Podcasts about watussi

"¡Échale Watussi! ¡Ya me voy!" es el título del álbum publicado en 1987 por el cantante venezolano Orlando José Castillo, mejor conocido como Orlando Watussi, anotándose de inmediato un éxito musical con la canción “Las calaveras”. El anterior tema musical es una versión en Salsa de la canción compuesta por el colombiano Elvis Botero, la cual fue publicada inicialmente en el álbum “Mi carrito” de 1985 por el reconocido artista colombiano Lisandro Meza, quien la grabó bajo el título “Blancas son”. Así la escuché yo… ¿Y tú, en cuál versión la escuchaste primero? Autor: Elvis Botero (colombiano) Las calaveras (Blancas son) - Orlando Watussi (1987) "¡Échale Watussi! ¡Ya me voy!" álbum (1987) Orlando Watussi (nombre real Orlando José Castillo, venezolano) Blancas son - Lisandro Meza (1985) "Mi carrito" álbum (1985) Lisandro Meza (nombre real Lisandro Meza Márquez, colombiano) ___________________ “Así la escuché yo…” Temporada: 6 Episodio: 62 Sergio Productions Cali – Colombia Sergio Luis López Mora

El gobierno venezolano realiza una consulta popular sobre la flexibilización de la cuarentena que analizamos hoy junto al periodista Alberto Cova y conversamos con el Dr. Ricardo León. En el segmento musical el cantante venezolano Orlando Watussi nos trae su más reciente tema “La verdad”.

Di Cat Calling e Cancel Culture. Di confederati e Indro Montanelli, di Alessandro Barbero e Bridgerton, di Trump contro Biden e del DDL Zan. Ma anche, di Pepe the Frog e Watussi, o di Louis C.K. e Striscia la notizia.Di cosa parliamo quando parliamo di Politically Correct, oggi, dai due lati dell'Oceano? Marina Viola e Federico Bernocchi riflettono sul tema più caldo del momento, e sul dilemma che ne è alla base: doveroso rispetto delle differenze e delle sensibilità altrui, o semplice e ipocrita gesto di conformismo? Riusciranno questa volta a convincere Dan, l'inflessibile marito di Marina?

My guest today is Sydney keyboardist, songwriter and producer Daniel Pliner.   From Darth Vegas to Veneno, Watussi, The Sticks, The Strides, Asthmatix, Dereb the Ambassador, The Nick Garbett Quintet, Barefoot Divas, Wallace, Oyobi, 3rdEyeLaserCat and many others, as well as his own project and alter ego PlaneFace, Daniel's got his fingers in a hugely eclectic body of work. He's a master keyboardist and sound designer and clearly versatile enough to play anything from metal to latin to classical to cinematic dub which makes him one of the most in demand cats around. He's humble, eclectic, eccentric and he's a genius.  Ladies and gentleman, please give it up for the plinosaur, Mr Daniel Pliner.    This conversation was record 15/07/2020.   Intro Music: "Duke Fluken" - PlaneFace (Fishing From An Asteroid) Outro Music: "Asteroid Dust" - PlaneFace (Fishing From An Asteroid)   For more info on Daniel: Facebook Instagram Bandcamp   ------------------------------------------------------------------------------------------------------------------------------   Click here to securely donate to The Gig Life Podcast via PayPal.   Your support is very much appreciated. Thank you. The Gig Life Podcast: Website Instagram Facebook  Twitter  

Véritable institution, le cirque Arlette Gruss a dû stopper sa tournée avec l’épidémie de Covid-19. Il a trouvé refuge dans sa priorité familiale en Sarthe où, l’ancien dompteur de fauves, Georgika Kobann, a fondé une maison de retraite pour ses vieilles bêtes de piste. Le long de la départementale entre Le Mans et La Flèche, dans le Sarthe, un watussi surmonté de grandes cornes blanches n’a pas l’air perturbé par le passage des voitures. Les dromadaires, non plus. Il faut dire qu’en 25 ans, Georgika Kobann leur a créé un petit coin de paradis sur 50 hectares. A La Fontaine-Saint-Martin, lui et sa compagne Arlette Gruss ont dédié le lieu-dit Les Choquets au repos des vieilles bêtes de cirque sorties de la piste aux étoiles. « En ce moment, j’ai deux perroquets, un lama, une panthère, trois chevaux, trois dromadaires, Victorine le buffle d’eau, un bœuf Watussi… ». Il stoppe le décompte. « On va dire 45 animaux. » Kobann, dompteur de fauves désormais retraité, a toujours un faible pour les carnivores aux canines acérées. Il présente Rachel, panthère noire. « Elle a été opérée il y a quatre ans d’une tumeur cancéreuse. Et elle est toujours là, à 26 ans », tombe d’admiration l’homme au chapeau. Notre journaliste Mathilde Leclerc est allée rencontrer ce personnage, fondateur d’un des plus grands cirques d’Europe. S’il a passé la main à son fils au décès d’Arlette… il reste le maître des lieux. Bonne écoute. Réalisation: Ronan Coquelin

Here is a sweet mix, our good friend DJ CMAN throwing down the tropical funk, hip hop party jams & disco flavors from 3:30pm at our Block Party feat. Watussi. (April 6 2014) Time: 90Mins. Genre: Latin, Funk, Disco, Hip Hop. Recorded: April 6 2014 About DJ CMAN / Residing in Sydney, Australia; DJ CMAN has earned a reputation as a versatile go-to dance floor filler and mood creator with his infectious energy and signature ‘funky feel-good’ sets gaining him loyal fans both young and old. CMAN has worked in the music industry for over 10 years and performed at Sydney’s most established venues and events including Home Night Club, Oxford Arts Factory, The Basement, Blue Beat, Four Seasons Hotel, The Cafe Lounge, Ching-a-Lings, the infamous Soul of Sydney Block Parties plus events for Funkdafied & Grindin’. He has played live on numerous radio stations including 2SER and Bondi FM, and supported touring international artists such as Eric Benet, Eric Lau and DJ Sarah Love. Outside of Sydney CMAN has rocked crowds from the VIctorian snow fields to playing internationally in both Europe and South East Asia. The son of an ex-record shop owner, it comes as no surprise the path that he would follow. With residencies across Sydney at some of the coolest underground bars to ritzy five star hotels; CMAN’s dynamic skills, musical knowledge and versatility make him an instant crowd favourite. Rooted heavily in Soul, Jazz and Latin music from childhood, CMAN also grew up on a steady diet of Funk, R&B and Hip Hop. Today he enjoys fusing these influences into his sets with a fine tuned ear and the

Merenia Marin.  Singer. Songwriter. Composer.  A powerhouse performer on stage with the most instinctive vocal talents of her generation. Since relocating from New Zealand to Australia, she has collaborated and lent her musical style to a staggering variety of international acts and leading Australian artists including; Paul Mac, Omega Man, All Good Funk Alliance (US), Richard Earnshaw (UK), Stephen Allkins (Love Tattoo), Kate Munroe, The Bamboos, Declan Kelly, Rephrase, Russ Dewbury, The Sound Conducterz, Afro Moses (Ghana), Watussi, Oscar “el Duro” Jimenez and Reyes de la Onda, Oyobi, Barefoot Diva's, Veneno and many more.  http://barefootdivas.com.au https://www.youtube.com/results?search_query=merenia+gillies https://open.spotify.com/artist/1aF3392EH76Oebg5mLqOmK?si=VqMjjGfERWmsYx5UjaFvwA https://itunes.apple.com/au/album/walk-a-mile-in-my-shoes-live/648919695

This was such an enjoyable set ! Sydney DJ, Producers & Beat-Maker DJ SOUP absolutely blessing us with a heavy dose of high-powered FUNK & BBOY Breaks & Latin Vibrations warming things up for NICKODEMUS (Turntables on The Hudson NYC) back in March. TRACK LIST - 1 Good Life Treat by Disco Funk Spinner 2 UNKNOWN 3 Me And Baby Brother by Tony Johns Edits 4 Cramp Your Style by Breakestra 5 Squeeze Me (feat Ben Westbeech) by Kraak & Smaak 6 Funky Tumbao by Setenta 7 45 000$ (Guapa Pasea) (Afrodisiac Soundsystem remix) by Gecko Turner 8 Do I Do by Stevie Wonder 9 Something Better by Beatconductor 10 Can't Fake The Feeling by Geraldine Hunt 11 Fame For Sale (feat Jessie Chaton) by Jean Tonique 12 All We Ever Have Is Now by Llorca 13 I am Every Woman by Aretha Franklin 14 I've Gotta Thing (4U) by Confection 15 UNKNOWN About DJ SOUP / Soup was the chief music provider for local break dancers. It was during his third year at High school he began fiddling with DJ equipment. Soup learnt about the dazzling new music form hip-hop and began developing production skills on crude sampling equipment in luxurious 8bit, his computer had an amazing 2 megabytes of memory. He began digging for samples and was mostly enthralled by Rhythm and Blues, Soul, early electronic music and spoken word records. Soup has recently signed to the reformed Creative Vibes which is now under the umbrella of MGM Groove Merchants. Look out for a new album early in 2010. Soup has remixed Aria nominated Watussi as well as Cookin On 3 Burners, both of which are on the amazing Knowfoowl label. Soup has DJed in many clubs around Australia including a long residency at Tonic and Blue hotel and the legendary Sounds of Seduction with Jay Katz from the Mu Meson Archives. Check him out currently at The Marble Bar, Miss Peaches, Tokyo Sing Song, Palmer & Co, The Bank Upstairs, The Civic Hotel, Cafe Lounge and The Lansdowne Hotel. His sets are always eclectic but the common thread is soul. His first love is Rhythm and Blues but don’t be surprised to hear lots of different styles of music mixed and blended into his sets. Founding the Fonke Knomaads, Soup became producer, DJ and part time MC for the left field Sydney Hip-hop pioneers. They released a 5 track E.P. called "The Hills Are Alive With The Sound Of..." on the now defunct label PoBoy records .Soup moved on to sign with influential Australian record label Creative Vibes . He soon released the groundbreaking Trip-Hop Album "Souperloops". Soup coined the term sampology and his tracks began popping up on several international compilations as well as having an album of the week on JJJ. This was the first local hip hop release to be given such an honour. The album was influential to local bands such as The Resin Dogs and Fretless. Further releases include collaborations with Fat Pizza star Sleek the Elite, the mini album "Eclectro" and the feature length album "From Anuva Planet" featuring Swollen Members and Gift of Gab from Blacalicious . Soup's last release was "Beatroot-The Edible Root of the Beat" which is out on Invada records. A label run by members of Katalyst and Portishead. It is an album true to form with a variety of hip-hop and twisted electronic styles to keep those kids jumping. Check out more of his edits & remixes & original productions here./ www.mixcloud.com/Souperloops/ www.soundcloud.com/dj-soup-original www.facebook.com/pg/DJ-SOUP-161968230523355

By Jess Fairfax "To those I have loved, I know there were many times that we suffered, suffocated, felt the stabs of unnecessary pain and pinned self-loaded expectations onto each other. We fell apart, and this piece was made in an attempt to understand why. To the listeners, you will hear fragments of conversations seeped in emotion, stories, ponderings and thought bubbles. You will be privy to moments of pure intimacy and hear honesty and self-reflection in its most vulnerable form. I hope that you find a moment that resonates, that makes its way into your home and heart, that you find a way to live a little lighter in love. To my friends, you are the most wonderful, deep thinking, full of feeling human beings, whose words and wisdom will carry into the ears and roll like waves into the lives of many. Let me introduce you to them: Damian Spears: Sparky by day, verse writer by night. Hip Hop is his passion and his lyrics ooze with deeply thought out observations of the everyday world around him. Louisa Scarmozzino: Primary school teacher, cheerleader and lover. Ebony Moncrief: Born in the Deep South of Alabama, Ebony is a teacher in training, published poet, workshop facilitator and spoken word slam champion who delves into the realm of vulnerability and self-strength through her works. Wallace Calvalho: Brazilian born beatmaker and producer, sound engineer in training and beats/electonica event curator. Katherine Gailer: Colombian born visual artist and musician. Oscar Jimenez: Colombian born musician and producer, front-man of ARIA nominated band Watussi.. Zakia Baig: Hazara writer, educator and activist. Zakia set up the Australia Hazara Women’s Friendship Network to aid with settlement issues for Hazara women living in Dandenong. Quinn: Quinn is an emerging writer working in queer theory, fictocriticism, and post-structuralist and feminist theories of the body, subjectivity, and self. She writes short fiction, poetry, and fictocriticism, and is currently writing her PhD titled ‘this body, written’ at La Trobe University, Melbourne. Yoseph H. Bekele: Ethiopian bass player, multi-instrumentalist, composer and producer. Vicki Fairfax: writer, meditater, nature lover, mother…. Of Jess. Finally, I would love to keep the conversation going and the pens flowing. The poems you hear throughout the piece were written in response to a soundscape I created and fed to my friends as a sonic stimulus. I’d love for you to head to my Soundcloud page, stream this soundscape, write your own piece, record it and post it in the group."

No babies were harmed by dingos in this episode, but your guides did sit down with Australian born, Nashville resident Jared Kneale. Brandon and Jason first get a cultural lesson from Jared. Touring in Australia is way different than here in the states, and even the opportunities look a little bit different. While in his native homeland, Jared has played with "Austrialian Idols," Hillsong, and the Afro-Cuban rock band Watussi. After getting connected with some players living in Nashville, Jared booked his flight to the states only bringing some clothes and his drums. Armed with confidence and using his cajón as his business card at writers rounds he quickly started working with Rebecca St. James and Audio Adrenalin, Mikky Ekko, Dave Barnes, Matt Wertz, Sugar & the Hi-Lows, Gabe Dixon, Amy Stroup, Trent Dabbs, Jessie Baylin, Isaac Hayden, Rick Price, Jason Eskridge, amongst various other local singer/songwriters. Then they dive in on landing the gig with Grammy Award-winning artist Kacey Musgraves. "How Murica," is Jared? He passes the guides' test, then they look at what life looks like after a great gig. Jared's life today is playing and producing records, and playing gigs that keep his schedule open for session work. This episode is for drummers, touring players, session guys, and immigrants in a music city wondering what it takes to make it as a Nashville player hustling for work as a BLOOMIN' DRUMMER!

The Marky Marcano Show Feat OGBlack/Watussi/MelvinVazquez 1.Saludos Nixaliz 2.El Psiquiatra / La Chancla 3.Saludos Midelgi 4.Anuncios 5.dale Play 6.Intro Apertura y Fiestas 7.Kashmir Intro 8.Dimelo-Eddy Kruz 9.Talk Show Intro Don Houksema Voice over 10.Newtone-Mariposas 11.Saludo Eddy Kruz 12.Mi Chichuita 13.dale Candela 14.Saludos LatinAngela 15.Why U Wanna Intro 16.Entrevista a OGBlack/Watuzzi/Melvin Vazquez17.Saludos Candela Music 18.Atanazio /Don Ramon 19.Saludos Im'Tercero 20.Show me What you Got Intro 21.Entrevista a Melvin Vazquez-Azul-Blanca y colora 22.Saludos Piza'23.El Canonazo de las 9Pm 24.PantyMan -Mini-Mini 25.Saludos Roja Luna 26.Nueva Broma Manolo Cabeza de Huevo 27.Saludos David Roma 28. Anuncios del Show 29.Dale Play Intro 30.Talk Show intro 31.Titanic Intro Last Talk -End

J’ai le plaisir d’accueillir aujourd’hui François et Denis Lamotte, deux frères fondateurs de Mitambo. Mitambo est un outil en mode SAAS qui va crawler et analyser votre site afin d’identifier des problèmes structurels et sémantiques on-site. Le son n’est pas parfait et c’est la première fois que je fais un podcast aussi long, j’espère que […] L’article Podcast – Présentation de Mitambo est apparu en premier sur Watussi.fr ⇔ Agence SEO & SEA.

fiverr.com est une plateforme vraiment surprenante. Site lancé en 2010 en Israël, fiverr.com est une place de marché ou entrepreneur, freelances et micro-travailleurs peuvent réaliser n’importe quelle tâche pour 5 dollars… Test en vidéo. Téléchargez la vidéo   L’article J’ai testé pour vous fiverr.com est apparu en premier sur Watussi.fr ⇔ Agence SEO & SEA.

J’ai le plaisir de vous présenter aujourd’hui Watussi Box, un analyseur de log SEO qui va vous permettre d’analyser et comprendre les comportements de crawl de Googlebot. Le script est 100% gratuit et open source, n’hésitez pas à le modifier et partager les évolutions. Télécharger la vidéo L’article Présentation de Watussi Box – Analyseur de log SEO open source est apparu en premier sur Watussi.fr ⇔ Agence SEO & SEA.

Plus d’un an après le passage en https pour les utilisateurs connectés de Google, petit point sur la transmission du mot clés dans le referer en fonction des navigateurs. Télécharger la vidéo   L’article Podcast – Petit point sur la transmission des mots clés dans le referer est apparu en premier sur Watussi.fr ⇔ Agence SEO & SEA.

La préparation de votre cadeau de noël avance, vous êtes déjà quelques-uns à avoir reçu la version alpha, j’espère être prêt pour le mettre au pied de votre sapin

Je vous propose un rapide tutorial sur l’utilisation du logiciel Forum Bot. Comment spammer les forums en créant des profils et des topics ? Télécharger la vidéo   L’article Screencast #4 – Comment spammer les forums avec Forum Bot est apparu en premier sur Watussi.fr ⇔ Agence SEO & SEA.

Pour une seule chose : espionner la concurrence ! Découvrez la commande IP du moteur de recherche Bing. Télécharger la vidéo       L’article Screencast #2 – Pourquoi j’utilise le moteur de recherche Bing… est apparu en premier sur Watussi.fr ⇔ Agence SEO & SEA.

“It’s a little bit suspect with it (Shoegaze) coming into mainstream indie now, it looks like it might be the next thing to be mined. Then obviously there’s going be a backlash and then everyone’s going to be sneering at it again. Its like it’s cool and worthy to be a stripped down punk band but if you admit you’ve got a lot of a lot of effects pedals then you’re hiding behind it. But then I think those people don’t like their own company and just like not talking for five minutes.” Engineers bassist/vocalist Mark Peters giving his perspective on a totally different music scene from the one his band left four years ago. With all the talk of a rise in nu-gaze and rapturously received albums from M83, Maps and Kyte, along with the rise in labels like the Sonic Cathedral and Northern star and the sell out return of My Bloody Valentine there’s confirmation that excelling in sonically adventurousness is in fact something that should be applauded, not derided. Unfortunately the phrase took on a derogatory meaning during its blossoming in the early 90s, slung at anyone wielding a guitar and hiding behind a wall of sound, with long greasy hair and a lumberjack shirt on their back, but was Shoegaze as easy to pigeonhole as the mainstream music made out? Or was there something more nuanced beneath the tides in this ocean of noise: ’Something that interested me that at the time was only the press coined the term (Shoegaze) and labelled a lot of the crapper bands that came out at the time with it.’ Continues Mark ‘The ones that were just taking on the sounds of bigger acts like My Bloody Valentine or Ride when those bands were at their peak. But at the time there wasn’t really much difference between the Stone Roses, ‘Screamdaelic’ by Primal Scream and Spiritualized it was all just kind of epic, hedonistic kind of music.‘It shouldn’t be forgotten that way back in 2005 the Engineers debut offered up an intimate record that bore its way into people’s subconsciousness, followed by a series of standout shows that saw them leading a the first wave of new acts that skilfully blurred the lines between dream pop, post rock and Shoegaze. Indeed Mark doesn’t feel that ‘shoegaze’ is a dirty word anymore. It’s been embraced by a new generation of underground bands from the sighing dream pop of Kyte to the MBV flecked indie fuzz of The Pains of Being Pure At Heart, but Mark thinks his band steps out of any crude boxes through the force and intricacy of their work, contacting the listener on different levels: ‘I think its become an accepted genre there’s a big community of people who love that music and don’t care what the mainstream press say about it, or what trendy bands want to do.’ Mark points out ‘I’m not going to be so naive to think they we won’t be pigeon holed because I know that we already are but I think there’s a lot more to us. I think if you actually listen to us opposed to just skimming through it. ‘He’s right to be confident, returning with their startlingly new lush and swirling LP ‘Three Fact Fader’ - brought into creation via a labour of love that spun together writing, recording and production sessions over a four year period into an elegiac, multi-layered piece of work. But that’s not to say it’s birth was anything like easy. There was a danger at one point that the record that could never seen the light of day: 'We started writing this album in 2005, since the first one came out, we finished recording it in 2007. But our record company (Echo part of Chrysalis) just stopped releasing records in the traditional way.’ Mark recalls ‘We'd had quite a long intensive period of writing and recording, so opposed to sitting around waiting we thought we'd take a break. A couple of labels approached us but we didn't think it was moving on in the right way so we thought we'd wait until the right label (Kscope) to come along.'In the intervening period the band (full line up: Simon Phipps, Mark Peters, Dan MacBean, Andrew Sweeney), released a cover of the Tim Buckley’s classic "Song to the Siren" for the 2005 tribute album 'Dream Brother: The Songs of Tim and Jeff Buckley’, worked on various different musical projects, Mark recently teamed up with German electronic genius Ulrich Schnauss, producing a single by Daniel Land and the Modern Painters. The push that finally made it possible for the album to come blinking into the light of day, was driven organically by the interest in the recordings from the fans 'We had a remix done by DJ Sasha that prompted a bit of interest on the myspace so we put up a few songs and that prompted more interest. We just got loads of really positive responses from it people asking where they could get it. Then this label (Kskope) approached us and they weren't even aware that there was another album they were just interested in us as a band because they loved the first album, and what we were doing.'In the time between albums the Engineers had grown as people, musicians and producers, learning new production techniques on different projects and bringing a different slant to the recordings that had been lying dormant, bringing new ideas to the table and jamming them out. That working with renowned producer Ken Thomas (M83, Maps, Sigur Ros) sounds more like collaborative processes ‘He’s more of a counsellor than anything else; he's not really a nob twiddler, although he can do that. He just brought an impartial aspect to it, more of a philosophical approach. He did the M83, and the Maps album after he did our album he didn't even know what shoegaze was. We just wanted to make a great album and that was his opening gambit. We properly recording in 2006 we were touring, we started off at a place where Ken did his apprenticeship here in Surrey where ‘Meat is Murder’ (which both of us agree is the best Smiths album) was recorded; we were the last band to record there actually. Then we went to Rockfield in North Wales.’ Perhaps surprisingly to some there are propulsive Krautrock elements new to the world of the Engineers. Samples from Harmonia’s Watussi provide new single and opening track ‘Clean Coloured Wine’ with a disarming familiarity, and yet at the same it time manages to sound fresh and modern. It's a rich vein of influence that’s carried into the axis of the album with the track ‘Crawl from the Wreckage’ a crashing, haunting slice of modernistic pyschedlia ‘We were just listening to a lot of Neu!, Harmonia and Can was a big influence on the album just in terms of an artistic idea of music, opposed to just write a song.’ remembers Mark. There are more up to date flourishes too the bleeping wide screen electronic harmonic rushes of ‘What Pushed Us Together’, ‘By What You Are’ and ‘Emergency Room’ influenced by the likes of Panda Bear’s ‘Person Pitch’ and The Animal Collective’s ‘Merriweather Post Pavillion’, recording in different locations seems to have brought a different colour to each track ‘Most of it was recorded in this lockup in a industrial estate when you're in a big studio you're more tempted you've got the vibe a bit more.’ Mark points out ‘but I wouldn't have liked to record the whole thing there coz I think you're not truly yourself in a big studio because you can do it whichever what you want it, why would you want to lose your personalities to that?’‘Three Person Pitch’ is a personal record: with the cascading cautionary ‘Song for Andy’ and the grand string led ‘The Fear Has gone’ that’s contains hypnotic looping vox, and the sighing ‘Brighter As We Fall’ with it’s Nick Mcabe-esque shimmering guitars that are ‘so-cavernous-you-feel-like-you-could-step-into-their-world’ while the heartbreaking Pink Floyd ‘Dark Side of the Moon’-esque vocals brings you down to earth with a bump. These are just a few of the myriad of moments on this long player that ring with a wistfulness, but as Mark points out they’re careful not to call into a trap of being saccharine and overtly commercialised. It’s a fine line to tread but Engineers navigate it with ethereal majesty: ‘Anything that's got a slick manufactured sound loses the personal touch. But there's also this horrible thing where its a pared down sound, that's intentionally emotional, that’s seen by some as almost a fast ticket to being worthy and real, that later gets used for a car advert.’ Before he reveals ‘There's so many people like that you meet when you’re out, they might be thirty five but they're pretending to be teenage girls.'Carefully and deliberately avoiding the commercial cynicism of mainstream ‘elevator acts’ that lack real heart, the Engineers create finely tuned sonic patterns dappled by harmonies that attempt to reflect their own voices, always trying to move the listener with their music. In turn taking them to places filled with rushes of misty melancholia and epic epiphanies, and creating a bond between musician and listener much like emotional heartache of Spiritualized and Chapterhouse. It’s an aim that apparently seeps through both the recording and writing processes “It’s quite personal from the point of view of the lyrics and vocals, musically we start off trying to tap into an otherworldly vibe and the lyrics always take it back to a personal experience, whether that’s something going on in our lives at the time, or something we've seen in the news or read in a book but its always best to have something to relate to because otherwise it can just be vague. We do sometimes approach it as instrumental but we do bring the lyrics in as the focus of what we build the music around, an intimacy, it acts as though one person can have enormous ideas but then at the end of the day they’re just one person and a vocal can portray that, but then music can portray that your imagination is endless.’ Mark laughs apologising for his pretension, but continues ‘The music can take you to places, a place you remember someone who’s gone, there’s a kind of elegy about it I think that’s how we are as people really. But I think it’s important, that the material that will come next will have more of a forward of approach about it.” Since 'Three Person Pitch’ was four years in the it’s influences can seem disparate this is reflected by Mark’s listening habits that are as eclectic as any modern music fan 'The last thing I listened to ‘Lux supreme’ by John Coltrane that's one of my favourite albums, whatever’s lying around I'm surrounded by CDs or on Ipod Shuffle. I really got into Deerhunter last year; I'm waiting for them to do their brilliant album.’ Of the newer acts was he’s enjoying ‘A band I really love are this act from Baltimore called Beach house. And although I really love the Animal Collective stuff, I really love the Panda Bear one that became before it. Someone said the rest of them heard that album and got that their ideas from that. I think its really interesting that they got a hip hop producer in they totally not only went into Panda Bear territory but they also took that a step on as well. Aside from the experimental side to it I think they’re just great songs...' Perhaps burned by experience, Mark’s suspicious of much of the music being pushed by larger label, rightly pointing out the cynical commercialism at the heart of decisions that sees huge big label marketing machines back the likes of Florence and the Machine, La Roux, Little Boots et al, looking hopefully to a future where most bands and music is driven by artistic, personal forces rather than commercial ones: 'We’re at the end of an era where big labels dictate the trends now.’ Mark smiles ‘A lot of the big labels have all got a young, pretty, 80s electro girl at the moment to me that should have been three years ago, really! It's weird that these so called partially indie acts are being pushed so hard because Girls Aloud did it last year. Like anything with big labels its not necessarily or what they think is amazing it just kind of ticks the boxes, its just kind of the lowest common denominator of indie’ before sarcastically adding ‘Oh that'll be OK because we can relate it to that, is it actually that special? No.' Yet you really get the sense of redemption when Mark speaks, thankful that 2005 will not be there only crack at catching the attention of the music loving public, but he’s keen to make the point that it’s still an album constructed for them and their loyal fans: ‘Before we had a break we did two gigs and one of them was at the Sonic Cathedral and it was definitely the best gig we’d played in four years because we had nobody telling us what to play and then people on our message boards saying it was the best gig they’d ever been too and it was just like ‘shit why didn’t we just listen to our own’ you know. I think its just growing up really; I just think you should take your own opinion as the one to listen too.'With such a long gap between albums, and a gap in live performances of over two years surely there’s a tour to follow up their recent Sonic Cathedral date? ‘I think the first album was kind of a staying in late at night album, dare I say chillout. We wrote the songs for this album with a view to having something more exciting for us to play live. There’s a strong possibility that we’re going to support this band Porcupine tree in October, so that’s going be good, bigger gigs are better for us because we tend to need a bigger sound system to get the music across in the best way. And going to different places especially abroad is more inspiring than anything else, it just writes songs for us those kinds of experiences.’ It will be fascinating to watch these returning Sonic Engineers forge more new ground.All content syndicated from http://wwwg.odisinthetvzine.co.uk