OOH my lovely Listeners..   More new news … updates and the like.









One show in the Chocolate Store in NOVEMBER— therefore more somewhere else… but let’s start here::

M:SOUNDTRACK presents ♥ : THURSDAY 18.11.2010 @ 9 p.m. in Schokoladen:: EXSONVALDES (FRA) + INDIGO TREE (PLN)

EXSONVALDES (FRA) // four Parisians who met at university nearly ten years ago. Grabbing their guitars, always looking for the right hue, a teenage spent listening to Nirvana, the shock with Radiohead, the frenzy of composing songs and sending them right to the heart of the battle. After two Eps where the idea of a repertoire and a personal style started to emerge, a genuine first album was eventually released in 2004, both a sum and a manifesto of everything they could and intended to create.

Far from the attempts of categorizing a French rock scene, their singing in English plus their claimed influences ranging from the American indy of Death Cab for Cutie to the constantly boiling energy of the Belgian scene, gave them rapid access to the European scene. Then came a series of concerts, openings for Girls in Hawaii, noticeable gigs in Switzerland or in Praga, successive sets in Bourges and more than a hundred concerts all around France and this only for their first album’s tour: Time we spent together.
Thanks to the numerous stage-experiences, the band blossomed and got closer and closer; meanwhile the audience grew and the critics couldn’t but stress this ability to strike and move: “Straight to the heart” (Nova); “An impressive musical maturity” (Rocksound); “Absorbing” (Les Inrockuptibles). With each concert, Exsonvaldes overcame their doubts and kept this notion of togetherness, which is the best you can expect from the road. LINK::







INDIGO TREE (PLN) // in 2009, Filip Zawada invites Peve Lety for cooperation at recording some film music. After an hour of improvising, they both decide to embezzle funds for music studio. Finally, as a result of spending whole week closed in a large recording hall, their first record appears. They name it “Lullabies of love and death” . Music for movie has never emerged. After putting duo’s songs on myspace, three record companies try to sign a contract with them. Musicians choose one, that provides them with complete freedom to record and think in their own way and gives a possibility of buying new instruments. On the 5th of October, their debut album – Lullabies of Love and Death – is released. It collects high assessments from all reviewers and most of them keep pestering musicians to leave Poland, for there’s no place for such sophisticated music in this country. But both Peve and Filip claim, that they live in Europe, not in Africa, and have no intention of going abroad.



THE WURST SOUNDTRACK presents on NOVEMBER 30, 2010 @ 9 p.m. in the GRÜNER SALON in der Volksbühne am Rosa-Luxemburgplatz :::: CHRIS GARNEAU (NYC) ++

Its true its really true, the scrumptious CHRIS GARNEAU will be honoring The Wurst Soundtrack and Berlin once again this year with another beautiful goosebump show!.. this time not in my flat, or in the chocolate store but in the Grüner Salon in der Volksbühne..always nice to back i…n th VB again! We look forward to you and this event.. SUPER! X

CHRIS GARNEAU // is an avid lampshade collector. He enjoys treats and loves small and large animals as well as wind, trees, and fancy gems. He is an experienced and high scoring skee-ball player. He is happy-go-lucky and enjoys spending time at the town fairs.

He has released Music for Tourists LP (2006), C-Sides EP (2007) and El Radio LP (2009) with Absolutely Kosher Records (North America), Fargo Records (Europe), Pocket Records (China), Lirico Records (Japan), and Leaplay Music (Korea). LISTEN::


UNDER THE STARS,ME! + M:SOUNDTRACK present @ N.B.I on the 2nd of Dezember 2010 :: SISKIYOU (CAN/Great Lake Swimmers) + The Wooden Sky (Can)

SISKIYOU (Can/Constellation) // It is difficult to say exactly how long it took Siskiyou to record their debut, self-titled album. It was during downtime from the ambitious tour schedule of his former band, Great Lake Swimmers that Colin Huebert began unofficially recording ‘ideas’ at his ho…me in Vancouver, British Columbia. It wasn’t until his final departure from said band in the summer of 2008 that Huebert found the time and energy necessary to begin crafting Siskiyou’s forthcoming album.

Never one to unconsciously adhere to rules and standards, Colin approached recording somewhat differently than others. In an attempt to remove ‘the brain’ from the song-writing process, the core of many songs were recorded, using whatever means available, often within ten minutes of their conception. Without any idea of a final product, these rudimentary recordings were shared with former band mate, Erik Arnesen, and together they meticulously built strange and lush arrangements to surround these charmed moments. Employing various locations (beaches, stairwells, bathrooms, etc.) throughout the Vancouver area, Siskiyou proceeded to balance the energy of an epiphany with a modest, methodical attention to detail. This tension, apparent throughout Siskiyou’s self-titled debut full length has been described as perfectly capturing the lush, yet often-chilly landscape of the Pacific Northwest. To accompany many of the songs from the upcoming release, Huebert and filmmaker Karolyn Keir are currently in the process of preparing a number of short videos (Super 8, 16mm, and digital).

Yet to perform live, Siskiyou is currently planning a European and western North American tour to support their debut release in the autumn of 2010. With the help of two other multi-instrumentalists from Vancouver the four-piece will translate the recorded material into a live performance that should fall somewhere between the Jesus and Mary Chain’s “Psychocandy” and Simon and Garfunkel’s “Bridge Over Troubled Water”. Or something like that.

Siskiyou has already finished the bulk of recording for its sophomore album, during sessions in a century-old community hall located in rural British Columbia. LINK::

THE WOODEN SKY (Can) // What a wooden sky sounds like is exactly what it looks like. Or what is can look like with the right cockeyed angle. It’s best when the air has taken on the properties of the ground floor below it, and what we have is a surface that’s been displaced from the safe covering of a roof. It’s a worn out wooden floor, one that’s been paced over by parents waiting up late for their children to get home at night on a weekend and those trying to soothe a bawling baby in the middle of the night, when nothing is working. They’re the wooden floors that feel the weight of feet and bodies, bending with them, as if taking in a mighty exhalation, regaining their form when those legs have moved on to other parts of the floor. They are the kinds of floors that have chapters of aching stories and silent testimonials just waiting to be creaked out with the next pacing or the next entrance of someone else, speaking when not spoken to. These floors always speak when they’re not spoken to. And so can these skies, also constructed out of wood as the Canadian band The Wooden Sky leads us to believe. Lead singer Gavin Gardiner seems to reach up into the ominous and pregnant wooden skies and he plucks out of them wounded birds and those thoughts that are sent out into the air in helium-filled balloons, off to meet their makers. He brings them back down and he nestles them a bit, calming their shaking bones and wiggling skin, making them feel as if they had somewhere new to call home, somewhere that wasn’t into the middle of an angry front. And these thoughts, previously accomplices to those ominous dark skies, find themselves enjoying their new situations, back down here on the ground where they started from. -Sean Moeller // Daytrotter


THE WURST SOUNDTRACK presents on December 7, 2010 @  9 p.m. in the ROTOR SALON in der Volksbühne am Rosa-Luxemburgplatz:: STANLEY BRINKS (a.k.a. Andre Herman Düne) + FRESCHARD and Special Guests ++

STANLEY BRINKS  a.k.a André Herman Düne // has lived and worked in Berlin since 2004. He has made Berlin his base, a place where the coming and goings of a geographical minstrel stay under the radar. A home studio where he and Freschard prolifically kick out new songs, albums and even manage to record other artists and friends such as The Wave Pictures from the UK, or Ish Marquez and The Purple Organ good friends from their New York days in the cradle of the anti-folk scene. Stanley is a founding member of the band Herman Düne and is also known for making music under several different monikers such as AHD, Ben Dope, Klaus Bong, Ben Haschish, John Trawling, John Andreas, or even Lord Stanislas…









„Stanley’s (Andre’s) music combines a lo-fi sound with humorous and intelligent lyrics that cover a range of topics including Germans, a lack of confidence with a girl and trees in the garden. One track, simply called Stanley Brinks, seems to be autobiographical, describing his time at university, playing in a band and then going solo. If you like artists such as Iron and Wine and Mark Eitzel (American Music Club) and then this is for you. If you like Herman Dune, don’t expect more of the same. He plays with only his guitar and the musical arrangements are sparse. Most of the musical content comes from the tunes he sings, and the guitar need not be there at all. Very few artists have this ability and his voice is strong and soothing so this in no way is a bad thing. Indeed, its the lyrics where the real meat of the performance lies, they are often very poignant and amusing, lots of laughs filled the room this evening.“ Brighton Culture 2007

His texts are full of personal moments, one could even say explicit moments, which make you contemplate if he is writing his biography or merely re-telling someone else’s adventures. He has a control of nonsense poetry and a dark and disconcerting storytelling way about him. All this as the joyous tones of a guitar (usually a 1448 Silverton Danelectro circa 60 years old) catch our attention. sometimes Folk sometimes Blues or even Calypso. And he just might have his soprano saxophone with him, nice and always a lit cigarette. Mr. Stanley Brinks is an admirer of Steve Lacy and Gerry Mulligan.

Following the purchase of a gramophone he discovers the musical songs to texts of 30 years ago and the calypso music of Trinidad.. inspiring them to achieve two CD-R repeatedly ‘in tone’ “Calypso” and “More Calypso”, joined by Clémence Freschard under their group name Kreuzberg Museum. Listen::

FRESCHARD // grew up in a farm in French Burgundy. She started organizing shows in the barn when she was about 12 years old. Aged 18 she moved to the big city, Paris, where she baked pies and cakes in a cafe. There, a local musician and regular customer called Andre Herman Dune wrote a few songs for her to sing. Homeless in Paris, she saved up just enough money to get herself a ticket to New York. There she found an old electric guitar and started writing her own material. With AHD and G. Lucas Crane she also formed a band called Back Up, and worked on poetical noise music.

In 2004 she moved to Berlin, where she recorded her first LP, “Alien Duck”, with a mix of electronic and acoustic sounds. Her second album, “Click Click”, recorded in 2006, features a drummer (Leo Bear Creek), and electric guitars by Stanley Brinks. On her third album, “Moonstone”, she plays the drums herself. She works as a sound engineer and records her friends’ music. She also has a Calypso cover band with Stanley Brinks, called Kreuzberg Museum.

Until recently, her music was only available on the cdrs she sells at shows.. but now! there is a lovely vinyl edition of Click Click available from good record stores worldwide!

You can buy all the Freschard, Kreuzberg Muzeum and Stanley Brinks records on the webshop of b.y_records // LISTEN:


THE WURST SOUNDTRACK presents on December 17, 2010 @  9 p.m. in WEST GERMANY // LOWER DENS with JANA HUNTER (US)













LOWER DENS with Jana Hunter // Swarming guitar fuzz, bass waves, insistent drum throbs and Jana Hunter’s redolent, charred voice are the core components of Baltimore’s Lower Dens. Hunter, sometimes known for intimate, ghost heavy weird-fi, now writes and plays with a group that might get filed under new wave, or drone pop, or post-punk. With due deference to her solo work, we’re very glad.

The band’s debut full-length record, Twin-Hand Movement, is eleven perfect songs long. From opener “Blue & Silver” (anxiety mounts at a quick clip until the final climactic release) to “Plastic & Powder” (a churning, narcotic slow-burner) to “Hospice Gates” (penultimate album cut, proud  weirdo anthem, possible creative zenith), not one is a space-waster. They’re rife with the survivalist paranoia one expects from residents of a post-urban port hole (and this particular songwriter), crafted methodically and beautifully, and carry the listener enthusiastically out into the rolling breaks of industrial filth-water. Lower Dens formed in early 2009, when Hunter set about finding a full-time band. They spent the rest of the year sweating in attics and basements, and only stepped out of the shadows to do a quick tour and record. Twin-Hand Movement was recorded by Chris Freeland (ex-Oxes drummer; proprietor of Beat Babies, Baltimore), mixed by Chris Coady (at his DNA, NYC), and mastered by Sarah Register (of the Lodge, NYC and the band Talk Normal.)

October 10, 2010 // NPR // TINY DESK Concerts // Michael Katzif

I’m hardly an expert when it comes to design, but I know what I like when I see it. (I have seen Helvetica, after all. Twice!) But I do take notice when a great album cover catches my eye and makes me want to open it up and listen. We get sent hundreds of CDs a week, and sometimes you come to rely on judging the book by its cover as a strategy to filter through the stacks. So when I saw the cover to Lower DensTwin Hand Movement — with its black-and-white photograph of a scenic mountain view and simple typeface — it was enough to draw me in. As soon as I heard the songs, I knew it was one of my favorite records of the year.

For me, the music of Lower Dens fits that first impression: it’s dark and evocative, but spacious and hypnotic with its swaths of feedback and canyon-echoing guitars. And at the heart of the band is Jana Hunter, a Texas-born, Baltimore-based singer and songwriter who’s delicate voice haunts every song. And though it can be difficult to decipher her lyrics, it’s her melodic delivery, and the cathartic mood it captures, that makes her music so inviting.

Needless to say, I was excited to bring in Hunter and her band for a Tiny Desk Concert and see how they would winnow that blissful sound into such an intimate setting. The humble fragility can immediately be felt in their songs. Without the aid of reverb Hunter’s voice is more raw and understated, the rhythm section leaner. You can even hear Hunter shyly whisper to her bass player Geoff Graham between songs “This is fun.” Still, Lower Dens were able to bring enough of their personality (not to mention their homemade stompbox guitar pedals) to enrapture the NPR Music offices with an ethereal wash of sound.

NPR //

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