“I wrote that song while I was recording my last album, Living in Fear, so it was kind of a weird, dark time for me personally. I had this overwhelming feeling of dread, that darkness was coming soon. And it did. The lyrics kind of came to me while I was driving one night, and I stopped to put them in my phone. The song’s gone through a bunch of different arrangements. But I think there’s a theme of both darkness and acceptance in this song. You’re recognizing that something’s happening, but you’re ready to face it.”
CR from CR and The Nones
“The Ghosts Are Coming Home” by CR and The Nones is a hauntingly alluring Indie Folk song that delicately weaves a tale of inner turmoil and acceptance. Ethereal melodies and bright, resonant guitars create an atmosphere of introspection. The beautifully delivered lyrics paint a vivid picture of confronting feelings of dread and darkness yet finding strength to face them. The verses cleverly create a sense of something unsettling unfolding but the vocals, amidst a gentle swell of instrumentation masterfully captures the essence of accepting life’s darker moments and finding solace and redemption.
With a name suggested by a friend to band member CR, CR and The Nones has a twofold meaning. CR explains “Yea, so The Nones was a name suggested by my friend Dash. It’s kind of a play on my last name, Gennone, but The Nones is also a real group or a term to describe people that don’t belong to any religion. And I’m not religious at all, but I kind of identified with that general sense of not belonging in society.”
The band CR and the Nones consist of CR, James Abbott on lead guitar and vocals, Nicole Abbott on keys and vocals, John Dewitt on Bass and John Gallagher on drums. CR admits to always having been into music, even as a kid. He says, “I was really into Neil Young and started writing songs when I was in high school and haven’t stopped.” When asked to name his biggest musical influences CR states “I’m a huge Neil head. I’ve been obsessed with Neil’s guitar tone, but also his voice. It’s so fragile and real, and that’s something I’ve always tried to emulate. Jason Molina is another big one. But also, Springsteen, Brian Eno, Sparklehorse, Wilco, Kurt Vile, War on Drugs, Sonic Youth. I think all of those artists create a particular feeling and vibe, and that’s kind of what I’ve gone for as well.”
The Alternative Indie band’s style was influenced by CR who grew up listening to folk music and was attracted to the genre when he started writing his own songs. CR explains “I’ve always just connected with that type of music, the twang, the harmonies, the voice, the lyrics. And later, I grew to love psych rock and ambient music. It’s all just a feeling and a sound that I’ve just really loved and tried to blend the two to form my own thing.”
Exploring themes, that change depending on his feelings or current life experiences, CR describes his approach to songwriting as “I usually write whenever stuff comes, whether it’s a melody, phrase, title, progression, or an entire song.”
Handling all the social media for the band, CR says that he relies on friends for photos, video and art for the band's aesthetic. He also explains “I’ll use my own handwriting for a lot of flyers or album art, so I’m pretty involved. As far as appearances go, I don’t really care about that. I’ve always told friends and bandmates to just be yourself and look as cool or uncool as you want. Just don’t wear cargo shorts.”
As far as fans of the band go CR reiterates “I’m appreciative of everyone who likes my music. And I think building a connection is driven by communication. Whether that’s through the music, or at a show, or online, or whatever. Keep a dialog going with people, and I just try to show my gratitude for everyone.
Always ready for a new challenge CR keeps busy with various projects including music, cooking and writing. He says, “It keeps me busy, keeps the creative juices flowing, and when it’s time to do something else, I’m ready for it.”
CR enjoys live performances and when performing he expresses that he “really enjoys the moment you let yourself go and forget where you are or what you’re doing. You kinda just black out, and those are usually the best kind of performances. It’s just freeing, it’s a release, it’s expression. It feels good.”
For the future plans of CR and The Nones, CR mentions that he has “been writing some more kind of up-beat songs and some stuff with pedal steel in mind. I think I’m going to continue producing it myself. But I’m just hoping to play as often as we can and continuing to put out good shit.”
For those new to the music of CR and the Nones, CR explains “My music comes from somewhere. It’s twangy, spacey, and gritty, but most of all, it’s real. I’m just trying to create a feeling that’s easy to understand and identify with and share that with everyone listening.”
“Hiraeth is an untranslatable Welsh word which is used to describe a very personal and specific mixture of homesickness, nostalgia and wistfulness. Like any other complex emotion, it is ineffable, but those who have already experienced it, will easily catch its glimpse in the eyes of the others because it is universal as well. For more than a year it seemed unthinkable for me to create anything, and then this song was composed, written and recorded in a matter of days – and, paradoxically, it does not only depict the irreversible loss of my home and many things that were dear to me, but also confirms verity of the statement: no matter how rotten and dominated by philistine cowardice and dictatorial madness the world is, art, like a sprout, will eventually make its way through the layers of mud, into the light.”
Inner Missing
Hiraeth, a Welsh word for the deep and untranslatable yearning for a place that no longer exists is the title of the new track by Goth Doom Metal band Inner Missing. Delving into the intricate depths of longing and nostalgia, Inner Missing’s “Hiraeth” is a melancholic and captivating journey with haunting vocals and dark symphonic melodies. Transmuting raw emotions into musical artistry the track is a beautiful fusion of gloom and the exploration of desire that resonates in the deepest corners of the soul.
Making the track even more poignant is the bands personal journey of having to leave their war torn home and create a new life in a foreign place. “Hiraeth” is a testament to the talent and perseverance of Inner Missing, illustrating that against all odds and obstacles, through despondency and darkness, their true gifts shines through.
“This was one of the songs on the album where the title came first. It’s named after a day in my hometown that celebrates Latin culture and it’s one of those markers of the passage of the year that is meaningful if you’re from Pueblo. The song ended up being about growing apart from a close friend as we got older. I hesitated to get into the specifics of Fiesta Day or its history because that’s just not that interesting for a song and not really my story to tell. But the idea of time passing, getting perspective, and centering the town again felt relative to the Pueblo theme still. Lyrically I’m reflecting on how it’s best that we’re not in each other’s lives anymore but that I wish there was a way for that to be untrue — that wish for things to have worked out differently but accepting this is how it is. I gave myself the chance to treat our split differently knowing what led to it now. In Fiesta Day I say what I wish I could have said then.”
Berkley
Capturing the bittersweet essence of drifting away from an old friend, the heartfelt Pop Rock ballad “Fiesta Day” by Berkley evokes a sense of winsome nostalgia. The lyrics poignantly portray the growth and change that occur naturally in friendships and how despite growing apart the emotional connection lingers. Yearning vocals and beautifully blended musical styles create a harmonious fusion of past and present with “Fiesta Day” weaving a tale of acceptance and moving forward.
Andrew Jones of Berkley’s early interest in music led him to understand that songwriting was a viable way to express his feelings. He explains “When I was really young, I would hear music that made me feel things I didn’t understand, but I loved that experience. I didn’t comprehend at the time that I was learning about life through the radio.” Strengthening his sense that music was a more complete way to express himself was Andrew’s exposure to Punk during his adolescence. Andrew says, “that led me to learning how to play guitar and other instruments, bands, basically the rest of my life.”
Feeling obliged to the Punk ethos, Andrew cites Descendents as a huge influence on him and what he describes as the “DIY aspect of getting something off the ground.”Andrew discusses a formative time in every musician's life when what they are listening to just becomes embedded within their musical experience. He admits “I probably am unaware of where Weezer lands in my thinking, but I was obsessed with them when I was 15 and 16 so they’ve got to be in there somewhere.” Other musical influences for Andrew include a time he recalls as “this year when a bunch of singer-songwriters entered my world at the same time, and it was stuff like Pete Yorn, Rufus Wainwright, Aimee Mann, Elliott Smith, a lot of west coast singer-songwriters or people on Dreamworks. Pete Yorn and Aimee Mann were big ones because I had been listening to all this music with singing that I was just never going to be able to comfortably mimic or naturally sound like.” Andrewadmits that when he heard Pete Yorn and Aimee Mann, he heard people that had a vocal timbre like his own. He also says, “Rufus Wainwright was a similar experience, but his music opened me up to a new world of influence that still fascinates me.”
When explaining what drew him as a performer to his particular genre Andrew details that “Learning how to play guitar sort of drives you into this area of music that’s on a spectrum of attitude, and it’s all pretty masculine. Guitar music starts aggressive when you’re young and then gets mellower as you get older, indie, I guess is what it is, but it’s still typically a guy with a guitar. You can see this in all the alt country bands that have members of punk bands from the 90s, or how some punk guys have solo projects that are them and an acoustic guitar. I really resisted that for a long time, but I had to accept this was where my roots are. I feel that you have to make something to evolve and that’s what this album now feels like creatively, like a way forward toward new ways of making music.”
Having been in several bands and after performing a lot around Pueblo, Colorado, where Andrew grew up, he went on to touring throughout the state. Following the touring he co-founded a band in Los Angeles which would be the last band he would belong to. Taking a break after the band dissolved Andrew found “All that writing and performing developed these agile songwriting muscles that got soft during that time off, so I had to spend a lot of time rediscovering my passion and purpose for writing to get to a point where I was satisfied with what I was making. That was all on my own and developed naturally into a solo career. But there’s a lot of collaboration that goes into that as I make records.”
Andrew says although he is still trying to figure out a “sustainable approach” to songwriting, he likes to draw on nostalgia and memory. He explains in regard to his latest album “this album came from examining the feelings I had when I was younger with the perspective of someone older, so it all had this coming-of-age feel to it. I’ve said all I need to say in that respect with these songs, so I want to do something different for the next album, and my early writing for that still has some pangs of nostalgia or looking back and seeing things a little clearer. I think I’m finding out that I’m always going to be writing about the continuum of time and memory. We seem to try to segment time and mark its passing with rites of passage. But something this album taught me is that you can feel like something that happened 20 or 30 years ago happened yesterday. Where it gets interesting is when you try to recall the details. You might be able to embody a feeling exactly but what led to it gets cloudy as soon as it happens. All this stuff that’s just below the surface can be so old. There’s a lot to explore there for songwriters!”
When it comes to the aesthetic for Berkley,Andrew likes to collaborate with other creative people, giving them a seed or a full vision of what he would like. He does however explain that “there are other things that sometimes time necessitates I do myself, like a lot of the videos for the singles from Pueblo. I’m always involved to some degree, though, and establish the direction and know when we’ve reached the end.”
In order to stay creatively inspired and continue to grow musically Andrew says “Before Berkley I was engineering and producing in north Texas for a while, and that kept me inspired. Working with or for other musicians will really keep you sharp. In that time, I also fell in love with electronic music, especially the pioneers like Mort Garson, Suzanne Ciani, YMO, Tomita: the greats. That’s just an extension of what I love about recording music. All the dials and switches and stuff, harnessing voltage and translating that into something you can hear. That will never not be interesting to me. Moving to Portland, Oregon has been great for my songwriting. There are so many active, good songwriters who are really open to talking shop and playing together. Getting involved with some songwriters here instantly pushed me forward in my writing.”
Although he felt he had to train himself to get excited about performing live again Andrew admits he does enjoy it. He reiterates that “Sometimes it feels like work, like this is something I have to do if I want this other thing, like to make the money back on records I made or whatever, but once the set has started and you’re talking with the audience and they’re reacting and it’s all interactive — when you’re in the flow of it — it’s exciting. I know I’m still into it because when I get home from the gig I need to come down before I can even think of going to bed.”
Andrew believes that he could connect better with fans but it's not something that he enjoys, he explains “It’s not making music most of the time, all the posting and making little videos that take 10 times the amount of time to produce than it does to consume…I’d rather just play live more often. I could spend less time on my craft and fight with an algorithm that does not have my best interests in mind, or I could play live and get the same amount of followers at the same rate. When I’m there with people in the same room, I can be real with them, and we can have an exchange. You learn something about me, and I invite you to share what you want with me. Online, it’s so one way. I’m not really at a level where that’s appealing to a lot of people, and if I were at that point where people couldn’t wait for my next post, I would really have to consider what I was contributing: music or social media content?”
In terms of where Andrew sees Berkley heading in the future he says “We haven’t started the tour yet but I’m already in this mode of thinking that the album is very much done, I’m just reproducing that for people now, so what am I doing for me? I keep refining my songwriting, so that will always be in development, but how I deliver that on a record is something I’ve been thinking about a lot lately. I want it to sound different than Pueblo, less obvious in where the music is coming from. This is a pretty traditional album: guitars, bass, drums, keyboards. I want to push myself to make different sounds in the context of some things that “feel Berkley” as my next frontier. I think everything you do is contributing to a larger goal, so I focus on the little things. There are a few venues in town I want to get into, I’d like to see another couple tour legs in the near future. Basically, I want to make the money back on this record! After that, I know I can make another one.”
For those new to the music of Berkley, Andrew thinks that“If you like to drive at night, this is music for you.”
” We are inspired by instantaneous noisy music and really wanted our first single to encapsulate this feel. We wanted to explore universal concepts everyone can relate to but with our own dark twisted viewpoint.”
Peak Flow
Post-Punk Gothic duo Peak Flow‘s single "Running To You" is a hauntingly poignant Post-Punk ballad that delves deep into the complexities of a fractured relationship. The song's evocative lyrics and melancholic melodies capture the essence of yearning to relive the moments of happiness that once were, and the painful awareness that the damage has become irreparable.
As the nostalgic vocals begin, the listener is drawn into a vivid portrayal of a tapestry of memories and promises made in the throes of love.Amidst the driving rhythm and atmospheric synths, the lyrics evoke a sense of a battle of emotions, resignation, a bittersweet realisation that moving forward is the only viable option.
The song's climax delivers a powerful musical and emotional crescendo, as the dual perspectives collide in a dissonant harmony. The instrumentation swells, mirroring the intensity of the conflicting emotions while the closing moments of the song taper off leaving the listener with a lingering sense of loss and contemplation.
A testament to the raw emotional depth that Post Punk music can achieve Running To You“ is an entrancing juxtaposition of yearning and acceptance amid the complexities of real-life relationships. The passionate melodic arrangements enhance the emotional impact of the song.
UK Post-Punk Goth duo band Peak Flow were inspired to name their group in honour of their music which they describe as “anthemic, rhythmical wave lengths.”
The band, made up of James and Jools had a mutual interest in 80s Synth bands and Goth bands like The Cure and Flesh for Lulu. They both also had an appreciation for Post-Punk bands like Joy Division and The Mary Jesus Chain. The band states that “we wanted to put our own spin on music that has influenced us and create something that would stand up to other contemporary artists with bold production.”
When describing their creative process Peak Flow starts with lyrics and guitars and the duo then builds synths around it to create punchy catchy songs with good hooks. Peak Flow describes their songs as covering “various emotions that happen in life and we choose song releases based upon the ones that stick in our heads.”
Heavily involved in the aesthetics and look of the band James and Jools clarify that they ”are huge fans of 80s gothic bands and really wanted to revive this look in our own music. We were fortunate enough to be able to work in collaboration with some talented film and artwork creators such as Zak Rashid and Giannis Kipreos who could bring our vision to life."
To stay creative and inspired Peak Flow says “We have a lot of demos currently and want to create a body of work that we can be proud of by hopefully gaining a larger fan base that has the same lust for noisy hook music as we do.”
Peak Flow enjoy engaging their fans through social media and share as much of their creative process as they can. They explain “The band has a strong DIY work ethic, and we feel people can connect with this through our social media pages.”
in the near future Peak Flow hope to release an EP. They say “we are hoping to keep the aesthetic and musical direction the same as ‘Running To You’ instant, noisy and hook driven”.
For new listeners to Peak Flow the band suggests “if you like anthemic pop music check out our latest release. We have more in the pipeline coming soon.”
Nestled in the picturesque landscapes of Western Australia, the historic town of New Norcia had just celebrated a remarkable milestone: the 100th anniversary of their Moser pipe organ. This grand instrument is a masterpiece of craftsmanship and musical engineering. It has played an integral role in the cultural and spiritual life of this unique town for a century, captivating generations with its beautiful melodies.
Founded in 1847 by Spanish Benedictine monks, New Norcia is Australia's only monastic town. The town is renowned for its rich blend of historic architecture, and a tranquil ambiance that has drawn visitors seeking spiritual reflection and cultural enrichment.
New Norcia has served as a centre for education, spirituality, and artistic expression. The monastic town has a unique atmosphere where traditions converge and creativity thrives.
At the heart of New Norcia's cultural and spiritual endeavors stands the Moser pipe organ. Crafted by the renowned Austrian organ builder, Frederick Moser, the organ was installed in the Abbey Church of New Norcia in 1923. This majestic instrument quickly gained a reputation for its exceptional tonal qualities and intricate design.
The Moser pipe organ is not merely an instrument; it is a masterpiece that echoes the devotion of its creators and the town's commitment to preserving heritage. With its meticulously hand-carved wooden pipes, intricate pipe work, and captivating sound, the organ has mesmerized listeners, filling the Abbey Church with enchanting harmonies during worship services, recitals, and special events.
New Norcia celebrated the 100th anniversary of the Moser pipe organ with a series of events that paid homage to this iconic instrument and its role in shaping the town's cultural identity. The events included organ recitals featuring world-class musicians as well as an insightful lecture exploring the history of the organ and its impact on New Norcia. The festivities were a harmonious blend of music, history, and community spirit.
Beyond the celebratory events, the anniversary serves as a reminder of the enduring power of music to connect generations and bridge cultures. The Moser pipe organ has served as a conduit for spiritual reflection, artistic expression, and a sense of continuity, reminding us that the beauty of the past can continue to inspire the present and shape the future.
“Trying to find a way off this planet, moving literally out in the middle of the night was the lyrical approach, and the music compliments this idea with layers of changing lifeforms helping lift us into that place up in the sky. We look at all these songs as symphonic compositions developed from a far-off place and brought to the ears of earthlings to share our journey.”
Alien Gothic
A hauntingly entrancing gothic piece that explores a yearning to venture into the Cosmos, Alien Gothic’s track “Into The Night” takes listeners on a transcendental voyage. The orchestral style layers evoke a sense of cosmic mystery and wonder. The gothic undertones to the song add a feeling of bittersweet melancholy. Introspective lyrics and hypnotic vocals draw the listener into a realm where the celestial and terrestrial collide and coalesce. “Into The Night”, with its gothic sensibilities, musical layers and symphonic grandeur combine to create an enthralling musical experience.
A pandemic “vacationland”for musiciansRyan PolickyandAndy Uhrmacher, Alien Gothic is what the band describes as“with everything feeling so out of touch with reality, we ventured our minds into the cosmos, searching for a new light, while retaining our goth roots. To us the music itself is best described as an “Alien Gothic” genre, and it really resonated with the sound we were creating. A true orchestra from the stars.” A musical collaboration between Ryan and Andy, who had previously worked together in the nightmare Industrial band Genessier, both men had been making music for many years.The band explains “Ryan has been hard at it in the Shoegaze scene as the producer, vocalist and songwriter for A Shoreline Dream, which has been making tracks since 2005 with legends such as Ulrich Schnauss, Mark Kramer (BuPhole Surfers, Urge Overkill, Ween) and is currently producing some new songs with a Shoegaze legend to be discussed later. Before that Ryan worked in numerous other bands, such as Drop the Fear, Brim List, The Parallel Light, Pure Drama, and all the way back to his high school years in doom and death metal bands.”
Alien Gothic were attracted to the Goth genre of music and say “Goth music comes natural. It’s been in Ryan’s blood since a wee lad. The sounds of the early 4AD bands such as Dead Can Dance and Cocteau Twins always playing in the mind. The style is completely who we are, and we never really spoke about trying to do it a certain way. Us playing and recording just brought it out of us.”
Paying homage to the Prog albums of the past, Alien Gothic have created a concept album that they describe as “telling the story of two Goth Aliens touring the universe and finding themselves crash landed on an overpopulated place called earth. The music and lyrics explain through the hour-long journey that they are searching for a way to get back in the sky after learning that is soon to come to its demise.”
When explaining the aesthetic of the band they clarify that “the aesthetic is entirely our creation through the pandemic. Ryan has been in the visual industry in numerous forms over the course of his career, and the visual representations has been developed alongside the music itself.”
Citing tone as a source of inspiration, Alien Gothic has explored as many new instruments as they could get their hands on. They say “during the last 3 years we explored as many new instruments as we could get our hands on. From Autoharps of various shapes and sizes, to pedal steel guitars, various drum pad setups and Mellotron overlays, the songs kinda came together as if they were us finding ourselves through instruments we had never played before.”
When it comes to live performances the Alien Gothic cheekily assures that “we prefer to be live rather than dead during performances for sure.” When it comes to live performances though the band explains “but in all reality, playing in front of an audience is always an amazing connection. A connection you can’t get from any other sort of action in human relation. It’s a feeling that is hard to describe but also one we have not been able to do as Alien Gothic since our setup is so damn confusing. Hopefully one day we’ll be able to give it a whirl with this project, but it’s not the main objective”.
Alien Gothic enjoys engaging with fans and says “our engagement is purely in the music. Sharing what we’ve created in whatever way we can. From this thing called “the internet” we are able to spread the tones and the message.”
With a long journey to put together an album Alien Gothic believe “exploration of sound is key to keeping the mind active for us, and to find new ways of exploring this passion, we plan to move forward finding new ways to bring forth something that lights up our eyes and ears.”
For new listeners, Alien Gothic describes their music as “concept music, and the idea of sitting back and letting the music be the vessel of a story is what we’re sharing with our debut album “High and Dry”. It’s an hour of songs that can easily sit on repeat, as the layers which were inspired by the dark and goth filled universe around us are for sure deeper than anything on this planet.”
“There are two themes, really. The most obvious one is about how destructive extreme political ideologies can be, dividing families, lovers, friends. The less obvious one is about language and my mother’s background. She was born and grew up in Southern Bosnia and the way they speak is very interesting to me. In addition to their dialect of Bosnian, they also incorporate many (mostly corrupted) words borrowed from Italian, French, German, Turkish and Arabic. In our latest song, I mimicked that by mixing Bosnian and German with English.”
Vaat Dafuq from Tantrum Zentrum
Tantrum Zentrum delivers a thought provoking Post-Punk creation that delves into two distinct yet entwined themes. Using a striking blend of languages while unflinchingly exploring extreme political ideologies “Don’t Be A Fascist” is a clever soundscape that encourages reflection, dialogue and understanding of the world around us. “Don’t Be A Fascist” has captivating melodies, intoxicating layered vocals and clever intermingling lyrics. A testament to the power of music as a vessel for both meaningful storytelling and authenticity the song has both lyrical depth and musical innovation.
Post-Punk band Tantrum Zentrum came up with their band name in a unique way when two of the band members Sabine de Rousseau and Vaat Dafuq where in another band. “Sabine and I were in another band and played at a small festival in Europe, where the headliners were intolerable divas, throwing tantrums at every opportunity (our then guitarist had had enough of them and detuned their 12-string guitar just before they went on stage). The word “zentrum” (“centre” in German) was also part of their name. So, in honour of that band, we named ours Tantrum Zentrum. It means that if you want to throw a tantrum about something, come join us and we’ll do it together – just watch out for your guitars.”
The bands current lineup is Sabine on guitars, synth and vocals, Vaat on vocals and drums, Kur Putchnik on drums and sampler and Val Schimmer on bass and vocals. Vaat explains that the members of Tantrum Zentrum have “all been in bands for years; it’s become a way of life for us. I think that we all, very early in our lives, recognised the emotional and intellectual impact that other people’s music has on us, but also felt the need to express our own experiences, thoughts, ideas and feelings through the same medium. The way that music influences people is usually very strong and immediate, and we all felt that it was the right artistic form for us.”
With all members of the band having grown up with the Post-Punk genre and with musical influences such as Sonic Youth, Killing Joke and Talking Heads, Vaat describes the bands particular style as “Post-Punk is a very broad genre and it’s one of the few pop/rock genres that is very open to experimentation. Anything goes, really, and influences from other musical genres are very welcome. We all listen to a wide range of music, from classical, to pop to thrash metal, and we feel that this “post punk” genre allows us to incorporate all these styles into one coherent sound.”
When it comes to the band’s approach to songwriting Vaat says “I usually start with a programmed beat and a general idea of what the song will sound like. Then I either start with a bass line or a guitar theme. After that, the song slowly develops, with the input from other members”. Tantrum Zentrum want their music to “project an image of fun and positivity, ultimately. But the songs usually start from a place of anger, anxiety or discomfort. I’m hoping that, through music, we transform that seemingly negative energy into something positive and relatable”.
With a look that comes from Gothic/Post-Punk fashionTantrum Zentrum say that “we try to expand on that with elements of psychedelia and gender non-conformism. We like to encourage men of all ages to wear interesting clothing and make up in any situation, not just on stage. Maybe this will one day stop society making assumptions about someone’s sexual orientation based on their appearance?” Band members Sabine and Val lead the way in the bands visual aesthetics.
The band finds inspiration by listening to music and Vaat explains “We have many musical friends who are doing some really interesting stuff – to me, collaborating or just listening to their work inspires me to continue.”He also says,“sometimes it’s as simple as swapping instruments and seeing what happens (not always good).”
Tantrum Zentrum describe themselves as very much a live band that focus on performing rather than just recording. “To us, music is a communal art form. We enjoy sharing our musical ideas and the emotions that come through music. There’s no better feeling than playing in a sweaty dark club while everyone in the audience is dancing and letting their hair down” says Vaat. Playing live is also a way that the band enjoy engaging with their fans. They also acknowledge that “the in-person contact is the best way for us to build that connection. For us, music is a conversation – a way of communicating and sharing ideas and feelings. We do try to remember this even when I’m telling silly stories in between songs.”
Planning to move away from the Mechanical Motorik beat Tantrum Zentrum want to start exploring more complex rhythms while keeping their music danceable and fun. They also hope to create “more dark disco songs because we love seeing people’s aching middle-aged bodies move”.Tantrum Zentrumhave another single and video coming out in autumn and will be really focusing on live performances.
For new listeners to the band Tantrum Zentrum says their music “may be weird, it may take you to unusual places, but that’s where the fun is.”
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