Sonntag, 20. Januar 2013


Are you and your music as sharp as the teeth of a Great White Shark?

Luckily we've never felt the teeth of a Great White, however, as a band we do try to create a sound that is atmospheric, energetic, as well as dreamy.  At the same time our songs also carry an aggression that definitely provides a big bite.

The Great White Shark has grown rapidly within almost one year and now you are touring through Germany, Switzerland and Austria together with The Blue Angel Lounge... What is it like touring with the Blue Angel Lounge and how does it feel to be big and strong?

We're still touring with The Blue Angel lounge at the moment, we've only done 2 shows with them so far and they've both been awesome! They're great lads and talented musicians and we're very much looking forward to the rest of it. I think both bands complement each other nicely. In terms of being big and strong, well, let's wait and see… But thanks for the compliment!

Jim, Adam and Jack you three moved from London to Berlin with the spirit of optimism and adventurousness and together with Vincent you felt ready to start something new. How do you complement each other?

Jack and Adam have been playing in Eight Legs for years, so they have a musical connection. Of course our style is very different from Eight Legs but you do get a good grip on someone’s musical personality when one plays so long with another person. We all complement each other however by bringing in both similar and different inspirations and experiences. It’s like 4 individuals fitting together as one unit. Kinda like Voltron if you remember that ;)

And Berlin is just…


Your first gig was on the 7th of May, my birthday, in the White Trash in Berlin. Have you rocked the house and bestowed that day and your stage debut all honor?

This gig was actually cancelled. Our first show was at the Rufreaktor on the 6th floor of an abandoned brewery. As far as 1st shows go it was very memorable. There was barely any light, limited equipment and loads of people! It was a bit of baptism of fire to be honest. But we played well and came out the other side unscathed. It was a test, but we loved it.

It was followed by a concert in late May at Molotow. What do you think of Hamburg, the Reeperbahn and the Molotow?

Molotow was with our mini Art Brut tour! That was fun! Lots of fans and lots of Mexicanas (our favourite drink) the venue was ace. Hamburg, at least from what we've seen, is a beautiful city. As far as the Reeperbahn goes.. Well.. If we ever decided to buy slingshots, knives and dildoes, I guess we know where to go.

Tell me an anecdote of this evening.

To be honest, that evening is still a bit of a blur. As we said in question 6, we drank A LOT of Mexicana's that night.

The third song of your Bring Us Back Together E.P. is called "Tidal Wave". Tonight you're playing with The Blue Angel Lounge on the MS Treue in Bremen. Will you conquer the ship and crew with a tidal wave of great sounds?

We actually went drunk shopping this morning in the biggest music shop on the planet and ended up getting very excited. We came out with two crocodile guitar cases and two new effects pedals, so we're gonna put them to good use tonight and create a beautiful tidal wave wall of sound. Trying to obtain a landscape of sounds and noises is a big part of our live show, we are still learning a lot so I'm sure this will continue to grow and grow.

Fantastic!, so tell me the headline of Bremen’s newspapers tomorrow:

We did see something about a pelican getting cut in half by a wind turbine. We suspect that was rather big news.

December 2011, Interview: Flavia Lamprecht


Reuben, have you always been a solo artist or did you previously play in a band?

I’ve not ruled out being in a band, or doing music with a different feel, but these songs are more suited to me defining them first, whilst getting friends to join in towards the end.

In what ways is it advantageous being a solo artist?

Well it’s much easier to go on tour, at times I’ve turned up at venues in Europe having yet found where I’m sleeping that evening, but people are good and generous and things have worked out so far. You also only then have yourself to argue with about music, but that is a never ending even if alone.

And which artist would you like to work with most?

I’d like to see what music Godspeed You! Black Emperor, Johnny Greenwood or RJD2 could make with my music, there’s something enigmatic about anyone creating something with your material, I encourage it.

You grew up in a small town near the coast in Norfolk, and now you live in London, at the heart of the music scene. Do you have the feeling that you have to or want to go with the flow?

I have a pace, it changes for it’s own reasons, it’s influenced by everywhere I’ve been. Norfolk was a mainstay for a long time and probably will be again soon (although I’m considering Berlin next). London certainly does hold a huge music scene, I don’t think any city in the world really competes with it for sheer amount.

What makes London so interesting for you?

You have access to what you want in this city, and the vibe can be quite distinct in each town, Brixton’s currently a preference. I don’t think I’m at home yet here, it suits right now, but there are many places in which I’d like to spend a fair amount of time.

How would you describe the expectations you have for your future as a musician?

Remaining fluid, I like making things, music stories and such, currently when I wake I have to write songs, not a want but a compulsion, going to see where that takes me.

The artwork on the cover of your debut EP ‘Clutch’ shows an outline of a person filled with objects that conjure up thoughts of travelling and adventure. Is this representative of your songs and perhaps even your own character?

The title means everything that drives you, everyone you hold on to, I told this to my friend Anne from Leipzig and she sent me this picture, it was as it should be, journeys, journeys, journeys and a little bit of sleep.

We met in Berlin while you were touring through Europe and you performed in many cities. What were your impressions of the different locations and how did the people react to your music?

People are good, the more I travel the more I get reminded of this, they do have there differences, subtle and not so. The perennial issue of touring crops though, time in each city or town always feels limited, so I got to see the gloss and not enough content.

What does 2013 hold for Reuben Hollebon? Will you be touring again?

I’m working on something, no specifics yet but there will be more music soon, and I’ll tour anywhere that I’m invited, in Europe or otherwise.

Interview: Flavia Lamprecht

Donnerstag, 22. November 2012

Zephyr Nova

Zephyr Nova. -

Das scheint auf den ersten Blick etwas fremdes, eigenartiges zu bezeichnen.
Zephyr stammt aus der griechischen Mythologie und verkörpert den Windgott, - Nova ist ein kosmischer Begriff;

Hinter diesem Psyeudonym steckt ein 28 jähriger Kanadier, der an energischer und tiefgängiger elektronischer Musik arbeitet.

Sein erstes Werk "Shatterscapes", welches am 7. März auf eViVe Records erschienen ist, nimmt den Hörer auf eine abwechlungsreiche und spannende Klangreise mit, welche durch die experimentelle Percussion geleitet wird. 
Hier kommen eingängige Melodien und die Experiementierfreude zusammen. Diese Freude bleibt dem Konsumenten nicht vorenhalten, sie erreicht ihn.

Text: Francesca Pohl

Mittwoch, 26. September 2012

MOTORAMA interview.

1-  From the idea to implementation. What were the temporal dimensions until you started to make music?

We were studying in schools and universities. We were reading magazines, watching movies, listening to different music and travelling with our parents. We were pretty lazy kids with lots of thoughts about bands, clothes, sounds and gigs. Then we started a band.

2- How would you describe the sound of your current debut LP „Alps“?

It’s compact, minimal, bright and weird.

3- What thought is behind offering to download the LP for free?

We think it’s normal that a person can download our tunes for free. We can earn money with the help of gigs or memorabilia stuff, no need to sell what you can find easily if you dig internet a little bit. We don’t’ want to look stupid in this case.

4- “ View a human accurate enough, then you know more about him than he by himself.” - Hermann Hesse, Demian This is a quote from the famous German Author Hermann Hesse from the book “Demian”(1919). In relation to this, I would like to know how you would make a connection from this citation to the audience at a concert. Would you say you can learn a lot about the people considered the only way they are?

We don’t. Sometimes you think you can, but you should be careful with this feeling. 

5- Do you have any rituals before playing a gig?

No. But we are nervous if our favorite birds are off stage.  

6- Are there moments where a certain effect of certain music suddenly changes for you?

Yes, it comes when you are full of this certain effect, you have no more emotions and the power of the music is lost. 

7- Do you think that art and music influence each other greatly?

Yes we do, inspiration is everywhere. From clothes and films to fanzines and old buildings. And all this things are connected. 

8- If so, is there a special piece of art which motivated you to write a song or to try out some melodies?

Movies are great source of inspiration. It can motivate a lot. 

9- Bear/Lantern/Seagulls/Pine/Budapest- Things/places of inspiration?

Nature is inspiration. No specifically meanings of all this names. It’s all about the atmosphere and word energetics. 

10- What do you say to the topic „ Identity embossing”?

When you start a band, It’s hard to avoid being similar to your favorite bands. You must be smart or genius to do something outstanding from the first step. 

11- Your goals?

To be true to ourselves and to our listeners. And of course great crowd of zoologists on our gig somewhere in Berlin

12- Do you think you can differentiate between capitalist oriented music and music for music’s sake?

Maybe we can, maybe we can’t. Don’t know, we are tiny little band. Something prompts me that we are not capitalist aligned band.  It’s hard to answer such epic questions. Are The National capitalist oriented music? 

13- It would be interesting to know how the film and TV industry of western world has affected the Russian avant-garde in the last 15 years... because the west had indeed incredibly benefits just in film music and onomatopoeia by the Russians of the first half of last century. So is there also at some point a back thrust effect?

One day Russia will be great US copy. We got lots of things in mass media sector which are total copies of US stuff. From serials and tv programs to web sites and movies with boundless budgets. The same things in music. Rostov-on-don (where we live) is Hip-Hop capital of Russia. We have no place to hide of it.

Interview: Flavia Lamprecht

Mittwoch, 1. August 2012

SEEFEEL interview.

I.          Seefeel, can you describe what kind of development you see in the music industry and how it feels to notice it?
The impact of the web has changed the industry almost beyond recognition, It seems to be a good thing not to be controlled by so many multinational companies and power-wielding executives..  File-sharing is just a hi-tech bulk version of making mixtapes, and as an artist it always was a problem getting paid..  Having said that, Warp records are still operating as an Indie label, 
albeit a much larger operation than whan we first worked with them.

II.            How far it is important for you to go a new way or to stay true to your own style?
Both are very important!  We're fiercely proud of our style, and hope we've succeeded in bringing it into the 21st century..

III.          From the album (Ch-Vox) (1996) on Rephlex to your EP Faults (2010) on Warp Records is a time of almost 14 years –
         last published your album Seefeel this year. Which importance had the long interruption for your rebirth?
We never intended to leave such a long gap, indeed we may never have reformed at all..  We were surprised and flattered that there was so much interest in us on the web (having a 'googlable' name helped!) and I'm sure that went some way to convincing us it was worth trying to work together again.  I think the most important thing is that we have 'grown up' personally - I feel far better equipped to deal with the stresses of being in a band having had a few years out in the 'real world'..

IV.           How can we imagine the meantime? – You have worked on several different projects. Were these routes far from Seefeel?
I think the things I've been involved in have been musically very different from Seefeel but it all informs the way I work - it has felt somewhat like 'coming home' to do Seefeel again, and I feel much more confident performing live.

V.            The constellation has also changed.
Yes!  E-da and Shige have added vital new supernovae to the arrangement!  Not sure what that means astrologically..!

VI.          Your album Seefeel has definitely a stunning effect and convinced with massive tunes and a captivating atmosphere.
Thank you!  We're very pleased with it and with the reaction so far..

VII.        Global is a lot happening this year. The label you’re on, Warp Records, shows a lot of engagement and supported by a reaction with Japan T-shirts, called “Japan Tsunami Fundraising Warp T-shirt” – 100% of the price were donated. Do you have / had in particular also plans for a project of this type?
We were meant to be playing at the Sonar Festival in Tokyo at the beginning of April but decided not to go - we haven't really discussed it but I think we would like to do something to help raise money.

VIII.      How is your attitude to the political mistakes and indecision?
Not sure what you mean by this, politics in the wider world or within the band?  We're not the most organised band in the world and indecision is a problem for us in most things except the music!

IX.          A forecast for the future?
Festivals and a US tour in the summer, then get on with recording the next album!

Interview: Flavia Lamprecht

Donnerstag, 5. Januar 2012


All Plastic Now ist eine junge, vierköpfige Band aus Hamburg, die eine eigene, interessante Interpretation von Indie und Electronic liefert. - Experimentelle Percussion begleitet von einem Komplex aus Synthesizer, Bass und Gitarre, welche an die Battles erinnern lässt, sind das Ergebnis. An einigen Stellen wird die größtenteils instrumental gehaltene Musik von minimalistischem Gesang unterstichen, was dem ganzen noch mehr Atmosphäre zu gute kommen lässt. 

Im Oktober letzten Jahres erschien die Debüt EP„Out of Step“, 
auf der 7 Tracks zu finden sind. – eine hörenswerte erste Platte.
An weiterem Material wird bereits fleißig gearbeitet. Man darf also gespannt sein. 

Am Dienstag, den 22.2. werden All Plastic Now 
im Rahmen von ill im Turmzimmer im Uebel & Gefährlich auftreten.

Text: Francesca Pohl

Dienstag, 18. Januar 2011

MOCK AND TOOF interview.

I. Mock and Toof, Toof and Mock . Your Duo title sounds like an ambiguity team. How would you describe your work together? Actually I wished we were a little more ambiguous & perhaps remained in the shadows more. There is a certain satisfaction about not knowing about something you love. Unfortunately, we are not good enough yet to run to the hills & shun everyone. Some things need selling… in terms of our work, our role is not to give it a description, a narrative or a category – it is just to create. Our sole aim is to make music that connects with people…as wanky as that sounds.

II. Is there a huge difference in the way you work on an own production or a remix?Not really. We usually put our own drums in remixes, use a couple of elements from the original & more or less create a new track. It’s pretty tedious. Actually I think we will work hard to adopt a more traditional approach to remixes in the future by utilising more of the original & extending & editing the best bits. Remixes these days tend to be endlessly dull, don’t they? Releases often have far too many & they usually sound alien to the original track & generally pointless.

III. For me you’re always linked with interesting art works. Especially the “Tuning Echoes” LP invites you just with the optical look to listen to it. And if you do, you arrive delightful and full of aesthetic sensibility sounds. That’s nice of you to say. Our artwork was done by Billie Jean ( and he has worked with us since the very beginning of Tiny Sticks in 2005. Design, of course, is very important. In a saturated market it’s nice to have a go at sticking out from the crowd but more importantly, & like you mention, it can say something about the music and/or conjure up a vibe about the act or label which people can connect to.

IV. Can you remember that you bought an EP/LP just because of it’s good Cover?
Too many to mention, usually purchases in charity shops. It’s a lottery of course but when you win (i.e. when the record actually sounds as good as it looks) then it’s a beautiful thing.
V. Currently there are strong problems with gentrification in Germany, with the result that many good cultural programs can not keep. Among other things good clubs close. What would be your idea for a project to counter claims to work?
Send in squads of yobs, drug dealers & whores (with immunity from prosecution) to run these places down back to their previous state of beautiful shitty-ness ….?
VI. Mass or quality? Or do the mass want quality?
The masses don’t have a choice. Individually we all want quality.
VII. What would you ask to find something out about the Identity of a person?
Can I have a feel please?

Interview: Flavia Lamprecht

 Mock And Toof - Farewell To Wendo