you resource for all things shoegaze & dream pop.

25 April 2012

WTSH Special Edition: The 2nd Annual 4/20 Interview with Preston Maddox of Bloody Knives.

WTSH Special Edition:
The 2nd Annual 4/20 Interview Featuring Preston Maddox
of Bloody Knives

interviewed via live chat by a.crain

Last year's Special Edition 4/20 interview
with Preston Maddox of Bloody Knives, done via live chat by yours truly, has somehow become rather infamous over the past year. It's one of most-read posts of the entire blog, in fact. Unbelievable considering Preston Maddox of Bloody Knives and myself discussed a variety of thrilling and important topics such as Billy Corgan's lameness level, Katie Couric, crack cocaine, Stephen Hawking, Darth Vader, and so on. It was clear that we simply HAD to make this an annual event on the blog, because FINALLY, people want to read our idiotic stoner ramblings; it's also a good excuse to indulge in 4/20 holiday festivities while you talk shit to your friend via live chat. I mean, come on.

So welcome to the 2nd Annual Special Edition 4/20 Interview with Preston Maddox. In between the discussions about Carl Sagan, medallions, Rick Ross, ancient aliens and what Preston's deal is with the intense obsession with blood (verdict: he's a sociopath), I actually do ask some serious questions about Bloody Knives recent news, what happened with XD Records, new releases, upcoming live shows, and subjects to that effect; so see - it's legit. Read on to celebrate with us. Happy Awesome Day, everyone.

P: Yo. It is time.
A: It is. Are you in the proper celebratory state of mind to continue?
P: I need to re-load my bowl and get another beer. Gotta start things out right.
A: This is fact.

*official pause*

P: Ok, I ma ready. Am. Haha - already can't fucking type, right?
A: Returneth. Dude. That was an early stumble. You are in top form! Huzzah!
P: Yes!!
A: I am also in top form, in observance of the holiday.
P: The greatest holiday of the year, celebrating one of my favorite things: the weed.
A: I'm pretty sure weed is a god we are worshiping at this point. Like, for real.
P: I'm cool with that. Weed God makes me feel like everything is alright.
A: Weed God is a fucking bad ass. Love that dude. Anyhow - shall I now ask you questions about things?
P: Yes.

A: I commence. My first question is very important. Do you, as Carl Sagan does, believe that we are, in fact, made of star stuff? And don't fuck around; that's a real question, son.

P: Yes, absolutely. He's not the only person who says this, there are plenty of scientists and even studies that back it. The last one I heard of was about how the original source of life on earth could have come from Mars.

A: Rad. That was SO the right answer. As for Mars, well, I'm sure it all has something to do with ancient alien astronauts in the remote past, doing stuff. Or whatever.

P: It's fun to think we are the bastard children of the universe....some bullshit fuck up race that the aliens came down and shot up with a little bit of alien shit and turned us into sorta aliens.

A: I am alien and proud.
P: I want to see Prometheus. That's gonna be awesome. Finally, an alien movie with killing and bad shit.
A: Prometheus is awesome, dude. He giveth fire.
P: I think it's gonna be a classic. Like, Bladerunner classic. I can't imagine how it could disappoint me.
A: Whoa. That's a heavy statement, dude. Which has now been publicly documented.

[Preston disappears for like, EVER...]

Sorry, my Internet is being dumb. I'm back...ON THE IPHONE. Like Rick Ross.
A: You know, the Internet has a lot of attitude these days. It needs to learn it's place.
P: The Internet is a fucker.
A: So true.
P: Every time I pick up my iPhone I think of the Rick Ross song where he talks about selling drugs off the iPhone.
A: The iPhone was created with drug dealers and their needs in mind, I'm sure.
P: Steve Jobs, drug dealer iPhone dealer pimp.

A: Ok dude, let's get all legit and shit. Ha, rhymes. So let's start with last fall - you guys were on XD Records for awhile, and then whatever happened with that happened - I'm still not clear on exactly why XD folded, actually? - and now you guys are on Saint Marie Records. Can you put the meat on that skeletal question? Could you meat it? Just meat it.
P: Yes, I can hahaha. XD was very short lived. Perry (Pelonero) and Dean (Garcia) approached me about it in the summer and we kinda thought about it, then a couple of months later we played in Chicago and the talking got me serious.
A: Wait - are you on your phone still?
P: No, I'm finally back on the computer now. I can type much better here. Sorry about that.
A: You should totally do an auto-tuned slow jam monster ballad cover of a Bloody Knives track.
P: That would be funny. I actually did use it on "My Blood is in Your Veins". I did it to piss Perry off. I want the vocoder bad.
A: I, too, have the vocoder sickness.
P: Anyway, I should probably talk more about XD...hahaha...

A: Oops, tangent. Yes XD - go on. What the fuck happened with all of that?
P: I never got the story, really. So they wanted to do a remix EP and release our record Blood. The remix EP came through and it was really cool. There was a lot of quality people on that record. Then the SPC ECO record came out. The Crying Vessel record came out. Then...................nothing.
A: Yes, I remember! It seemed like the label was doing really stellar and was very solid at that time.
P: They put that impression on. Here's the deal.
A: Real talk.

They thought they would make more money than they did and they didn't. The bill of trying to put out all of those bands was too expensive. There had to be serious money to make that work and there just wasn't any real money behind it. So it folded when initial sales were not high. It's just the way it is now. Many popular musicians have funding (mainly from their parents). People like to talk about how awesome the new music biz is, but there is one thing that used to exist that doesnt really exist now. Development funding. No label is gonna drop money on a band that can't make money because it's a bad investment. They only want safe investments.
A: These are strange times, man.
P: Poor drugged out people who make rad music always lose because there is no money to pay people to take care of their shit for them anymore. On a large scale, at least.

A: So that's that with XD, then. Ugh, it was just damn sad and unexpected.
P: It didn't bother me. I met cool people. New people found out about us. It was a good experience for us I think.
A: So then how did Saint Marie happen? Wyatt is a rad dude. I was glad to hear about that.
P: Wyatt is cool. Anyway, so Wyatt was pretty persistent about us releasing through them. I was hesitant for various reasons. Eventually it became a good idea to work with them on it. So far things have gone well. It was cool of them to pick up the record and PR campaign where it had left off. They are business people, which I like.
A: Yes, professional - but not in a lame way.
P: Yes, agreed.

Saint Marie Records has a bad ass roster right now.
P: Yes, there are good bands on that label. We are the heaviest BY FAR.
A: I thought you guys might be too heavy for that label, actually, for that exact reason.
P: It's weird, the crowds that we fit in. It makes sense in some ways, and they other times I'm just confused.
A: But it makes a certain kind of sense, being on that label.
P: We really don't make much sense with anyone.
A: So what's up with killredrocket? [Preston's own record label]
P: Hiatus, basically. Too much work with the band. We played 120 shows last year.
A: Holy fuck.
P: Yeah.
A: Do you miss it? It must be weird being ON a label after running one for awhile.
P: Yes, there are parts I do miss. I miss finding new bands. But so many bands are just shitty people and that ruins their band for me.
A: Yeah, and that quality is not limited to bands - wall to wall shitty people. Planet Earth.
P: Yeah, that's true...

A: Are band people really that shitty? I mean, can you give me a percentage here?
P: Yes, a lot of people in bands really think they are fucking special mother fuckers. A percentage...hmmmm. Overall, or the ones I have to interact with??
A: Both? I want both stats.
P: And does this include people I like but are just pathetic??
A: Yes.
P: That makes it much higher.
A: Naturally.
P: I would say at least 30% are entirely shitty, another 30% are 50% shitty, and another 30% are about 25% shitty. Then there are the golden 10% that just fuckin rule. They are totally worth wading through all the bullshit people.

A: You just summed up a lot of shit right there very well. Well played and eloquently stated. But yeah, that's the truest thing I've heard all day. However, yesterday I heard something even more true.
P: ????????????????
A: People do stupid shit ALL the time. I heard someone say that yesterday and it's fucking true.
P: Oh yeah. All people do stupid shit, all the time.
A: I know. It's crazy. It's totally normal to be bat shit crazy. Fresh, ripe bat shit. Straight from the cave.
P: Yeah.
A: Yeah.
P: Yeah.

A: anyway, you guys have kind of blown up this year, don't you think? I mean, seriously. Since 2012 started it seems like you guys keep winning shit and doing cool shit and being in cool shit and all that shit. And don't be modest.
P: We are a lot farther along than I realize.
A: I said don't be modest, motherfucker!
P: Hahaha it's true though! I'm not trying to be modest. It's really awesome meeting people who are in bands I really like. Playing cool places. But seriously, it's not something I think about. I'm always thinking about what the next thing we are trying to do is. I don't self-congratulate.
A: Aw, I remember when I first reviewed the debut LP like 8 lightyears ago. Summmer of 2010 yo.
P: That was only like 2 years dude. Damn.
A: 2 years is a long time!
P: Yes it is. We have done a lot in 2 years. I just want to keep touring as much as we can.

Have you started writing the next masterpiece yet? Also, side note: what's your deal with blood? You love that shit. Discuss.
P: The next masterpiece is a 7" ep, and I think its the best thing we have ever done. We have been playing the songs live and getting a great response. It's really heavy but still atmospheric. My deal with blood...hahaha...I do have a thing with blood.
A: Also, is it creepy if I'm listening to "Bleed Out" right now? It's all uber prestonofied up in here.
P: No, that's only kinda creepy.
A: Isn't it?! I'm so fucking creepy dude.

P: I have a thing with blood and ghosts. But especially blood.
A: I love all the ghost songs the bestest. I like your ghost songs dude. But surely there is an explanation for these sick obsessions? You freak.
P: I'm always getting cut up. That may be part of it. Fighting as a kid. And horror movies. Killing.
A: All that murderin' going down.
P: Blood=life. No blood=dead. I don't know what my deal with blood is, but I do like talking about it.
A: Does this menstrual blood included? Valid question.
P: Of course. The dirty brown menstrual blood, too.
A: And the CLOTS. Clots is such a nasty word. Ok gross.
P: Yes, the clumpy shit. That's right, I know about that!!!
A: Damn straight you do. You have a PhD in vagina. You know all about it! That'd be kinda cool if you could really get a PhD in vagina. That would be curious.

Gyno. The gyno doc!
A: Ob/Gyn, dude. Is there anything you want to discuss about the band? Upcoming stuff, news, who's getting on your nerves the most currently...that kinda stuff?
P: We all hate each other. You know that.
A: I do know that. It's a beautiful thing.
P: I'm not even being sarcastic. It's funny, people think we are about to have some serious fight, then we are outside smoking weed after the show and they get confused. And especially when we go off on each other on stage. That's the really special shit.
It really is. You guys' live show is such a blast.
P: Playing all those shows last year really helped us out. We never practice, only to learn new songs. We just play shows. It's the only way to get better playing live.
A: Really? Damn, that's impressive. That really is true though.
P: Well, it's not that hard to play the songs!! Our songs are easy.
A: They really are, the sluts.
P: All of our songs are sluts.
A: Guttersnipes.

P: I like playing simple songs. People seem to like that from us more, too.
A: Simple done right is always good.
P: Re-loading. And yes it is.
A: So any news? Random shit you wanna share?
P: Yeah - we play Norman Music Fest next week. 
Blood finally comes out on May 15th. 
We're touring the midwest May 3rd-6th 
and then finishing the new 7" which is coming out at an undetermined time. Probably going back to Columbus, Ohio again in July, too. If there was a theme (and there always kinda is, in an unintentional way), then the last record was about suicide mainly. The new 7" is about murder. Not many ghosts on Blood. Actually I don't remember if there are ghosts on Blood.
A: So what changed? Now you're homicidal. What's the deal?
P: Blood was homicidal as well, but it was connected to asking someone to kill themselves. It's good to change themes. I'll get back to ghosts again, too.
A: So your themes are kill yourself, kill others, be killed, and the resulting ghosts from all of that killing. I mean, if I was trying to sum up your vibe.
P: Yeah, pretty much.
A: That's bad ass.

P: Hahaha it is! Basically anything dealing with murder, blood, ghosts, aliens...
A: The songs of a certain theme always sound like the rest of its clan. You've got little broods. Aw yeah...see how that worked on two levels? WORD PLAY MOTHERFUCKA.
P: DAMN!!!!!
A: That's chat bling right there.
P: Hold your chain up!
A: Oh I am.
P: WTSH should have a chain. That would be awesome.
A: Damn right. With a medallion on it. Something all crazy ornate.
P: Well, yeah, of course. And spinning!
A: Everything is better when it's spinning.

WTSH ... in a SUN ... SPINNING.
P: Hell yeah. Now you want one. You could get one in H-Town too, no problem. Cuztom made.
A: No doubt.


Video: Screen Vinyl Image. Revival (Live April 21, 2012).

Tonight in Houston! Blouse Plays Fitzgerald's.

Set List for WTSH on Strangeways Radio. Originally Aired April 18th, 2012.

band name. track title.
Engineers. Sometimes I Realise.
Screen Vinyl Image. Passing Through Mirrors (SVI Orphee Mix).
Small Black. New Chain.
Bloody Knives. Bleed Out.
Teen Daze. New Theory (Washed Out Cover).
The Sleepover Disaster. On A Sunday.
Kingdom Cloud. Birds & Bees (Teen Daze Remix).
Yeasayer. I Remember (Painted Palms Remix).
The Soft Moon. Repetition.
Magical Mistakes. In A Vacuum.
Flying Saucer Attack. The Drowners.
A Place to Bury Strangers. Deadbeat.
Soren Well. This Burden Down.
Dean Garcia. Ghost.
Slowdive. Dagger.

Bandcamp Track of the Day: 2 Hearts and Chemicals. Froid (feat. Guylaine Vivarat).

Artist: 2 Hearts & Chemicals.
Track: Froid (ft. Guylaine Vivarat).

19 April 2012

Bandcamp Track of the Day: Blue Sky Black Death. Swords From Driftwood.

Artist: Blue Sky Black Death
Track: Swords from Driftwood

18 April 2012

Tonight! When The Sun Hits on Strangeways Radio. Hosted by DJ Amber Crain.

Come join me this evening for When The Sun Hits on Strangeways Radio. When The Sun Hits is one full hour of distilled shoegazey goodness, so black out the windows, grab your headphones, and go down the rabbit hole tonight on Strangeways Radio.

Don't forget to log in to the Strangeways chatroom during the show to hang out with me and many other awesome people while we talk about the music that is airing in real time and god knows what else...

Tune in live every Wednesday, 10pm-11pm (EST), for When The Sun Hits on Strangeways Radio. Join us in the Strangeways chat room for additional entertainment!

Set List for When The Sun Hits on Strangeways Radio, Aired April 11th, 2012.

band name. track title.
The Raveonettes. Into The Night.
Desert Ships. Going Out.
The Mary Onettes. Century.
Keith Canisius. Interesting Corners.
Presents for Sally. Sunsets in Your Eyes.
Elika. The Darkside.
800beloved. If Butterflies Never Burned (Stomach Mix).
Niels Nielson. The Man.
Hypefactor. Creation Phase.
Her Vanished Grace. Stars are Made of Fire Too.
Mood Rings. Year of Dreams.
Manorlady. Trees.
Stagnant Pools. Consistently.

Strangeways Radio Blog: Shoegaze Spotlight - A Weekly Gaze. This Week: Bloody Knives.

When The Sun Hits and Strangeways Radio are uniting on yet another level - activate the weekly Shoegaze Spotlight! Every week WTSH will present a shoegaze/dream pop band on Strangeways' blog, highlighting how very awesome the band is and how you should be listening to them and buying their music and supporting them because they deserve it.

This week's focus is on WTSH faves Bloody Knives. We at WTSH adore Bloody Knives and after reading this, so will you.

Bandcamp Track of the Day: Keith Canisius. Where Have You Gone All These Years (Solid Gold Death Star Remix).

Artist: Keith Canisius.
Track: Where Have You Gone All These Years (Solid Gold Death Star Remix).

16 April 2012

Bandcamp Track of the Day: The Phantom Caste. Atlas.

Artist: The Phantom Caste
Track Title: Atlas

13 April 2012

Interview: Matt Bartram of You Walk Through Walls and Air Formation.

When The Sun Hits Interviews
Matt Bartram of
You Walk Through Walls
and Air Formation
Interview by: Amber Crain

London-based musician Matt Bartram is best known as the creative mastermind behind the much-beloved Air Formation, who split almost exactly a year ago in April 2011, to much dismay. However, anyone truly familiar with Matt and his work knew that this was certainly not the end of his musical endeavors.

Over the past 13 years, Matt has proven to be one of the most prolific, consistent and respected songwriters of the second wave of shoegazing. Never the sort of musician to remain quiet, always feeling the need to keep moving forward, Matt has also released music under the project name The Static Silence (a collaboration with Rachel Goldstar of Experimental Aircraft, Eau Claire and All in the Golden Afternoon), as well as remixed tracks for Kontakte and Monster Movie (the enduring project from Christian Savill of Slowdive).

He's also released several solo albums, these being more experimental excursions recorded mainly at home. These include 2008's highly lauded Arundel and it's follow up, 2009's Left to Memory, which features some of Matt's most compelling work to date.

Matt's newest project, You Walk Through Walls, formed with fellow Air Formation alumnus James Harrison (together with Harry Irving) was announced following the early 2011 news about the split of Air Formation, and Bartram fans have waited anxiously for a taste of what's to come. Y You Walk Through Walls' debut EP is slated to be released via Club AC30 this summer. Two new tracks from the EP were released this week via Soundcloud (you can find them in the body of the interview) to overwhelming critical acclaim, and excitement continues to build as we all wait to hear the EP in it's full and final form. Please enjoy the following interview with Matt Bartram, a truly lovely fellow. Cheers.

How long have you been making music, Matt?

I was bought an acoustic guitar in 1990 and started attempting to write songs straight away. I played my first gig of (poor) original music in 1991, by that point I’d acquired an electric and a wah pedal. Not many weeks have passed since when I haven’t been doing something musical.

Can you tell us what you've been wo
rking on and what you've got forthcoming in the near future (new releases, tour, etc)?

My main focus this past year has been my new band You Walk Through Walls, we’ve just finished our debut EP. It will be out this summer via Club AC30.

It’s still me writing the songs, playing guitar and singing (and Air Formation’s James drumming), although I have made a concerted effort to try and make things different there are always going to be th
e obvious comparisons. The whole band dynamic feels totally different though and I’ve enjoyed following a different path with different ideas being brought to the table.

Do you consider your music to be part of the current shoegaze/dream pop scene, or any scene? Defining one's sound by genre can be tiresome, but do you feel that the band identifies closely with any genre? How do you feel about genres in music, in a general sense?

There was no getting away from the fact that Air Formation was a shoegaze band. My solo albums are droney and experimental, You Walk Through Walls certainly contains some of those elements and is signed to Club AC30. However I’ve never really felt part of any movement or scene as I’ve always just done my own thing regardle
ss. I suppose the closest I came to that was in the early days of AC30 but all those bands have gone now…

We all need something to guide us now and again so of course genres are important, music will always be labelled; it always has. I’m pretty sure Air Forma
tion did fairly well off the back of the Shoegaze label; I’m not sure how anyone would have heard us without it.

Air Formation. Cold Morning.

What do you think of modern shoegaze/dream pop/psychedelia artists, any favorites?

I don’t really follow it too closely and I’ve never been a massive Shoegaze fan in the traditional sense, especially the twee “dream pop” side to it. I’ve always preferred the likes of Flying Saucer Attack, The Cure, Spiritualized, A Place to Bury Strangers… bands that have ethereal elements but take it somewhere else. Currently I’m really enjoying the first couple of singles from Toy and The Megaphonic Thrift's latest LP; they’re also
a fantastic live band…

What is the most important piece of gear for your sound? Any particular guitars/pedals/amps that you prefer?

I bought my first Jazzmaster in 1998, over the years it’s become my guitar of choice and feels a bit odd playing anything else, especially live. I guess it’s mainly to do with its size/shape and the way it interacts with the rest of my set up. I do own and use Jaguars and Telecasters that I record with, they help to add different tones and dynamics.

I love guitars but have never been a massive pedal geek, I’ve always used a very basic pedal set up. My current set up includes a couple of analogue delays with modulation, a RAT distortion; a couple of ‘Tube Screamer’ clones that I made and an E/X Cathedral reverb unit. It’s been pretty similar for years.

A big part of Air Formation’s sound was simply down to a Line 6 Delay Modeler that I used a hell of a lot (especially on Daylight Storms) and Richard’s keyboards (Micro-Korg & a Roland string module). Together they made a pretty heady wall of sound.

What is your process for recording your music? What gear and/or software do you use? What would you recommend for others?

To record we go to Pat Collier’s studio in London and record live as a band, it’s a really great place to work. Pat recorded and produced some of my favourite records from my youth so obviously really knows what he’s doing and most importantly understands what I’m trying to do. He pretty much lets us get on with it but helps us with ideas as and when he feels we need it.

I always try to keep things fairly simple as it’s easy to record loads of guitar tracks and end up make a right mess, a few tracks of well panned guitars can definitely sound bigger than ten tracks of guitar. For studio recording I just use my live guitar rig as I want to be able to replicate the songs live faithfully and it’s too easy to get caught up in studio trickery.

At home where I record my solo albums, I was using a Boss digital eight track which died so now I use Ableton which is fairly straight forward, especially for demoing. I would say people just have to use whatever they can get their hands on and are comfortable using. I started off on a Tascam cassette 4 track which seemed state of the art to me at the time. There are so many more accessible options nowadays.

How do you feel about the state of the music industry today? There is no doubt a massive change underway; how do you see it and do you feel it’s positive at all?

Well, it’s hard to watch the people who’re putting out your records working their asses off only to see their product ripped off or streamed online for minimal payback.

It’s pretty basic maths that if the smaller labels don’t earn some back they’ll just grind to a halt and it stinks that people are willing to effectively rip off the little guys trying to make a difference. Robin at AC30 told me he estimates for every one album he sells one hundred are ripped off…

When it comes to label releases versus DIY/bandcamp and the like, what is your stance, if any?

I don’t claim to be an expert at any of this, so personally I’d much rather have a label with experienced/enthusiastic people working on my side than posting songs up online in the hope that people will hear them. I’m also a bit of a sucker for the physical copy.

That’s not to say I’m against places like Bandcamp which are the modern equivalent to DIY ethics. If you’ve recorded some songs, don’t want to wait six months for people to hear them and are not fussed by a physical product then it’s a good way forward. Just as long as you’ve got some way of letting the right people know it’s there...

Do you prefer vinyl, CD, cassette tape or mp3 format when listening to music? Do you have any strong feelings toward any of them?

Vinyl is my thing again now; I went through a lazy CD phase mainly because I could rip them onto my IPod, which at the time was the most convenient way of me listening to music. I only buy vinyl LPs now as they pretty much all come with a download code.

I’m not a fan at all of standalone MP3’s. I don’t like the thought of a release just being a file on a hard drive, there’s something very soulless about the whole thing. But that’s probably just because I grew up buying records, sitting staring at the sleeves, reading the lyrics and sleeve notes as there was nothing else to do…

What artists (musicians or otherwise) have most influenced your work?

I was 13 years old when The Cure released
Disintegration; realising how powerful and emotional music could be was a pretty major turning point for me. I owned it on every format and it seemed to suit my fragile state of mind at the time. ‘Plainsong’ is my favourite song ever; I never tire from hearing it.

On top of that my Dad has always collected 7”s from the 50’s/60’s. We laugh about it as he’s always favoured the songs with a tendency towards tragedy, songs like ‘Tell Laura I love Her’. Maybe that’s why lyrically and musically I too have favoured the more melancholic, introspective and downbeat route.

Can you tell us a little about what you are currently into (books, films, art, bands, etc)?

I spend lot of time Mountain Biking on and around The South Downs (where I live). I find it clears my head and is something I can just do on my own, without having to rely on anybody else. Most of my spare time is then spent playing guitar and writing songs. I don’t read as much as I should but I have recently read George Orwell’s ‘1984’ and that is just an incredible book.

If you had to choose one of your tracks that was the ultimate definition of your sound, which would it be and why?

That’s tricky as I’ve always been one for moving forward musically and am not entirely sure what my sound is. I’d have to go for a track called ‘Sleepwalking’ from the forthcoming ‘You Walk Through Walls’ EP. It’s just a cracking upbeat and infectious tune that ends swamped in feedback but which lyrically has a darker undercurrent. It’s a good mixture of my favourite things.

Can you tell us a little about your song writing process?

It’s as simple as just playing guitar loads. It’s very rare I sit down with the intention of writing a song, but by just playing guitar seeds are sown and songs are born. It helps I’ve developed a fairly good memory for remembering parts I’ve come up with. Lyrically I just write about things around me and then use my over active imagination to bend and distort them into ambiguous stories….

What is your philosophy (on life), if any, that you live by?

I try not to think about it too much as it’s a bit of a headfuck, especially once you become a parent. I just try to be as creative and productive as possible with the time I have. I do my best not to get bogged down by the big stuff (easier said than done) and avoid TV where possible…..

More Links:

12 April 2012

11 April 2012

Tonight! When The Sun Hits on Strangeways Radio. Hosted by DJ Amber Crain.

Come join me this evening for When The Sun Hits on Strangeways Radio. When The Sun Hits is one full hour of distilled shoegazey goodness, so black out the windows, grab your headphones, and go down the rabbit hole tonight on Strangeways Radio.

Don't forget to log in to the Strangeways chatroom during the show to hang out with me and many other awesome people while we talk about the music that is airing in real time and god knows what else...

Tune in live every Wednesday, 10pm-11pm (EST), for When The Sun Hits on Strangeways Radio. Join us in the Strangeways chat room for additional entertainment!

Bandcamp Track of the Day: Mood Rings. Year of Dreams

Artist: Mood Rings
Track: Year of Dreams

10 April 2012

News: WTSH, Strangeways Radio and Tons of Bands Mentioned in Gourlay's Shoegaze Article on Drowned in Sound.

When The Sun Hits, Strangeways Radio, and tons more of our other good friends are mentioned in a new article on Drowned in Sound. Go check it out!

Thanks Dom Gourlay and Drowned in Sound. Keep Gazing.

WTSH Bandcamp Track of the Day: Various Artists. Your Blue Heart.

Artist: Various.
Track: Your Blue Heart.
Get the whole album, Das Haus Volume One, on BANDCAMP.

09 April 2012

When The Sun Hits Bandcamp Track of the Day: 2 Hearts & Chemicals. Coming Home (Miadis Remix).

Artist: 2 Hearts & Chemicals.
Track: Coming Home (Miadis Remix).

08 April 2012

New Merch For Sale: Ltd Ed. Posters - Art from 200,000 Gazes Vol. One and 200,000 Gazes Vol. Two - Now Available for Purchase on WTSH!

200,000 Gazes:
Volume One

Limited Edition Posters
Now Available
for Purchase on WTSH.


Find the poster you want
in the right sidebar of the blog
and click "Buy Now."

- 12x12 in size - printed on archival cardstock
- limited run of 20 posters

- Price: $10 USD
- Shipping: $3.50

After all 20 have been purchased, these posters will be gone - forever. Act fast!

200,000 Gazes:
Volume Two
Limited Edition
Posters now Available
for Purchase
on WTSH.

Find the poster you want
in the right sidebar of the blog
and click "Buy Now."

- 12x12 in size
- printed on archival cardstock

- limited run of 20 posters
- Price: $10 USD
- Shipping: $3.50

After all 20 have been purchased, these posters will be gone - forever. Act fast!


Find the poster you want
in the right sidebar of the blog and click
"Buy Now."