did in that boxset. So, the next idea, I remember waking up in the morning, I think it was sometime in March 2012, with that idea of contacting lots of musicians I liked back in the days to ask them if they would be into covering his songs and make a tribute album. So the next step was to get in touch with all of them and see if they would be into it, and from that point, I had to choose from a record label again but very quickly what shook me was that I didn’t want to ask anyone else to be in charge with that because I think it was way too intimate, maybe even more than the previous one. I wanted to have 100% control on that and so it was obvious that I should be doing that through a record label that I would create myself. And that’s how Weyrd Son Records was born. Weyrd Son is the anagram of Snowy Red.

So you started everything in 2012? 

Michael – Yeah, in 2012 I totally started working on that. The first musicians I approached were musicians I was already kind of in touch with. Well I'm gonna go back to that story, as I said, I've been working on the first boxset, and to be honest, I wasn't really into '80s electronic music I was more into metal - which I still am today - but working and writing on my dad's music, I also had to write on what was happening back in the days, so if you want to talk about Snowy Red you don't have to talk only about Snowy Red, because he wasn't alone, there were so many musicians that had a great impact on him and his music. So I started to document myself, listening to all the big names back in those days. That's how I got into cold/dark/minimal electronic and my growing interest for it lead me to meet musicians online that were keeping going in that direction, people who today were maybe the age of my dad 35 years ago. I'm thinking of bands and artists such as Animal Bodies, Bestial Mouths, Mushy, Ben Chisholm – who plays in Chelsea Wolfe, etc. So it was obvious that they would be the first ones I would ask if they'd be interested in taking part in this very specific and intimate Project. They all responded very positively. So that brings us back in May 2012 and it all got very fast, telling them "Ok, I need to get all songs by the end of the year, last call" in order to release it in May, a year after that. 

May 2013? 

Michael – Yes, because there is a lot of symbols in my work and I wanted it to be released on Father's day, which in Europe is the second Sunday of May. 


So you decided to create your label as a tribute to your dad's work. Did you just want to release this tribute or was already implicit the idea "Ok I'll go forward with the label"? 

Michael – It wasn't my plan to go forward. To me, it was more of a one-shot, to release that double LP, but when you are excited about something and the response it gets - which I have to say was very good - I thought "OK, maybe I should go forward and try to find people in music I love, and maybe try to help them the same way maybe my dad would have loved to be helped, back in the days". 

Did you contact the bands for the forward releases or you got contacted first? 

Michael – With such a list of bands featured on that tribute album, I had a good base of names to potentially work with, so I asked a couple of them if they were into moving on to another release, of their own music this time. So a few months later I reissued a split EP with Mushy and Meddicine originally available a year before only on tape. I thought that split deserved a vinyl edition, which we did.

How did you sign Linea Aspera? 

Michael – I wouldn’t say "sign” because I was no one and nowhere in the record label world. Everything was only about my love for music, that was the main thing and still is to this day. So, about Linea Aspera, I saw them live for their very last show ever before they called it quits, it was in the Netherlands for the Grauzone Festival, and on that day I discovered something that shook me really hard. I started listening to everything they did and found out about that three-track EP II was only released on tape. Same as for the Mushy/Meddicine split EP, to me, it was a pity that it would just have a cassette treatment so I asked them if they were up to make a vinyl release of that one and, surprisingly, they said yes. I was very surprised because, as I was saying, they weren't a band anymore. It was very simple, I asked them, they said yes. It was maybe the perfect timing for them, to release an ultimate record and move on to another thing. 


What was the hardest part in starting with the label? 

Michael – It's hard to say because, to be honest, I was very surprised that everything was flowing so easily, I mean, I had already cool bands and all. But year after year that passes, it seems like you have to prepare your next release always more and more in advance. Plants and PR agents have so much work they can't keep the deadlines. Finding a great PR agent is a nightmare because they all have so many clients they can't take more. Which is really frustrating when you have a great record in the making but no one out there can work on a decent promotion... 

... And then you kept on going, releasing names like Marie Davidson and Koban, for instance. You started being contacted by bands or it was always you that initiated the contact with the names? 

Michael – Until the fifth release it was always me seeking for bands. Koban was actually the first band that got in touch with me with a demo that I really liked to a point I wanted to release their album. That was maybe a year after I started my work as a label owner. 

How do you chose the releases you are going to release? Do you have standards? 

Michael – I don't have standards. Back in the days, I would say it had to be definitely about electronic, dark, minimal, but Koban was the first one that had this sound that took me out of my "standards" since they were more post-punk. The most important is to have a crush on, like everything in life, you know.

After Koban and a lot of other releases, I would like to know how did you release Drab Majesty 7’’? 

Michael Andrew/Deb of Drab Majesty asked a friend we have in common to send me the rough mix of his first album. He was telling me "so this guy is searching for a record label, I think this is up to your alley". So I listened to it but I wasn't completely sold... To be honest I was REALLY not into it. Then his album came out on Dais Records and despite the fact I never really showed my interest back in the days, the guy was still keeping in touch with me and that kinda intrigued me. So, one day, I don't remember exactly how it worked out but I got to talk to Andrew online, and from the human point of view the exchange between us was very good and this changed totally my perspective on his music. From there it all clicked as I first got a great connection with the human being and the musician before liking his music, and that's how we got working together. 


So, usually, do you only release music you like? 

Michael – Of course. I could not release anything I'm not into. Even if they are famous or whatever, I don’t care they're selling thousands of records. I have to be honest with me at first. 

Do you regret having said no to some bands? 

Michael – Well, it's hard to say. Sometimes yes. There is some music you love but it is just not the right moment, or it's not exactly where you want to lead your record label to. There is indeed a band that came to me last year and still to this day I'm sad that I had to say no but that's life, you can't get everything. I'm just a man I can't be everywhere at the same time. 

How would you describe the Belgian music scene? 

Michael – It took me a while to get into it. At first, I wasn't into it because maybe I'm to close to it. Maybe I'm judging it but in general, I would say Belgian bands (with of course a few exceptions) are a bit too "soft", not enough radical. I need something harsh that grips me and never releases me, and nothing like that was happening. But then I heard about Charnier, I saw them live with Whispering Sons, they were playing that show together sharing the same stage. First I was going there to see Charnier because I knew them personally, and that's how I heard for the first time about Whispering Sons. It was way before they won the Humo's Rock Rally contest, and again when I saw them going on stage, they were really young and the music kicked in and I felt something that was hard to describe. The power coming out of it, not only on a sonic point of view but their presence on stage was huge. And Fenne, their vocalist, has something you don't witness too often. She has that deep and dark voice that dives directly into your soul and invades it all.


So after Charnier and Whispering Sons, you also released records from Animal Youth - another Belgian band - and most recently THOT. How did that happen, with THOT? 

Michael – I've always seen Grégoire – the leader in the band – around here and there for quite some time although I didn't know him not personally. He was the guy you'd see the face in the crowd but never got to talk to. Then in April 2017, he was there at that Gojira and Code Orange show and that was the first time in YEARS I saw his face. When I got back home, I opened my mailbox – which I didn't open for a few days - and I saw this familiar name but couldn't tell who that really was. I opened the email that had a link leading to a mix for an album that was almost ready to be released. The mix was insanely good! I just played it and couldn't stop it so I listened to the whole thing from first to last second. But also, it was totally different from what I did with Weyrd Son Records. I was very interested but kind of afraid to say yes, because I didn't know what to expect from the response my audience would give. So I checked a few of their live performances on Youtube and I recognized the guy that I saw a few hours before at Gojira's show. To me, it was another sign of life, you know, and I believe a lot into this kind of things, and that's how I encountered the music and said: "Ok let's do it". It wasn’t an easy decision, but that's how it happens. 


After Glaare, Ben Chisholm & Felix Skinner there come the time to release VOWWS' latest work. How was that? 

Michael – I got in touch with VOWWS thanx to Glaare. Glaare was releasing their album To Deaf And Day on Dune Altar - a US record label - but wanted me to do a European press of the record. This was another big crush... I became immediately a good friend with the drummer of Glaare and he said "Hey, you should listen to VOWWS", and that's how it all happened. Their album Under The World is the kind of album that you keep listening to over and over again and still discover so many things that move you. That one is definitely one of those! 


What about Second Still? 

Michael Second Still is a band that was close to the guys of Whispering Sons after they created their own record label, Sentimental. They were working on a release on tape for their latest EP, Equals. I got the opportunity to book them in Brussels, and that's how we met. We had good times together in Brussels and they sent me the demo and voilà, that's how it all happened. 

Besides the bands/artists, Weyrd Son Records is also known for its gorgeous vinyl designs and aesthetics. Where are you going to get inspiration? 

Michael – I've always had a soul of a collector, and I've loved beautiful records, and beautiful artworks, design, layouts and everything. I've been a lot inspired by other record labels that were putting a lot of energy into their visuals and I knew I wanted to take that same direction as well. I studied fine arts at school so I'd say I've always had some kind of fan eye for design and all. Visuals always had a big part in my life, so obviously I wanted every release to be unique.

Six years have passed since the first Weyrd Son Records record was released. You started everything by yourself and then Grégoire joined you. How did that happen? 

Michael – It appears that Grégoire is very good with communication, he is in charge of everything that happened to THOT, and the guy has a view that I sometimes don't have myself. He sees things and has that ability to think it out of the box. After six years I sometimes had the feeling I was on autopilot and this is something I don't want, I need something fresh – like a new look - and I think that guy was the perfect person to bring all those. 

After these six years, what are you more proud of? What makes you happier? 

Michael – It may sound very cliché to say that, but I'm proud of everything because a record is not another, a project is not another, there have been records I loved so much for the music itself, there are others I've loved for the human aspect. Every record has a story. I'm thinking about Animal Youth, which for me has a special place in my heart. They were nowhere when I met them, they just had one song I could find on Youtube. This release is a stone marker for me because I had to work even harder on this thing as no one knew them out there. It felt really special to read all those sick reviews, in Europe and US mags/blogs/webzines. Then a great friendship came out of it. Now, of course, if I had to tell you which one I'm the proudest of it would be the first one because it is related to my dad and his legacy. But again, every single release touches something very deep and dear to me. 


What are your plans for this year? 

Michael – It is a bit early to say. First of all, I've been taking some time for myself and for THOT, which I joined as an official and full-time member. After Spring I'll go back to business with the label and release great artists. I'm not gonna share those names right now because things are maybe a little uncertain, but you guys will know more in the right moment.

Thank you so much for your time!


Interview by: Sónia Felizardo

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