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BLVCK CEILING RE†URNS TO US OUT OF THE ASHES AS A DRVGG & ϞCREW By DIϟC☯RDI▲, PRESS PLAY ON THYS BURNT UP TRVCK THEY ONLY JUST RELEASED EARLIER THIS MONTH.
LET THE FLAMES & SMOKE RISE, SOUNDS BEST IF YOU SMOKE SOME INDICA ALONG WIV IT. PROMISE +/-
What makes ANA LOLA ROMAN amazing, is that she is a singer/songwriter, producer, DJ, multi-instrumentalist, choreographer and performance artist. She travels between Brooklyn, New York, London, and Berlin, Germany, but she knows exactly what to do, exactly right, that kinda fearlessness you only find in animals, & the ones that travel in packs. She is alpha, & also omega.
“Singer/Producer ALR has been pushing the spirit of hard dance, minimal, industrial, and raw, jacking techno forever and always when she’s not performing or producing herself. Emerging in 2009 right in the pocket of Berlin’s heavy DIY/noise scene, ALR demanded a cohesive, hard steady, and energetic audience during her sets. She became a vital player in Hamburg (Golden Pudel Club) and countless cavernous warehouses in Berlin with her London/Barcelona/Madrid hard style of minimal, and lush heavy techno. Two years later, after heavy schooling in all things Berlin and London, ALR returned to NYC and released her KLUTCH EP in 2011. Soon after MIX MAG hailed her as “Kate Bush at Sónar By Day and you’re on your way!”
In 2013 ALR was featured in Red Bull Music Academy (Rough Around the Edges) and hailed as one of Brooklyn’s foremost creative producers/melody makers.
Now, with her feet planted firmly on the ground in Brooklyn, her ears on the edge, and taking a break from performing, there’s no doubt that ALR is using this time to record as well as drop heavy sets on all of us in the upcoming year.”
Furthermore, her beliefs may be a little concrete spiritual endowments that clearly allow her to operate freely in this maze we call a city. She is redefining a culture, and living it at the same time, but how else are you going to conquer the world these days without ever having stepped in the streets, of the city that never sleeps.
//ome: Hey Ana, Thanks For Setting Some Time Aside For Us To Get To Know You A Little Better. How are you ?
Ana Lola Roman: Hungry. Hungry on all fronts.
//ome: You’re technically a New Yorker, were you born here ?
Ana Lola Roman: I hail from 1 of the 17 moons of Jupiter, east of IO and a little west of Mare Nubium.
//ome: Do you find the term Transplant to be offensive ?
Ana Lola Roman: Nope. We’re all transplants from the moment we’re born. We’re just traveling through.
//ome: Can you describe a day in your life for us ?
Ana Lola Roman: Music. Hearing music. Eating music. Love. Dark Chocolate. Dance & bringing back the 8 hours of sleep party.
//ome: How long have you been a musician/DJ ?
Ana Lola Roman: Musician = Since age 6/Piano
DJ = Since 2008
//ome: What are your current DJ sets or performances like?
Ana Lola Roman: I just recently did Discwoman Puerto Rico which was huge for me. I don’t have a residency at the moment because I’m interested in honing my production and music-making in the studio and that takes it’s own time, dedication, and a lot of work. The performances are out of body experiences…friends are sometimes like, “was that really you?” DJ sets are on the tipping point of Electronic/IDM/Hard Techno/House. I don’t claim to be a techno head but I know what I like, what I want, and it gets people moving. I’m not a self-conscious DJ, I have the Jeff Mills style of not giving a fuck, maybe I’ll look up and read the crowd, maybe I won’t.But I know I’m doing my job and that’s what matters.
//ome: You have also been a CHROMAT, PRABAL GURUNG, ICB NYC, & TITANIA INGLIS model, for how long, and what collection(s) were you featured within ?
Ana Lola Roman: I only modeled in Chromat’s Bionic Bodies Fashion Film, which was a great experience. I didn’t really model, more like creeped or appeared in the distance. I did sound design for Titania and Chromat‘s Fashion Films. I’m honored to have worked with them. Working with Prabal was an amazing experience. He’s humble, has taught me about business, and has taught me how to carry myself. There’s a lost art of elegance that I’m dead set on bringing back and it’s because of him. Only because I’m tired of seeing
booty girls everywhere. As per ICB, they taught me about minimalist
aesthetic that somehow seeped into how I listen to music.
//ome: What was your calling card ?
Ana Lola Roman: Hard Work. And asking for it. I manifest and ask for everything I have. If someone says no, it’s okay. BUH BYE! On to the next thing!
//ome: You were featured in a RedBull Documentary on NYC, Music, and Nightlife, alongside some revolutionary artists, Nicholas Jarr, Dev Hynes (Blood Orange), what was that experience like ?
Ana Lola Roman: It came out of the blue. I usually think no one’s paying attention because I usually go about my business meaning, I don’t give a fuck about any of the trends or useless noise that’s going on around me. I never jump on any bandwagons or strive to get anyone’s approval. I stay very focused, and that makes me an anomaly which both severely attracts and repels people about me—-which is why I’m surprised they even approached me. Of course it’s the people who admire my autonomous and shape-shifting qualities that are going to get somewhere….I keep those very few very, very close to my heart.
//ome: What genre of music, do you credit yourself being a creator of ?
Ana Lola Roman: Intergalactic Techno Soul Music, Henna Pop.
//ome: How are you redefining that ?
Ana Lola Roman: By astringently learning the tools, techniques, studying, practicing, absorbing, and then once executed breaking all the rules and not caring what anyone else has to say about it. You can take the best qualities of
techno, electronic, idm, house, pick and choose and synthesize. I’ve been
listening to so much soul music, revisiting Autechre and Plaid, plus lots
of U.K. Garage and Grime. I’m taking what I love and stirring it into what
I love about soul music, industrial music, and Pop and making my own soup.
If you can’t take that heat then get out of the kitchen, you know?
//ome: You just released a full length album “Even Assassins Have Lovers and Romances”, available on Synth Records, what was that like finishing something so big, and getting it out the door ?
Ana Lola Roman: That was in early 2014. I’m looking forward to new releases I’m working on now. I take my time with my own productions, I don’t just rush in and slap something up on soundcloud. I want to make a cannon of music I’m proud of. I think it drives people insane I take so long with things, but at the end
of the day it’s worth it. As per finishing it, It was like pulling teeth.
I’m proud of that record. I get daily emails from kids in Belgium, Paris, Bogota, Miami wherever telling me how Klutch, Jigsaw, and No Architect has
helped them through some hard times. These are the kids that know how to listen, that don’t just jump on a trend or bandwagon. That get tired of hearing a wall of sound. They are hungry to hear someone say something they love my ‘Show me your guts and then let’s dance for chrissakes” aesthetic.
//ome: What has been the hardest part of your process ?
Ana Lola Roman: Showing my guts, getting to the truth, knocking down doors, and taking absolutely no prisoners.
//ome: What is best thing you have ever made, in your opinion ?
Ana Lola Roman: Daily Life. Getting it done. Breathing in, breathing out. MAXIMUM PERFORMANCE. Those are the best things I can do.
//ome: What projects are you currently working on ?
Ana Lola Roman: Finishing up my forth coming E.P. with video to title track, remixes for various artists/producers I’m not at liberty to drop names yet, but this summer is going to be exciting!
//ome: Any shows/tours lines up for spring or summer ?
Ana Lola Roman: I’m focused on production at the moment. But I’m sure there will be plenty.
//ome: What makes you #NVRMNDCRU / a #NVRMNDKID ?
Ana Lola Roman: Wow! Am I? I’m honored. I usually think I’m just a geek…but maybe my geek-dom and unwillingness to see things within 2 dimensional boundaries makes me one….innovation, high def execution, and nothing but future. That’s what makes me part of this crew.
//ome: Thank you Ana, for taking the time again, its been an honor and a privilege. Lets do it again sometime soon. ::)
THANKS SO MUCH ANA, IT WAS LOVELY TO SPEAK WITH YOU, GOOD LUCK WITH ALL OF YOUR JOURNEYS AND CREATIONS, HOPE TO HEAR FROM YOU SOON – NOME
01 TRISH THUY TRANG – UP AND DOWN (VIETNAMESE REMIX)
02 CASSIE – ME & U (VILLAGE BOOTLEG REMIX)
03 PRIEST – SAMURAI
04 SNBRN – RAINDROPS FEAT. KERLI (ORIGINAL MIX)
05 VINH THUYEN KIM – HAO HOA
06 MR.KITTY – YEARS (C∆T REMIX)
07 PRETTYBOY – WHEN U SAY MY NAME
08 A. G. COOK – BEAUTIFUL (ORIGINAL MIX)
09 WINK – TURN IT INTO LOVE
10 FIFTY GRAND – THE PEOPLE YOU LOVE (GHXVLS EDIT)
11 PASTEL GHOST – PRISM
12 THE KNIFE – SILENT SHOUT (SHAKEN-UP VERSION)
Forrest aka Mr.Kitty has risen to success very quickly as a young artist and for good reason. Anyone who has seen him play live knows that he is a talented musician (a craftsman of some of the best emotionally charged synth-pop around), a producer, a remixer who turns anything he touches into solid gold and a performer with so much energy and intensity that you never know just what might happen live (yes, he climbs up on tables and speakers). NVR MND’s EA catches up with our feline friend as he prepares for this year’s South by Southwest Festival in Austin, Texas where he now resides.
EA: First off, congratulations on your recent engagement! Have you set a date yet? How did you meet?
MK: I think there was a glitch on Facebook that made that notification appear. We’ve actually been engaged for a while, but we don’t have a day set. We met at a show that I was playing in Dallas.
EA: How are you liking living in Austin? Do you feel at home?
MK: Austin is pretty great. There are a lot of opportunities for music, but there is a over saturation of talent and it’s very easy to get overshadowed if you don’t work hard to stay relevant. I don’t feel like I truly belong here though. Europe is calling.
EA: How are you enjoying all of your success?
MK: It’s nice to get recognition for what you work hard for. It keeps me awake.
EA: What was the biggest show you played so far and how was that? Were you nervous?
MK: I played an English goth festival called “Infest”. There were so many goths and it was really intense. I’ve never been in a space with so many people that were so enthusiastic about the music that they love. Being nervous isn’t a part of my programmed behavior.
EA: What’s your current live performance gear rig?
MK: KORG microKORG, Tascam DP-006, Roland VT-3, TC-Helicon Harmony-M, Behringer XENYX 502, Yahama QY-70.
EA: Why gear over computer?
MK: Computers are boring and have no souls. Synthesizers have spirits trapped inside that need to be freed.
EA: How do you navigate around all of that equipment so nimbly? Does it ever get overwhelming live doing it all yourself?
MK: I love not knowing what I’m doing on stage. Being stressed out is a part of the performance.
EA: How do you feel your music and song craft is progressing?
MK: I’m finding out what is working for the fans and focusing on keeping those elements, but also introducing new things as well. It’s becoming simplified for the most part, I guess.
EA: You have a new single out called Entwine. What’s it about?
MK: Two lovers that have a relationship that is falling apart, but only realize that they only have each other in a world of danger.
EA: Where do your song ideas (lyrically) come from?
MK: Universes of romantic fantasies and other realms inside of my brain.
EA: Your love for anime is pretty well known. What are your all time faves?
MK: Neon Genesis Evangelion, Ghost In The Shell, Serial Experiements Lain, Sailor Moon. I’m not really into the stories most of the time; I just really like the art.
EA: What’s next for Mr.Kitty?
MK: I’m playing a show with COVENANT on April 5th at The Avalon in California and I’m currently working on a new album, so things are a little hectic. I’m hoping a nap is in my near future.
EA: Thank you Mr.Kitty for taking time to catch up with us and for your choice mixtape for our NVR M1X series!
’Astrosuka performing live, taken from Astrosuka Flickr’
Three years ago many humans may or may not have heard of Astrosuka, but in 2012 I found myself encapsulated in the experimental concert dance style from the Argentinian Artist Astrosuka. Astrosukas’ presentation of music follows through with such an audible spectral spectrum not unlike a buffering loading menu with a melodicXasthur guitar intro seamlessly accelerating into muted hard bass, with racy-pop synths, and sadden South American vocal chanting, sharp & aquatic textured ambience, a fork in the road in terms of where we found ourselves spiritually growing out of the carcass of dolphins, a mass the back drop of a glitchy rural town, burning crosses, and strobing decadence. The dead can dance, to the wailing drone tracks, with progressive synths reaching up and voices are heard echoing back, moan and subtly crying out, and you begin to hear tearing distortion not only in the vocals but panning of multiple voices and crunchy fractals of sound crinkling to these hellish sounds.
A little later on down the road, ‘now’ it’s the summer in the western world, June 2013 to be exact and Astrosuka finds a new way to plug us into their saddened-electronic death-Reggaeton, pop music. A dimension of sound projected like am oceanic vision streaming into our ears & eyes.
Dos Mil Ojosojosojos (por Espírtitu Santo)
Astrosuka released ЗОЛОТАЯ / / / / / ГРЯЗЬ and this album marked a huge turning point, not a major difference in style – rather a more fine tuning, and honing in on the style which they had been carving this certain niche, for years. South American hymns and screaming, coming from Tatiana (DRUMS & VOX) will have you creaming while the distorted reggae turns into a few different synth sample breakdowns all rolled in one, & build ups all mashed perfectly into a 11 really-really tight bite sized tracks. (I have to keep Astrosuka on repeat, regardless of the fact I follow the language entirely well at all). I can hear the witch in her voice beckoning me to continue listening, its all still very enchanting – with its jazzy live concert performance drum repetitions, which ultimately made it just a bit “dancy-er” to me.
Since then two additional releases appeared from Astrosuka, the first titled “Dislexia Amable.” A 6-track compilation of a tracks by Astrosuka, “Dislexia Amable”, the rest are remixes by featured artists such as Aylu, Vo5uru, Camilo GP aka Âgata Bostok, and finally Ornamenti d’Oro. The second release but including ЗОЛОТАЯ / / / / / ГРЯЗЬ have all been released on Aural Sects. The take Vo5uru expressed on Astrosuka’s Dislexia Amable was very funky, fresh, and had a classic feel. More or less was a series of Brazilian House, Hip-Hop, Dance remixed together, and fit well with the original soundscape, gotta love it for sure.
The waviest tape Astrosuka has released, has to be the one simply titled ||||. Their most recent as well, this album takes us such a heightened place in terms of their music.The first track opens up with very heavy and hard hitting bass drums, and male choir vocals along side their angelic keyboardist. Fully realized, omnipotent and with resident outbreak item screen samples, and tuned into their hip hop influences, and witchy over-chanting. We are lead into one of our first ‘Hi-Def’ & ‘Hi-Tek’ track’s, jungle beats, strewn under a distortion of VOX, scrambling like a discombobulated rendering animation, stuttering and spazzing across a screen. One-moment later flutes and more oceanic distortion begin pumping through the speakers, ending in a final dance transition into the next track “ℐunglα”.
That’s the thing with Astrosuka, as long as a track is playing, the energy never stops, keeping you jumping out of your fucking seat endlessly!
Amass the invoking of Spanish demons Astrosuka has grown so much since the beginning of their creation, with theses melodic incantations properly place over tight drum kits, with experimental death electronic instrumental samples, mixed into Reggaeton Dance-pop, into various breakdown styles. Crunchy spoken word over “RnB” based around thee dopest drum and bass rhythms I have ever heard contemporarily speaking.
NN: You have a heavy Reggaeton influence being from Buenos Aires, Argentina, is that something you think will always be present in your music, or purely Astrosuka?
Astrosuka: I think that the reggaeton influence comes more from when I was living in Bolivia and didn’t even like that music, actually i kinda hated it, but since it was everywhere i couldn’t really avoid hearing it. With Astrosuka we allowed our unconscious influences to come out in our music, so there was reggaeton and shitty mainstream pop stuff we kinda grew up listening to unintentionally. We liked the idea of using all the shit we’ve been brainwashed with to make something we like. It was kinda like finding beauty in ugly stuff too, you know there were a lot of people doing the same thing not just with music, but visual arts, fashion, etc. As for the future work, I’m not sure what will happen with the project’s sound, for me it’s supposed to mutate, we’ll have to see if the reggaeton genes in Astrosuka’s sound are strong enough to make it to the next step.
NN: How old were you, when Astrosuka became your main endeavor?
Astrosuka: I was 25 and my bandmate, Alan, was like 20 I think, we were in a post hardcore band at that moment, but decided to make a new one and design it in a way we could work as much as we can without depending on people with very little commitment. So there were laptops and we started playing the qwerty keyboards and making noise loops with cheap multi fx pedals like 6 days a week (lol)
NN: Where has your favorite place to have toured?
Astrosuka: We’ve been playing in some cities here in Argentina, and I loved all of the places we’ve been to, for me it’s like magical that I’m actually traveling and making new friends because of my music. Both times we went to Cordoba were great, we’ve played at a venue that’s legit as fuck and they treated us with much <3 Also a lot of people showed up at the gigs, we sold a bunch of CD-Rs, it was like ok, looks like this is starting to get serious. We made a lot of friends there, one of them Gon invited us to stay at his home for some days, and he lived like in the woods, there was a river near with big stones that looked like sleeping dinosaurs and the guy had a bunch of instruments and no Internet, it was very fun. Also Rosario is a place I love to visit, have good friends there who make rad music.
NN: Titaina was not featured on the latest release, will she be returning to Astrosuka in the future?
Astrosuka: She’s now working on her solo project (Qeei) and there are no plans of her returning to Astrosuka, but we talked a bit about making some little collabs in the future.
NN: It’s a bit early in the year, but can we expect to see some more digital releases from you soon?
Astrosuka: Now I’m more focused on the live shows, we’re working with a friend Pablo (he also has a musical project Bungalovv, check it out it’s rad) So he’s a new member of Astrosuka and will be mostly making visuals but we’re figuring out some ways to make both visuals and sounds interact in a super fantastic way. After that I’m sure we’ll be releasing more free music for all the people who are kind enough to listen.
NN: Since you have had three major releases on Aural Sects, what has your reception been like since, older releases like ¡¡¡En vivo en Club!!! & Ѧ$†ЯӨ$ЏҠѦ (QLN / 005)?
Astrosuka: When we made the first release (a live recording of one of our shows) we were playing at local underground punk and noise rock gigs, so the people who knew us were basically our friends. Then we released a cassette on Quelonio Records; that and some Youtube videos helped to get some more attention on the internet. We started to make new friends more involved with electronic music, after releasing with Aural Sects people from other countries started to listen to our stuff and it was cool, we had the possibility to make some collabs with artists we liked, dj mixes and stuff like that. Around the time of our first release with “AS” we started to travel to other cities here in Argentina and playing live a lot, too. Bunny and Joe helped us a lot to promote our music, got much <3 for them
NN: How do you feel your musical creations, have changed from what they were originally or grown since 2012 to where we are now currently in the year 2015?
Astrosuka: I think they’ve changed a lot, not just the music itself, but the way we play it live and stuff. In 2012 Alan and I were experimenting a lot with electronic music tools, without really knowing how to use them but trying to make them sound the way we wanted, so there was a bunch of noise, drone, psychedelia and stuff like that, our live sets used to be like 4 songs and the rest was improvised noise. Then Tati appeared, she played drums and sang and I was playing a synth with one hand and a sampler with the other + adding noise with a footswitch pedal haha, so the whole thing had more of a live band feel. The songs were more pop cuz Tatiana knew how to sing very well. And what I’m making now is more focused on the sound design, I’ve been learning to use synths and kinda know which tools are the best for me now, but at the same time the vocals are noisy and it’s kinda dark.
For me it has been like 3 different projects with different people, tools and ideas merged into one.
NN: What is something about Astrosuka, that people are missing or don’t quite get? (Doubtful)
Astrosuka: hmmm, hahaha. I don’t know…
Korn Falling Away From Me (Astrosuka R∑mix)
NN: Ultimately I believe remixes like Falling Away are brilliant constructions, taking really strong vocal concepts and merging them with your style and influence, what’s been your favorite track to remix?
Astrosuka: Thanks : ) I made that one kinda fooling around, had a lot of fun. For me it’s always a pleasant experience to make a remix, also it allows me to try things I normally wouldn’t with my own songs (like applying the “witch house formula” to Mision Indecente’s track haha)
I think that the remix I enjoyed working on most was Sobrenadar’s tune “Mision”. I only kept the vocal track and rebuilt the whole instrumental, changing harmonies and rhythmic signatures beneath the same vocal melody and it was fun as fuck.
NN: Will we be seeing you in North America anytime soon?
Astrosuka: No plans for that yet, but I would love to.
NN: Aside from the influences you get from where you’re from, where do the others come from?
Astrosuka: Hip-hop, punk, noise rock, ambient, soundtracks and being outside a club with loud dance music.
buenos aires electronic reggaeton witch house abstract electronic dance-pop death electronic dance music experimental electronic noise noise pop sadcore techno Japan