Face Mask’s, Tee’s, Tank Top’s and Fanny Pack’s – inspired by East Berlin, 1986

“TOMORROW’S PEOPLE – BERLIN 1986” WOMEN’S TEE’S, Unisex TANK TOPS, “TOXIC” INSPIRED FACE MASKS AND FANNY PACkS.

A useful range of KAISER MASCHINE merch, designed by me, available at Teespring. More designs coming soon.

Isolation Projekt

Estate album cover

 

Three tracks created exclusively with the Isolation Loops sound pack from Hainbach

It was tempting to add my own sounds but I challenged myself not to. I was looking for a deep bass and percussion so I had to play around to create them from the sounds available.

 

 

 

 

Isolation Loops (soundpack) by Hainbach

 

 

Here is a nice sound pack created by Berlin based electronic musician, Hainbach.

 

As more and more of the world goes into Covid-19 quarantine, I thought it would be nice to have a few sounds to get inspired from. This is a mini-Hainbach soundpack for you to make music with, containing some of my most favorite instruments: the Metasonix D1000 drummachine, whose hummy excellence I have enjoyed for long. The amazing Juno60 run through the nicest passive bandpass filters known, acoustic soundtrack loops with prepared piano, my beloved Ciat-Lonbarde modular, humble dictaphone piano loops and of course raw test equipment.

This soundpack is free until the crisis is over, but of course if you have money to spare it is much appreciated. As a performing musician, I have been hit hard by the crisis, at least a third of my yearly income has evaporated.

Use these in your music as you like, feel free to credit me if you release something, there is no licensing fee. DON’T re-package these and sell them as your own loops, that is explicitly not allowed.

Also, you have to figure out BPM and pitch yourself, as I don’t operate in that world. If you like this pack, you can find many many more on patreon.com/hainbach

Stay safe everyone!
Hainbach
Berlin,15th of March 2020

 

Hainbach Bandcamp

L’ÉPÉE – ‘DIABOLIQUE’

 

L’ÉPÉE – ‘DIABOLIQUE’

 

This is the debut album release from L’ÉPÉE , the band are Emmanuelle Seigner (Ultra Orange & Emmanuelle), Anton Newcombe (The Brian Jonestown Massacre) & Lionel & Marie Liminana (The Liminanas) . It is very rarely that a musical project lives up to the billing of being a ‘supergroup’. However, the exception to this rule comes in the shape of L’Epee.

A stellar combination of the talents of The Brian Jonestown Massacre’s Anton Newcombe, cinematic femme fatale Emmanuelle Seigner and ice-cool pop provocateurs The Limiñanas (Lionel and Marie Liminana), L’Epee transcend artistic and traditional borders.

“We are living in very culturally insular times, so it feels really good to be swimming against the tide,” says Anton of the band’s bi-lingual, cross-continental approach.“There’s something really positive about branching out, collaborating and taking risks.” Far from being defeated by a world seemingly regressing into turmoil, L’ Epee’s strength comes from a long history of challenging the status quo.

From Anton’s legendary battles with ‘The Man’ with The Brian Jonestown Massacre to Emmanuelle’s eclectic screen career to The Liminana’s community-minded ethos- setting up their own record shop, L.G.D.C, and promoting gigs by the cream of the world’s garage rock scene (New Bomb Turks, Oblivians, Fleshtones, Revelators) -they share a fierce intelligence and an outsider aesthetic which, over the decades, has been sharpened to a razor’s edge.

Fitting, then, that their name translates as The Sword. “It came to me in a dream,” explains Anton. “I woke up and there it was, ‘The Sword’. Someone told me there had already been a band with that name so I flipped it into French. It suits the band because we’re united in a common cause.” This pent-up creative energy has been channelled into their extraordinary debut album, Diabolique. Named in tribute to Mario Bava’s 1968 cult classic ‘Danger: Diabolik’, it’s a musical masterclass where elements of garage, ye-ye, sleaze rock, cult soundtracks, sci-fi, spaghetti westerns and girl-group pop noir are combined with the cut-and-thrust zeal of a band bursting with ideas and energy.

All delivered by Emmanuelle in a sultry Gallic drawl which will send a frisson of recognition through anyone familiar with her iconic roles in, among many others, Frantic, Venus In Fur and Bitter Moon (all directed by her husband, Roman Polanski). “I’ve loved rock music since I was a kid,” she says, namechecking Lou Reed, The Velvet Underground and The Stooges as key influences.
“I always wanted to be a musician, but it wasn’t so easy in France as I couldn’t meet the right people. Then I became a model and then very quickly after that I did Frantic and became an actress. It worked for me, but in my heart I always wanted to do music.”

Having asked close friend Bertrand Belin to provide lyrics for three further tracks (‘Grande’, ‘On Dansait Avec Elle’ and ‘Lou’), the trio set to work at The Limiñanas’ studio in Cabestany, Southern France, in November 2017 -with Emmanuelle, ever the perfectionist, fine-tuning them the following February.

Satisfied with the results, the trio flew to Berlin to hook up with Anton and (Liverpudlian engineer) Andrea Wright at his Cobra Studio in Berlin Utilising a treasure trove of vintage equipment (“I’ve got way more ‘60’s gear than The Beatles and The Stones had, I’m mad for that stuff”, explains the BJM man), Anton set to work, re-recording the drums with Marie and adding -and deleting- tracks so that the shifting layers of sound suited the mood of each individual track.

“I’ve got plenty of other ways to express myself, so I really enjoyed taking a backseat, creatively,” he explains. “Lionel is such a great composer. There’s a very visual sense to his songs and I was very conscious of not stepping on his intentions too much. There were some really interesting sonic things I would add, like a track of the craziest feedback, to give a song a weird ambient quality. It’s the role that Brian Jones had in the Stones, or Warren (Ellis) has in Nick Cave’s band. Musically, they’re all over the map, but they make things happen.”

“It was so inspiring to see Anton work,” says Emmanuelle of seeing him in action.
“When we sent the songs to him they were good, but they were nothing like how it ended up. He’s so talented, like a genius. He made the whole thing darker, more interesting and more psychedelic.”

 

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Available at CARGO RECORDS

 

Glad I decided to pick up tickets to see L’ÉPÉE LIVE at EartH in London in December.