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Brooklyn-residing indie pop artist COTE brings her singer-songwriter chops and elegant, expressive vocals to her classic (circa 1970s) music.
I had the opportunity to chat with Syd Arthur’s Liam Magill a while back. Check out some Q&A!
David Gedge, the renowned British veteran musician/singer-songwriter and founder of the indie rock/post-punk band The Wedding Present, is still going strong with a new double album.
Amy Cooper and Jon Bennett of the UK-based indie/garage rock trio WTATDR dig into the details of their striking and seismic sound and upcoming second album.
“I used to think that my impulse to write songs matched the very same need to write poetry or stories when I was younger. A sort of longing to abstract and simplify the disorder of emotion I felt inside.” – Charlie Hilton
This past February, Austin’s Thousand Foot Whale Claw quietly released one of the best kosmische-laden albums of 2016. The BT spoke to Justin Goers (bass/synth/drum machine/guitar) and Adam Jones (synth/drum machine) through email about Austin, Holodeck Records and their newest album Cosmic Winds.
“We wanted to be like all our favourite bands but they were so diverse that ultimately you just end up sounding like yourself, which is how it should be.” – Gary Mundy
“More people have mistaken me for Adam Levine from Maroon 5 than they have recognized me as Eron from Hawthorne Heights.” Drummer Eron Bucciarelli takes a break from touring to discuss fame, the summer of 1994 and how his band sued Victory Records.
Trail-blazing independent music icon Kristin Hersh (Throwing Muses, 50FootWave, solo) reveals details about her past, present, and future in an engaging and insightful interview.
Steve Moore and Jon Ireson of the atmospheric alternative rock/electronic/industrial music project Post Death Soundtrack enlighten with info about their musical history, recent album, genre-blending sound, and future plans.
Michael Weeks, one half of the electronic/post-rock duo Native Gold, spills details about working with musical partner and friend Lee Young, their atmospheric and restless sound, and accomplished debut EP.
“I’ll be damned if such a one-sided overly simplistic representation of music from this land is all the world comes to know.” – A.J. Haynes
Brett Sullivan, the founder of long-running anti-folk/punk band American Anymen, clarifies his stance against capitalism, the nature of art, and upcoming album Start My Center.
“The songs represent an inward reflection more so than an outward one. What it feels like to live in society but not an analysis of society itself.” – Andrew Kerr
I sat down with funk duo The Floozies at Bonnaroo earlier this June. Read all about what they had to say.
Preston Maddox reveals details about his nightmare dream-rock band Bloody Knives and slow-burning dystopian music project S T F U with Dean Garcia (Curve, SPC ECO).
“It’s interesting to me that as a woman in a male-dominated industry, we are congratulated when we show ‘masculine’ characteristics, but often chagrined for being ‘girly.’” – Esmé Patterson
I chatted with Steve Gunn, virtuosic guitarist and former member of Kurt Vile and the Violators. Read all about what he had to say.
“What we found is that Berlin is a city of chaos with an artistic infrastructure that is more than 100 years old. It is in a constant state of transition, and I think this enables artists to basically do whatever they want. There is no industry telling you what to listen to, and no standard for what art or music should be.” – Nic Barnes
I got to chat with Chicago garage-punk band, Twin Peaks. Read what they had to say.
“Writing songs has always been a cathartic experience for me. It’s a way of processing my life in a way that is not self-destructive.” – Zach Rogue
Noveller is the solo electric guitar project of Brooklyn composer/filmmaker, Sarah Lipstate. She’s responsible for Fantastic Planet, one of the finest albums of 2015 and has recently been the opening act for Iggy Pop on his latest tour.
“Sci-fi actually plays a big role in that, because I grew up on The Outer Limits, and I grew up on Twilight Zone and C.S. Lewis. But I didn’t tell anybody that, because I always associated it with…I don’t know, I didn’t want to tell anybody that, because it might ruin my Americana image.”
Complete interview with Carlotta Cosials of Hinds used for the short take in Big Takeover #77.
With his unique drums-and-guitar setup and already-massive repertoire of lo-fi pop gems (over 400!) 27-year-old Clarke Howell is one of the Western U.S. underground’s best-kept secrets, but with his first proper LP The Well-Rounded Clarke and the Himselfs out, another on the way and two tours with Built to Spill under his belt that ought to change soon.
Gustav Ejstes of Dungen is back in the US after a five year absence, with a new record and a short tour.
The Australian musician continues to step out from the shadow of The Go-Betweens on a new solo set, Songs to Play.
Scott Lucas talks about the new Local H record, then plays a show at Minneapolis’ Triple Rock.
“It’s [spaghetti western soundtracks] just breathtaking music regardless of the context it sits in or the film genre it’s associated with. And for that reason I thought it would be cool to see if I could mold a bit of its essence to something dance-y and opposite”.
Nerding out on music and writing with the Bitch Magnet guitarist and author of the new punk time capsule Your Band Sucks.
We have a conversation with The Pre New’s mastermind, Jamie Fry, and discuss his illustrious past and how it relates to his newest project.
“Sometimes people take what I say too seriously on social media, but I’d like to think this shows another side to Northern Star and the personality and train of thought behind it.”
It’s like Twisted Sister – a “Sister Fister” is a sister who fists. We’re not saying it’s RC, but…
“When I found music it was different, it added an extra “something” that gave me much more excitement and freedom. Before shoegaze, Sonic Youth was the band that introduced me to all this noisy experimentation with guitars, so that was what opened the gates to a flood of shoegaze bands for me.”
We sit down to talk with dream-pop composer Thomas Meluch about his latest album, Sonnet, the process of channeling nature through electronic sound, and the experience related to coming of age during the brief “blog band” phenomenon.
Jimbo – he goes, ‘I looked over at the dance floor, and it was all guys, and there was this black cowboy French kissing a white cowboy.’ And he said, ‘at that moment I knew we were in the wrong place!’
“All the songs have a certain amount of us wishing we were somewhere else in them, I’m sure of that. We’ve always done our own thing and we’ve never been bothered if the people of our home town like it.”
“They sounded so far ahead of their time back in those dark musical days when only the punk and new wave scenes offered any hope for listeners turned off by disco, bad metal, and hair bands.”
“Malmö, Sweden’s Death and Vanilla are a duo with an enchanting and occasionally creepy sound, composed on vintage instruments and drawing on musical influences ranging from Julee Cruise to Broadcast to The United States of America.”
Alvvays make a collaborative playlist on the spot, eat life-threatening hot wings, and tell us the questions they hate being asked. It’s weird, miscellaneous, and wonderful!
I never worried about trends. Magma just flies through time and periods.
“I feel very fortunate at this point in my life that I was able to meet and collaborate with these wonderful people. It would certainly be an experience to play live shows, but recording and releasing music is as much as I can hope for at this point.”
“There won’t be another five year gap between albums. I knocked it down, and now I’m building it back up.”
“I had a spiritual experience in Austin, TX. Long story short, I basically died and was reborn by some dirty old railroad tracks.”
Drawing upon the indie rock of yesteryear, Saskatchewan’s These Estates adds its own distinct voice. Meet the songwriting team behind not one but two of the smartest, most immediate LPs of 2014.