The KVB

Black Stars

Dark n gloomy

So Dark

_ post punk / darkwave / cold wave _Set 4

2k15•02

Compiled by Zombie Rust for Destroy//Exist.

Bad Thoughts Bear Bad Fruit

The KVB 'Run Away' - ample play records

The KVB '436' - ample play records

Veronica Vasicka is a photographer, musician, DJ and founder of the epic record label and on-line music resource Minimal Wave. As one of the founding members of East Village Radio, she managed the station during its pirate days and began collecting obscure and long forgotten gems that fell somewhere between the Cold Wave, Post Punk and Minimal Synth genres.

Store Mix 033 - Veronica Vasicka

Introducing the second release in Chapter’s (http://joinchapter.com) new music series, COMPOSITION_DISORDER with artist, The KVB.  Based upon the blending of disciplines of similar mind and direction coming together as an inspiration of sorts, COMPOSITION_DISORDER, features the artist’s own uniquely conjured interpretations of dark, distorted but emotionally powerful ambient sound. By creating irregularity in compositional spaces the perspective of scale and the listener’s place is shifted.

The second of the music series, Poetics of Space, is provided by The KVB (http://facebook.com/thekvb1). The KVB is an audio/visual project of U.K. duo Nicholas Wood and Kat Day.  This U.K. duo (whom currently reside in Berlin) blend reverb-soaked shoegaze with minimalist electronic production to create their delicate and ephemeral sound.  Formed in 2010 by Nicholas Wood and Kat Day, The KVB got started with a number of limited cassette and vinyl releases before their first full-length, Always Then, arrived in 2012. Two more albums, Immaterial Visions and Minus One, arrived the following year, Minus One being a proper release of material that had surfaced before in the form of digital downloads and extremely limited cassettes.

Poetics of Space was influenced by the strong, minimalist aesthetic of Chapter. The work is an immersion into this concrete landscape via machine-like processing of the drums. “We tried to capture the phenomenological experience of the architecture with the textured synths and guitar to create a solitary narrative throughout this imagined space,” describes The KVB. “We’ve also recently moved to Berlin, so that may also play a part.” 

The KVB - Chapter:  COMPOSITION_DISORDER 002 (Poetics of Space)

Escape From Witchtropolis

this is your life 
your perfect face 
these shades of grey 
uncertain trace 
within your self you might know need 
this blood is real will dry will dry 
is this your cry? 
we’ll be your tongue 
you list your needs 
will try 
will try 
will try

A PERFECT BODY

GRAVE118 - Whirr 'Sway' out 9/23/14 on CD/LP/Tape/Digital (pre-order here: http://www.graveface.com/graveface-catalog.html)

When Sway begins, you might at first press pause, reaching for your headphone wire or peeking behind your speaker cables to make sure nothing has come undone. The blister of distorted guitar that opens the album comes only from the right channel, howling and hanging there in irascible isolation until it seems that something must be wrong.
But be patient: After a dozen seconds, the rest of Whirr—a five-piece of blanketing rock focus and comforting pop finesse—pours in from the left channel. They meet the guitar in the middle, together racing headlong into a short section that’s heavy as metal but pliable enough to be the springboard for the galloping shoegaze beauty that soon arrives.
For the next 36 minutes, you need not worry again about lost connections, split channels or anything else, really. More than any Whirr release to date, Sway creates a definitive sense of immersion, sculpting an environment that breathes you in instantly and breathes you out only when the record snaps into silence.
That bifurcated start is an appropriate image for Whirr in 2014. Last year, the band headlined a tour with the Philadelphia group and fellow admirers of heaviness and harmony, Nothing. Not only did the crews become fast friends, but their respective founders—Whirr’s Nick Bassett and Nothing’s Dominic Palermo—decided to start a group of their own, Death of Lovers. When the shared tour was finished, Bassett headed to Philadelphia for a month of writing and recording. He’s never really left. He calls Philadelphia home now, so Whirr has become a bicoastal band.
In Philadelphia, Bassett worked on Death of Lovers’ debut for Deathwish Inc., toured as the bassist for Nothing and steadily composed new material for the next Whirr album, their first full-length for Graveface. Back in Oakland, the rest of Whirr had committed to the project full-time, too, so the West Coast contingent wrote and rehearsed new material without Bassett. Joey Bautista took the lead on two songs, Loren Rivera on three.
Indeed, against most odds, Bassett’s move made for a more democratic Whirr. In their salad days, Bassett had written most of the material and built the bulk of the arrangements, too, using the support only to enrich and enliven them. After a slew of splits and singles and EPs, Sway is the second Whirr LP, but it is only the first to be rendered by a fully functional rock band, having shaped the songs slowly and over some distance.
Before the quintet entered Oakland’s Atomic Garden to work with longtime producer and collaborator Jack Shirley, they reworked the contributions of all three writers, massaging the material into a cohesive dynamo. Rivera, for instance, rewrote the words for Bassett’s material, folding his songs into the album’s presiding sense of dusky melancholy.
“It’s not conceptual, entirely, but it’s intended to ebb and flow in a certain way—one song being aggressive, then dropping out and being pretty but devastating,” Bassett says. “We tried to create an atmosphere, where you listen and get vibed into one tone. ”
That rhythm presides over Sway, tying its distinct parts into a seamless unit. The restless “Heavy” churns somewhere between Godflesh and Gish, its lumbering beat and foreboding guitar buoyed by a melody that feels like a secret hymn for which you’ve long searched. Gorgeous and sprawling, “Sway” floats through luxuriating guitars and pillowed vocals, offering an impressionistic but intoxicating inversion of Whirr’s typical propulsion. Even here, during the record’s prettiest moment, Whirr maintains a righteous minimalism, emblematic of members who met one another as skateboarding high-school kids.
“The aesthetic of the band is more aimed at mature punk rather than alternative rock,” Bassett confirms. “There are these more aggressive punk elements—noisy feedback, a snare roll that just goes into super-punchy, driving songs.”
“Clear” brilliantly paints its lyrical quest for lucid communication—“I want words/to understand you,” runs one plaintive, surging bit—in music that takes up the same challenge. Whirr pushes past a pastel instrumental haze into a hangdog march, with near-whispered vocals bruised by Devin Nunes’ drums and Eddie Saldago’s orotund bass line. But as the end approaches, the band builds together, the riffs and the rhythm colliding into one triumphant, redemptive crest.
And that’s the victory of Sway, too, an album written by five people on two coasts but executed with the force and splendor of, at last, a fully unified Whirr.
Graveface will release Sway on CD, LP and digitally September 23.

Whirr - Mumble

GRAVE118 - Whirr 'Sway' out 9/23/14 on CD/LP/Tape/Digital (pre-order here: www.graveface.com/graveface-catalog.html)

When Sway begins, you might at first press pause, reaching for your headphone wire or peeking behind your speaker cables to make sure nothing has come undone. The blister of distorted guitar that opens the album comes only from the right channel, howling and hanging there in irascible isolation until it seems that something must be wrong.
But be patient: After a dozen seconds, the rest of Whirr—a five-piece of blanketing rock focus and comforting pop finesse—pours in from the left channel. They meet the guitar in the middle, together racing headlong into a short section that’s heavy as metal but pliable enough to be the springboard for the galloping shoegaze beauty that soon arrives.
For the next 36 minutes, you need not worry again about lost connections, split channels or anything else, really. More than any Whirr release to date, Sway creates a definitive sense of immersion, sculpting an environment that breathes you in instantly and breathes you out only when the record snaps into silence.
That bifurcated start is an appropriate image for Whirr in 2014. Last year, the band headlined a tour with the Philadelphia group and fellow admirers of heaviness and harmony, Nothing. Not only did the crews become fast friends, but their respective founders—Whirr’s Nick Bassett and Nothing’s Dominic Palermo—decided to start a group of their own, Death of Lovers. When the shared tour was finished, Bassett headed to Philadelphia for a month of writing and recording. He’s never really left. He calls Philadelphia home now, so Whirr has become a bicoastal band.
In Philadelphia, Bassett worked on Death of Lovers’ debut for Deathwish Inc., toured as the bassist for Nothing and steadily composed new material for the next Whirr album, their first full-length for Graveface. Back in Oakland, the rest of Whirr had committed to the project full-time, too, so the West Coast contingent wrote and rehearsed new material without Bassett. Joey Bautista took the lead on two songs, Loren Rivera on three.
Indeed, against most odds, Bassett’s move made for a more democratic Whirr. In their salad days, Bassett had written most of the material and built the bulk of the arrangements, too, using the support only to enrich and enliven them. After a slew of splits and singles and EPs, Sway is the second Whirr LP, but it is only the first to be rendered by a fully functional rock band, having shaped the songs slowly and over some distance.
Before the quintet entered Oakland’s Atomic Garden to work with longtime producer and collaborator Jack Shirley, they reworked the contributions of all three writers, massaging the material into a cohesive dynamo. Rivera, for instance, rewrote the words for Bassett’s material, folding his songs into the album’s presiding sense of dusky melancholy.
“It’s not conceptual, entirely, but it’s intended to ebb and flow in a certain way—one song being aggressive, then dropping out and being pretty but devastating,” Bassett says. “We tried to create an atmosphere, where you listen and get vibed into one tone. ”
That rhythm presides over Sway, tying its distinct parts into a seamless unit. The restless “Heavy” churns somewhere between Godflesh and Gish, its lumbering beat and foreboding guitar buoyed by a melody that feels like a secret hymn for which you’ve long searched. Gorgeous and sprawling, “Sway” floats through luxuriating guitars and pillowed vocals, offering an impressionistic but intoxicating inversion of Whirr’s typical propulsion. Even here, during the record’s prettiest moment, Whirr maintains a righteous minimalism, emblematic of members who met one another as skateboarding high-school kids.
“The aesthetic of the band is more aimed at mature punk rather than alternative rock,” Bassett confirms. “There are these more aggressive punk elements—noisy feedback, a snare roll that just goes into super-punchy, driving songs.”
“Clear” brilliantly paints its lyrical quest for lucid communication—“I want words/to understand you,” runs one plaintive, surging bit—in music that takes up the same challenge. Whirr pushes past a pastel instrumental haze into a hangdog march, with near-whispered vocals bruised by Devin Nunes’ drums and Eddie Saldago’s orotund bass line. But as the end approaches, the band builds together, the riffs and the rhythm colliding into one triumphant, redemptive crest.
And that’s the victory of Sway, too, an album written by five people on two coasts but executed with the force and splendor of, at last, a fully unified Whirr.
Graveface will release Sway on CD, LP and digitally September 23.


Whirr - Heavy

02 - HANGING GARDENS - Videodrome

RV-01 

Din "Saturate"

http://rapidvoid.bigcartel.com/product/din-s-t-cs

Din - Saturate

Limited Edition Cassette + Download: http://www.auditoryfieldtheory.org/products/537444-isobel-ccircle-the-house-in-harbour-park-c50

"Inspired by the personal journals of Detective J.H. which chart his investigation into the mysterious events that took place in The House In Harbour Park, Isobel Ccircle~'s album is part Clem Snide investigation and part X File, painting a haunting and often terrifying picture full of strange occurrences and unworldly rituals".

Isobel Ccircle~ // The House in Harbour Park (extract)

Jasmine Guffond - Useful Knowledge

A Place To Bury Strangers - “We’ve Come So Far” from ‘Transfixiation’ out February 17th, 2015 on Dead Oceans

On Tour Soon: http://aptbs.tumblr.com/2015ustourdates

SCD / direct: smarturl.it/placetoburystrangers?iQid=wcsf.sc
Amazon: smarturl.it/aptbs_amazon?iQid=wcsf.sc
iTunes: smarturl.it/aptbs_itunes?iQid=wcsf.sc
Indies: smarturl.it/aptbs_indies?iQid=wcsf.sc

A Place To Bury Strangers - “We’ve Come So Far” from ‘Transfixiation’ out February 17th, 2015 on Dead Oceans

A Place To Bury Strangers - "We've Come So Far"

4 Hours (Clock DVA Cover)

2/6
from the Lets Be Friends EP, download here
https://aliens666.bandcamp.com/album/lets-be-friends-ep

hopeless

Having released a dreamy album inspired by 60s sci-fi soundtracks, Swedish trio @death-and-vanilla were invited to live score cult horror Vampyr at a Scandi film festival and their slow, steady, swirling accent continued. 

Their new LP To Where The Wild Things Are,is a poppier affair; the warm analogue loops of their vintage instruments crying out for the sweet breathy vocals that Marleen delivers with a calm and enchanting ease. Named after the children’s book, the album celebrates imagination and the ability to delve into the less-explored areas of the mind. Exactly what we need to get us through today, we are pleased to present the premiere of album track, California Owls. Almost hypnotic, this is dream pop at its absolute best. Enjoy!

Connect to i-D's world! 
www.facebook.com/iDmagazineofficial
twitter.com/i_D
http://i-d.co

Premiere: Death And Vanilla - California Owls

Download/Stream ►
Bandcamp: http://bit.ly/2vyi4It
Spotify: http://sptfy.com/1qpx
Anghami: http://bit.ly/2bvI0YO
Youtube: http://bit.ly/2uJbZpO

Social Media ►
Facebook: www.facebook.com/mastersofthi...
Twitter: www.twitter.com/savethehostages
Instagram: www.instagram.com/cyrdaeb
VKontakte: vk.com/gosavethehostages
Sina Weibo: www.weibo.com/gosavethehostages

EP#1: For The Weary Of Soul

Download

Salma

Order their self-titled album: 
http://felte.bandcamp.com/ 
ROW: https://itunes.apple.com/us/album/eraas/id558375869 
UK/IE: https://itunes.apple.com/gb/album/eraas/id559814816
http://www.insound.com/ERAAS-LP-ERAAS/P/INS111422/ 
http://www.insound.com/ERAAS-CD-ERAAS/P/INS111423/

TOUR DATES
02.25 Detroit @ The Magic Stick*
02.26 Chicago @  Lincoln Hall*                          	
02.27 Minneapolis @ 7th Street Entry*                       
02.28 Winnipeg, ON @ WECC*                          
03.01 Saskatoon, SK @ Amigos*                 
03.02 Calgary, AB @ Hi-Fi*        
03.04 Edmonton, AB @ Pawn Shop*         
03.06 Kelowna  @ TBA / $150 (direct)                                                                            
03.07 Vancouver, BC @ Venue*                     
03.08 Victoria, BC  @ Sugar*                          
03.10 Seattle, WA @ Barboza*                                	                                                       
03.11 Boise, ID @ The Shredder*      
03.12 Salt Lake City, UT @ Urban Lounge*     
03.13 Denver @ Larimer Lounge*                  	                                                       
03.15 Lawrence, KS @ Jackpot*     
03.16 St Louis, MO @ Off Broadway*                  	                                                                     
03.19 Pittsburgh @ Brillobox*                                                      	                                                       
03.22 Montreal, QB @ SAT*				                                                                                    	

*w/ Trust (Arts & Crafts)

More about ERAAS 
ERAAS 
https://twitter.com/#!/eraasgroup 
http://www.facebook.com/eraasgroup

More about felte 
http://www.feltesounds.com/ 
felte 
http://www.facebook.com/feltesounds 
https://twitter.com/#!/feltesounds

Released by: felte 
Release/catalogue number: felte-002 
Release date: Oct 2, 2012

Buy Album Now

ERAAS - At Heart (The KVB Remix)

'BLACK MOODS' RESURRECTED // Live vinyl Halloween mix from Camella Lobo/Tropic Of Cancer (2010)

BLACK MOODS

With You Tonight

The Haxan Cloak - 'Excavation': Released 15th April 2013
CD, 2xLP & Digital

iTunes Pre-order: https://itunes.apple.com/us/album/excavation/id617447893
Boomkat Pre-order: http://boomkat.com/downloads/663910-the-haxan-cloak-excavation
Insound Pre-order: http://www.insound.com/Excavation-CD-The-Haxan-Cloak/P/INS117532/

The Haxan Cloak - The Mirror Reflecting (Part 2)

Track 4, Taken from This Other Kingdom's brand new EP 'Sunlight' released April 13th 2013

Vacate The Horror (SUNLIGHT EP)

WHITE RAINBOW Remix of MOON DUO'S "Trails", from Exclusive Record Store Day Limited LP 'CIRCLES REMIXED'!

CIRCLES REMIXED:
Side a.
Free Action (Tom Furse Mix)
Trails (White Rainbow Trailblazer Edition)
Sleepwalker (Zombie Zombie Mix)
I Been Gone (Life Coach Mix)

Side b.
I Can See (K-X-P Live Mix)
Ville Cranian (Circles) (Sun Araw)
Sparks (Eric Copeland Mix)
Rolling Out (Umberto Mix)

When Moon Duo’s last full length, Mazes, was released in 2011 there was a limited edition bonus CD that came with it exclusively for retail featuring remixes of the album tracks by the likes of Gary War, Sonic Boom, Psychic Ills and others. The bonus disc was so well received that the band decided to release it as a limited 12” on RSD in 2012 and will do it again with their new album Circles.  This time the remixes are from Portland/ Kranky Record’s artist White Rainbow, Black Dice member Eric Copeland, Zombie Zombie, Tom Furse of the Horrors, Sun Araw, Phil Manley of Trans Am, Life Coach, Umberto, and Finnish band K-X-P.


Exclusive Record Store Day Release limited to 1000!
Features remixes by Tom Furse (The Horrors), Life Coach (Phil Manley of Trans Am), Eric Copeland (Black Dice) and more!
Moon Duo will be back touring the EU this late spring/summer!


Moon Duo - Trails (White Rainbow Remix)

FÖLLAKZOID
Album: II RMX
Song: "9"
Remixed by PSYCHIC ILLS 

DOWNLOAD AT http://follakzoid.bandcamp.com/album/ii-rmx

Pre-order 12" split at FOLLAKZOID@GMAIL.COM

this song is also available at Sacred Bones Records's Todo Muere vol.3 comp.

FÖLLAKZOID - "9" rmx by PSYCHIC ILLS

FÖLLAKZOID
Album: II RMX
Song: "Trees"
Remixed by MOON DUO

DOWNLOAD AT follakzoid.bandcamp.com/album/ii-rmx

Pre-order 12" split at FOLLAKZOID@GMAIL.COM

Föllakzoid "Trees" rmx by MOON DUO

Replicanti//Lost Control//Electric Mistress EP

While on a recent tour of the Western United States, London-based The KVB moved heaven and earth to make this wonderfully meditative 3-part episode possible. Working with award-winning documentary filmmaker Alix Lambert (The Mark of Cain), cinematographer Conor Simpson, engineer Griffin Rodriguez and editor Forrest Borie, the episode employs a simple set of colored gels, soft shadows, playful synth melodies, one cranky drum machine, one enormously loud Jazzmaster, and two unflinching performers. Welcome to the bracingly Zen-like inner-world of The KVB.  

BIO
The KVB is the prolific A/V outlet of artists Nicholas Wood and Kat Day. Combining goth-tinged, abstract imagery with a love of shoegaze guitars, minimal synths, reverb-drenched vocals and rigid beats, Nicholas initially started The KVB as a solo project. After frequent collaborations throughout 2011, Kat Day joined permanently on synths and visuals. Fast on the heels of several EPs and limited-edition cassettes, 2012 saw the release of the band's acclaimed first LP, Always Then, soon followed by tours of the UK, EU, and Western US. In early 2013, The KVB released Immaterial Visions via NYC's Cititrax imprint. If your musical tastes veer toward hypnotic minimal wave and snarling post-punk, The KVB will definitely satisfy your darkest Psychocandy-esque cravings.  


COMPONENTS

Video 
• YouTube: http://youtube.com/playlist?list=PLC4EEUwd7e4lP9GLCz-Zo-EQGmsPberDm
• Vimeo: http://vimeo.com/album/2365481

Photos
• Flickr: http://flic.kr/s/aHsjEPXt9k

Music
• SoundCloud: http://soundcloud.com/goincase/sets/the-kvb-at-room-205


CREDITS

Executive Producer
• Incase: http://goincase.com

Producer
• Arlie Carstens: http://disastercasual.typepad.com

Director
• Alix Lambert: http://pinkghettoproductions.com

Cinematography
• Conor Simpson: http://vimeo.com/likeamaniac

Set Designer
• Tamarra Younis: http://union-of-art.net

Set Assistant
• Katie Risinger: http://facebook.com/katieferne

Editor
• Forrest Borie: http://vimeo.com/forrestborie  

Audio Engineer
• Griffin Rodriguez: http://linkedin.com/pub/griffin-rodriguez/1b/599/2a

Camera
• Alix Lambert: http://pinkghettoproductions.com
• Conor Simpson: http://vimeo.com/likeamaniac

Photos
• Arlie Carstens: http://disastercasual.typepad.com

Performing Artist
• The KVB: http://facebook.com/thekvb1

Label
• Cititrax Records: http://cititrax.com

Room 205 Theme Song
• Cora Foxx: http://corafoxx.com


The KVB - Captives (at Room 205)

While on a recent tour of the Western United States, London-based The KVB moved heaven and earth to make this wonderfully meditative 3-part episode possible. Working with award-winning documentary filmmaker Alix Lambert (The Mark of Cain), cinematographer Conor Simpson, engineer Griffin Rodriguez and editor Forrest Borie, the episode employs a simple set of colored gels, soft shadows, playful synth melodies, one cranky drum machine, one enormously loud Jazzmaster, and two unflinching performers. Welcome to the bracingly Zen-like inner-world of The KVB.  

BIO
The KVB is the prolific A/V outlet of artists Nicholas Wood and Kat Day. Combining goth-tinged, abstract imagery with a love of shoegaze guitars, minimal synths, reverb-drenched vocals and rigid beats, Nicholas initially started The KVB as a solo project. After frequent collaborations throughout 2011, Kat Day joined permanently on synths and visuals. Fast on the heels of several EPs and limited-edition cassettes, 2012 saw the release of the band's acclaimed first LP, Always Then, soon followed by tours of the UK, EU, and Western US. In early 2013, The KVB released Immaterial Visions via NYC's Cititrax imprint. If your musical tastes veer toward hypnotic minimal wave and snarling post-punk, The KVB will definitely satisfy your darkest Psychocandy-esque cravings.  


COMPONENTS

Video 
• YouTube: http://youtube.com/playlist?list=PLC4EEUwd7e4lP9GLCz-Zo-EQGmsPberDm
• Vimeo: http://vimeo.com/album/2365481

Photos
• Flickr: http://flic.kr/s/aHsjEPXt9k

Music
• SoundCloud: http://soundcloud.com/goincase/sets/the-kvb-at-room-205


CREDITS

Executive Producer
• Incase: http://goincase.com

Producer
• Arlie Carstens: http://disastercasual.typepad.com

Director
• Alix Lambert: http://pinkghettoproductions.com

Cinematography
• Conor Simpson: http://vimeo.com/likeamaniac

Set Designer
• Tamarra Younis: http://union-of-art.net

Set Assistant
• Katie Risinger: http://facebook.com/katieferne

Editor
• Forrest Borie: http://vimeo.com/forrestborie  

Audio Engineer
• Griffin Rodriguez: http://linkedin.com/pub/griffin-rodriguez/1b/599/2a

Camera
• Alix Lambert: http://pinkghettoproductions.com
• Conor Simpson: http://vimeo.com/likeamaniac

Photos
• Arlie Carstens: http://disastercasual.typepad.com

Performing Artist
• The KVB: http://facebook.com/thekvb1

Label
• Cititrax Records: http://cititrax.com

Room 205 Theme Song
• Cora Foxx: http://corafoxx.com

The KVB - Hands (at Room 205)

Don't say the time it's over gone
don't stay with defraud lies

Don't say grit made you down to ground
don't stay with your look pale

Don't say the lover dust the bone
don't stay with pain full love to brain

Don't say: "sweet fruit fill out your mouth"
stay with earthly Eve

Whets cocaine
whets cocaine
whets cocaine
whets cocaine
whets cocaine
whets cocaine
whets cocaine
whets cocaine

Ferdinand Cärclash - Whets cocaine

IN MODERN USAGE, CHAPTER IS STYLISTICALLY COMPLEX, EVEN CONTRADICTORY IN DESIGN AND MOVEMENT DRAWN TOGETHER AS A UNIFIED WHOLE.  

CHAPTER MANIFESTS A TASTE OF IMPORTANCE WITH DESIRE TO EVOKE UNDERLYING, EMOTIONAL STATES OF GRANDEUR AND VISCERAL APPEAL FOCUSED AROUND THE INDIVIDUAL.