Suche nach A Quiet Place: 7 Ergebnisse

Attila Vural Gitarrenkonzert

Atilla Vural Nicht ohne meine Gitarre Sein Feriengepäck spricht Bände. Wo andere nie ohne ihren Regenschirm verreisen würden - man weiss ja nie, wie das Wetter wird - oder unter keinen Umständen das Kleine Schwarze zu Hause liessen - wer weiss schon, welche unerwarteten Feste gefeiert werden - wird man Attila Vural auch im Urlaub nie ohne seine Gitarre antreffen: Man weiss ja nie, welche Melodie einem über den Weg läuft. So klingt denn auch seine Musik wie ein grosser Koffer voller Ferienerinnerungen - doch es sind keine hippen Städtekurztrips oder mondscheinschwangeren Segeltörns, die der 1972 geborene Zürcher Gitarrist mit seinen Tönen nachzeichnet. Vielmehr sind es Reisen der offenen Ohren und der suchenden Augen, auf denen sich der Musiker inspirieren lässt von südamerikanisch angehauchten Rhythmen, dem Jazz entlehnten Tonfolgen und Motiven, sowie erdverbunden popigen Melodien. Seit seinen ersten Kompositionen, die in die frühen neunziger Jahre zurückreichen, zeichnet sich Attila Vurals Musik durch diese kreative Mischung verschiedener Einflüsse aus, die in seinen eigenen Interpretationen ebenso wie in denjenigen der verschiedenen Formationen, deren Stil Vurals Arrangements geprägt haben (Saf-Inütill, Approaches), seine eigenständige Handschrift erkennen lassen. Angeregt durch Dominic Millers CD »First Touch«, widmet sich Attila Vural seit 1997 zunehmend und seit zehn Jahren ausschliesslich der Solo-Gitarre, die er sowohl in 6-saitiger und 12-saitiger Version, als auch neuerdings in einer 15-saitigen Spezialanfertigung in Form einer Semi Fretless Nylon String Uke-Guitar (Gitarrenbauer: Arns & Kallenbach) spielt. Sein unverkennbarer Stil, der eine perkussiv gespielte Gitarre mit subtilen klassischen Saitenklängen vereint und dabei gänzlich ohne zusätzliche Effekte auskommt, ist in musikalischer und technischer Hinsicht unüberhörbar durch das Schaffen des deutschen Gitarristen Claus Boesser-Ferrari beeinflusst. Daneben erhielt Vural aber auch wichtige Impulse durch die experimentellen Variationen des Gitarristen Heitor Teixeira Pereira. Attila Vurals Spiel lädt ein, ihm auf seinen Klangreisen in die weite Welt musikalischer Begegnungen zu folgen. Dazu stehen mittlerweile achtzehn Solo-CD's bereit - »A Handful of Thoughts« (2004), »Painting a Reverie« (2007), »Some Place of Sounding« (2009), »the Last Laugh« (2010), »Something Plays Like a Child« (2012), »According Outside my Room« (2014), »Moonbeams Rise as Quavers« (2015), »Another Strumming in the Blue« (2016), »With Dom at the Meeting Point - A Tribute to Dominic Miller« (2016), »the Tenth Hour of Delight« (2017), »Encounters at the Riviera« (2018), »Harmonized but Different« (2019), »the Rhythm´s Deep Whisper« (2020) , »That´s Why I Play the Guitar (A Fingerstyle Tribute to Gary Moore)« (2020), »Introducing my BlueLine« (2021), »Sonorous in One Quiet Night« (2022), »Back to Moore (Another Solo Acoustic Guitar Tribute to Gary Moore)« (2022) und ganz aktuell »The Real Live Wires Are Talking« (2023) - bei vielen Gelegenheiten ist Vurals perkussive Gitarre aber auch live zu hören: Er trat nicht nur National auf, sondern auch in den USA, an der European Acoustic Guitar Night im Teatro Goethe-Institut in Rom, am Internationalen Gitarrenfestival »Open Strings« in Osnabrück und an den Internationalen Neuöttinger Gitarrentage. Unter anderem vertonte er als live Soundtrack, die Stummfilme »Der letzte Mann« und »Nosferatu« von Friedrich Murnau an der Musikfestwoche in Winterthur und am Neisse Film Festival in Görlitz (D). Ob auf Tonträger oder auf der Bühne: Wer mit Attila Vural die Reise antritt, wird Orte aufsuchen, die zu entdecken man einer Solo-Gitarre gar nicht zutrauen würde.

Malchin OT Remplin | Schlosskapelle Remplin

Hot Mulligan

Like many bands last year, Lansing, Michigan's Hot Mulligan--the #1 Hot New Band per their Facebook page--put out an LP in 2020 that they didn't get to tour. This year, they'll release I Won't Reach Out To You, a six-track EP that operates as a response to their 2020 full-length You'll Be Fine. The EP is bookended on the first and last tracks by a resounding glance-back at a world that simply doesn't exist anymore: «Stay home, stay home/You said it wouldn't make a difference whether we could be together or not.» On opener «One For The Boy,» those words are a serene, mournful observation, but by «Please Don't Cry, You Have Swag,» they're a volatile explosion, a group-yelled diagnosis set to thundering guitars, bass, and drums. These facts also explain Hot Mulligan: a group of shitposting gamers from far reaches of Michigan (and one from Iowa) who became best friends at college and started making music that works through the endless weirdness of growing up in this moment. The result of these things is earnest, affecting emo punk, presented with a song title created by typing into autocorrect with eyes closed. «Nothing is black and white,» says rhythm guitarist and backing vocalist Chris Freeman. «I like to think that we challenge each other mentally and as friends to do better and grow together. We're also just shitposters and trolls.» Freeman and lead vocalist Nathan «Tades» Sanville came up together playing in local punk bands in rural Michigan before moving to Lansing in search of greater opportunity, where they met lead guitarist Ryan «Spicy» Malicsi and drummer Brandon Blakeley. «When the music just becomes a reflection of life and growing up, then when we're bonding over music, we're bonding over our lives together,» says Freeman. That intimacy and interdependence works in extremes. «You see your friends in their lowest places,» says Freeman. «But you also see them when they're doing everything they wanted to do.» The band recorded I Won't Reach Out To You in Pilesgrove, New Jersey with producer Gary Cioni (Grayscale, Free Throw) at his Sound Acres Studio. Freeman, Cioni and Dash Williams shared engineering duties. The majority of the record was written in studio over the course of a two-week period. The EP details the first major dying-off of connections and relationships in a life. It's an experience that's familiar but always jarring. You spend your youth hearing your parents talk about friends they haven't seen in years, and you think how ridiculous that sounds. Then suddenly, you're 25, and realize you haven't spoken with your old best pal since high school graduation. It happens fast, and it's weird. «It's not always about not reaching out to someone because they're toxic,» says Freeman. «It's just because people grow apart.» I Won't Reach Out To You is an exploration of this process that constantly reproduces itself across our lives, which forces us to square two facts: those times and the people we knew were awesome, and they're over now, forever. Freeman says it's about «reminiscing on people you knew in the past, but acknowledging that the past is the past.» «One For The Boy» introduces this over a gentle wash of guitar and ghostly vocals as Sanville laments, «Hey, I feel us growing apart/Could we just talk or is it not the right time?» A snare drum rolls in the distance and goes quiet, and in bursts earworm pop punk blast «Featuring Mark Hoppus» on compressed, crunchy guitars and Sanville's full-tilt belt: «I kinda miss you/Back in highschool/25 and I still think about your drawings that you made.» «Losing Days» follows with acoustic guitar and Sanville's breathless vocals: «Losing days because it's hard to reason leaving the bed/Debt's been building since we got here/Staying the same/Forget it!» It's a tight 90 seconds that give way to «Pop Shuvit (hall of meat, duh),» a perfect slice of pounding, Taking Back Sunday-style emo pop that tracks the tiring relentlessness of growing up while realizing that no one at the top is looking out for you. «Please Don't Cry, You Have Swag» closes on nostalgia and a cruel coming-to-terms with the passage of time, as clear finger-picking broods and Sanville's vocals long for a return to an impossible before: «You think I matter less than politics/When all I want is fresh paint, before we ever would've talked like this.» The final minute crescendos into a shattering breakdown while Sanville repeats the first song's remarks to a backing chorus of, «Stay home, stay home.» Hot Mulligan are just as likely to write a beautiful, devastating treatise on growing apart--both literally and spiritually, from your friends and your old self--as they are to make a song and video about putting on sunglasses (which they have done). This is the Hot Mulligan way: life is serious and scary, but you just gotta make a meme about it with your buds.

Karlsruhe | Die Stadtmitte

Hot Mulligan

Like many bands last year, Lansing, Michigan's Hot Mulligan--the #1 Hot New Band per their Facebook page--put out an LP in 2020 that they didn't get to tour. This year, they'll release I Won't Reach Out To You, a six-track EP that operates as a response to their 2020 full-length You'll Be Fine. The EP is bookended on the first and last tracks by a resounding glance-back at a world that simply doesn't exist anymore: «Stay home, stay home/You said it wouldn't make a difference whether we could be together or not.» On opener «One For The Boy,» those words are a serene, mournful observation, but by «Please Don't Cry, You Have Swag,» they're a volatile explosion, a group-yelled diagnosis set to thundering guitars, bass, and drums. These facts also explain Hot Mulligan: a group of shitposting gamers from far reaches of Michigan (and one from Iowa) who became best friends at college and started making music that works through the endless weirdness of growing up in this moment. The result of these things is earnest, affecting emo punk, presented with a song title created by typing into autocorrect with eyes closed. «Nothing is black and white,» says rhythm guitarist and backing vocalist Chris Freeman. «I like to think that we challenge each other mentally and as friends to do better and grow together. We're also just shitposters and trolls.» Freeman and lead vocalist Nathan «Tades» Sanville came up together playing in local punk bands in rural Michigan before moving to Lansing in search of greater opportunity, where they met lead guitarist Ryan «Spicy» Malicsi and drummer Brandon Blakeley. «When the music just becomes a reflection of life and growing up, then when we're bonding over music, we're bonding over our lives together,» says Freeman. That intimacy and interdependence works in extremes. «You see your friends in their lowest places,» says Freeman. «But you also see them when they're doing everything they wanted to do.» The band recorded I Won't Reach Out To You in Pilesgrove, New Jersey with producer Gary Cioni (Grayscale, Free Throw) at his Sound Acres Studio. Freeman, Cioni and Dash Williams shared engineering duties. The majority of the record was written in studio over the course of a two-week period. The EP details the first major dying-off of connections and relationships in a life. It's an experience that's familiar but always jarring. You spend your youth hearing your parents talk about friends they haven't seen in years, and you think how ridiculous that sounds. Then suddenly, you're 25, and realize you haven't spoken with your old best pal since high school graduation. It happens fast, and it's weird. «It's not always about not reaching out to someone because they're toxic,» says Freeman. «It's just because people grow apart.» I Won't Reach Out To You is an exploration of this process that constantly reproduces itself across our lives, which forces us to square two facts: those times and the people we knew were awesome, and they're over now, forever. Freeman says it's about «reminiscing on people you knew in the past, but acknowledging that the past is the past.» «One For The Boy» introduces this over a gentle wash of guitar and ghostly vocals as Sanville laments, «Hey, I feel us growing apart/Could we just talk or is it not the right time?» A snare drum rolls in the distance and goes quiet, and in bursts earworm pop punk blast «Featuring Mark Hoppus» on compressed, crunchy guitars and Sanville's full-tilt belt: «I kinda miss you/Back in highschool/25 and I still think about your drawings that you made.» «Losing Days» follows with acoustic guitar and Sanville's breathless vocals: «Losing days because it's hard to reason leaving the bed/Debt's been building since we got here/Staying the same/Forget it!» It's a tight 90 seconds that give way to «Pop Shuvit (hall of meat, duh),» a perfect slice of pounding, Taking Back Sunday-style emo pop that tracks the tiring relentlessness of growing up while realizing that no one at the top is looking out for you. «Please Don't Cry, You Have Swag» closes on nostalgia and a cruel coming-to-terms with the passage of time, as clear finger-picking broods and Sanville's vocals long for a return to an impossible before: «You think I matter less than politics/When all I want is fresh paint, before we ever would've talked like this.» The final minute crescendos into a shattering breakdown while Sanville repeats the first song's remarks to a backing chorus of, «Stay home, stay home.» Hot Mulligan are just as likely to write a beautiful, devastating treatise on growing apart--both literally and spiritually, from your friends and your old self--as they are to make a song and video about putting on sunglasses (which they have done). This is the Hot Mulligan way: life is serious and scary, but you just gotta make a meme about it with your buds.

Frankfurt am Main | DAS BETT - Live Musik Club

Tors

TORS Tors make the kind of songs you shout along to in the car alone with the windows down, just before last call in a pub full of friends, and on packed festival fields anywhere in the world. The UK trio of brothers Matt and Theo Weedon joined by friend Jack Bowden rally around driving rhythms, cinematic soundscapes, and life-affirming anthemic hooks anchored by the innate personal and creative connection between them. After generating millions of streams and playing to packed houses around the world, this bond among bandmates is central to their sound, and it also drives their Glassnote Records debut. «This band is family,» Matt proclaims. «There are ups and downs, but we make up really quickly. It's a brotherhood with the boys, and it's a community with our fans. If one of us isn't feeling it, it doesn't work. We're moving towards the same goal. We want to be a big stadium rock band that makes pop songs that mean a lot to people. That's what Tors is.» Hailing from the county of Devon, Matt and Theo instantly gravitated to music as kids. By all accounts, mum is «a great singer,» while dad «may not be the best musician, but he loves music to the core,» laughs Matt. Nevertheless, Dad often chose the soundtrack for dinner, and the boys absorbed classic albums with their parents. Going further back, their grandfather, Bert Weedon, shined as a famous guitarist in the fifties and sixties. He even penned a famous guitar instructional book entitled Play in a Day. The likes of The Beatles and Brian May frequented his family home and cited the book as an essential tome for learning the instrument. Simultaneously, he performed with Frank Sinatra. As such, music has always coursed through the family's DNA. In between writing and recording music of their own, the brothers honed their talents behind the scenes as songwriters. They landed high-profile syncs such as «Perfectly Imperfect» for Declan J Donovan and «Need You Now» for Dean Lewis, piling up over half a billion streams. Inspired by everyone from Coldplay, Oasis, Kings of Leon, The Eagles, and Nick Drake to Keane and Snow Patrol, they also quietly cemented their own signature style as Tors. Their name references a hometown landmark, reflecting the natural energy surging through the music. «There's a huge national park in Devon with all of these mountains and rivers,» he elaborates. «We used to climb these huge rocks known as Tors. I still go there once a week. It's a really beautiful and spiritual place. We wanted to keep home top of mind.» Along the way, Tors gained traction with the likes of «Hold Me,» «Seventeen,» «Don't Cry,» and «Empty Hands,» gathering millions of streams. Between touring with Sam Ryder, Tom Walker, X Ambassadors, and more, they dropped the Anything Can Happen EP highlighted by the singles «Garden on the Kitchen Floor» and «Colour In The Ordinary.» The latter's title track, «Anything Can Happen,» caught fire on TikTok and posted up 3.3 million Spotify streams. During the summer of 2023, the band signed with Glassnote Records and decamped to Woodstock, NY in order to record their upcoming EP with producer Simone Felice [The Lumineers, Noah Kahan, Vance Joy]. A deliberately nuanced approach defined the songwriting and expanded their sound. «Every single thing we put into a track needs a reason to be there,» he goes on. «We love the beautiful balance of what the three of us can do. It's important to keep the songs driving along and moving.» Speaking of, the single «Miracle» storms out of the gate with uncontainable energy as it heralds the start of their next chapter. Tambourine sets the tempo as lush guitars and glistening piano underline uplifting verses. It culminates on a towering chorus as Matt confesses, «I've been waiting for a miracle maybe I'll make it there someday.» At the same time, he promises, «I'm not gonna slow down until I see my hometown reflected in a mirror like a light in the sky» «We were opening up about some experiences,» Matt goes on. «It's about being a creative, chasing your dream, and constantly hounding down this path. You're hoping you'll get that break someday or a miracle will happen. It's really our life story of being in a band. It's a struggle, but we can't and won't do anything else.» That's something the rest of us should be thankful for. «With this music, we want you to know Tors has landed,» he leaves off. «It's not about just right now. We want this record to be great in 20 years. We're here to stay.»

KÖLN | Die Kantine

Tors

TORS Tors make the kind of songs you shout along to in the car alone with the windows down, just before last call in a pub full of friends, and on packed festival fields anywhere in the world. The UK trio of brothers Matt and Theo Weedon joined by friend Jack Bowden rally around driving rhythms, cinematic soundscapes, and life-affirming anthemic hooks anchored by the innate personal and creative connection between them. After generating millions of streams and playing to packed houses around the world, this bond among bandmates is central to their sound, and it also drives their Glassnote Records debut. «This band is family,» Matt proclaims. «There are ups and downs, but we make up really quickly. It's a brotherhood with the boys, and it's a community with our fans. If one of us isn't feeling it, it doesn't work. We're moving towards the same goal. We want to be a big stadium rock band that makes pop songs that mean a lot to people. That's what Tors is.» Hailing from the county of Devon, Matt and Theo instantly gravitated to music as kids. By all accounts, mum is «a great singer,» while dad «may not be the best musician, but he loves music to the core,» laughs Matt. Nevertheless, Dad often chose the soundtrack for dinner, and the boys absorbed classic albums with their parents. Going further back, their grandfather, Bert Weedon, shined as a famous guitarist in the fifties and sixties. He even penned a famous guitar instructional book entitled Play in a Day. The likes of The Beatles and Brian May frequented his family home and cited the book as an essential tome for learning the instrument. Simultaneously, he performed with Frank Sinatra. As such, music has always coursed through the family's DNA. In between writing and recording music of their own, the brothers honed their talents behind the scenes as songwriters. They landed high-profile syncs such as «Perfectly Imperfect» for Declan J Donovan and «Need You Now» for Dean Lewis, piling up over half a billion streams. Inspired by everyone from Coldplay, Oasis, Kings of Leon, The Eagles, and Nick Drake to Keane and Snow Patrol, they also quietly cemented their own signature style as Tors. Their name references a hometown landmark, reflecting the natural energy surging through the music. «There's a huge national park in Devon with all of these mountains and rivers,» he elaborates. «We used to climb these huge rocks known as Tors. I still go there once a week. It's a really beautiful and spiritual place. We wanted to keep home top of mind.» Along the way, Tors gained traction with the likes of «Hold Me,» «Seventeen,» «Don't Cry,» and «Empty Hands,» gathering millions of streams. Between touring with Sam Ryder, Tom Walker, X Ambassadors, and more, they dropped the Anything Can Happen EP highlighted by the singles «Garden on the Kitchen Floor» and «Colour In The Ordinary.» The latter's title track, «Anything Can Happen,» caught fire on TikTok and posted up 3.3 million Spotify streams. During the summer of 2023, the band signed with Glassnote Records and decamped to Woodstock, NY in order to record their upcoming EP with producer Simone Felice [The Lumineers, Noah Kahan, Vance Joy]. A deliberately nuanced approach defined the songwriting and expanded their sound. «Every single thing we put into a track needs a reason to be there,» he goes on. «We love the beautiful balance of what the three of us can do. It's important to keep the songs driving along and moving.» Speaking of, the single «Miracle» storms out of the gate with uncontainable energy as it heralds the start of their next chapter. Tambourine sets the tempo as lush guitars and glistening piano underline uplifting verses. It culminates on a towering chorus as Matt confesses, «I've been waiting for a miracle maybe I'll make it there someday.» At the same time, he promises, «I'm not gonna slow down until I see my hometown reflected in a mirror like a light in the sky» «We were opening up about some experiences,» Matt goes on. «It's about being a creative, chasing your dream, and constantly hounding down this path. You're hoping you'll get that break someday or a miracle will happen. It's really our life story of being in a band. It's a struggle, but we can't and won't do anything else.» That's something the rest of us should be thankful for. «With this music, we want you to know Tors has landed,» he leaves off. «It's not about just right now. We want this record to be great in 20 years. We're here to stay.»

München | Technikum

Tors

TORS Tors make the kind of songs you shout along to in the car alone with the windows down, just before last call in a pub full of friends, and on packed festival fields anywhere in the world. The UK trio of brothers Matt and Theo Weedon joined by friend Jack Bowden rally around driving rhythms, cinematic soundscapes, and life-affirming anthemic hooks anchored by the innate personal and creative connection between them. After generating millions of streams and playing to packed houses around the world, this bond among bandmates is central to their sound, and it also drives their Glassnote Records debut. «This band is family,» Matt proclaims. «There are ups and downs, but we make up really quickly. It's a brotherhood with the boys, and it's a community with our fans. If one of us isn't feeling it, it doesn't work. We're moving towards the same goal. We want to be a big stadium rock band that makes pop songs that mean a lot to people. That's what Tors is.» Hailing from the county of Devon, Matt and Theo instantly gravitated to music as kids. By all accounts, mum is «a great singer,» while dad «may not be the best musician, but he loves music to the core,» laughs Matt. Nevertheless, Dad often chose the soundtrack for dinner, and the boys absorbed classic albums with their parents. Going further back, their grandfather, Bert Weedon, shined as a famous guitarist in the fifties and sixties. He even penned a famous guitar instructional book entitled Play in a Day. The likes of The Beatles and Brian May frequented his family home and cited the book as an essential tome for learning the instrument. Simultaneously, he performed with Frank Sinatra. As such, music has always coursed through the family's DNA. In between writing and recording music of their own, the brothers honed their talents behind the scenes as songwriters. They landed high-profile syncs such as «Perfectly Imperfect» for Declan J Donovan and «Need You Now» for Dean Lewis, piling up over half a billion streams. Inspired by everyone from Coldplay, Oasis, Kings of Leon, The Eagles, and Nick Drake to Keane and Snow Patrol, they also quietly cemented their own signature style as Tors. Their name references a hometown landmark, reflecting the natural energy surging through the music. «There's a huge national park in Devon with all of these mountains and rivers,» he elaborates. «We used to climb these huge rocks known as Tors. I still go there once a week. It's a really beautiful and spiritual place. We wanted to keep home top of mind.» Along the way, Tors gained traction with the likes of «Hold Me,» «Seventeen,» «Don't Cry,» and «Empty Hands,» gathering millions of streams. Between touring with Sam Ryder, Tom Walker, X Ambassadors, and more, they dropped the Anything Can Happen EP highlighted by the singles «Garden on the Kitchen Floor» and «Colour In The Ordinary.» The latter's title track, «Anything Can Happen,» caught fire on TikTok and posted up 3.3 million Spotify streams. During the summer of 2023, the band signed with Glassnote Records and decamped to Woodstock, NY in order to record their upcoming EP with producer Simone Felice [The Lumineers, Noah Kahan, Vance Joy]. A deliberately nuanced approach defined the songwriting and expanded their sound. «Every single thing we put into a track needs a reason to be there,» he goes on. «We love the beautiful balance of what the three of us can do. It's important to keep the songs driving along and moving.» Speaking of, the single «Miracle» storms out of the gate with uncontainable energy as it heralds the start of their next chapter. Tambourine sets the tempo as lush guitars and glistening piano underline uplifting verses. It culminates on a towering chorus as Matt confesses, «I've been waiting for a miracle maybe I'll make it there someday.» At the same time, he promises, «I'm not gonna slow down until I see my hometown reflected in a mirror like a light in the sky» «We were opening up about some experiences,» Matt goes on. «It's about being a creative, chasing your dream, and constantly hounding down this path. You're hoping you'll get that break someday or a miracle will happen. It's really our life story of being in a band. It's a struggle, but we can't and won't do anything else.» That's something the rest of us should be thankful for. «With this music, we want you to know Tors has landed,» he leaves off. «It's not about just right now. We want this record to be great in 20 years. We're here to stay.»

WIEN - Österreich | FLUCC

Tors

TORS Tors make the kind of songs you shout along to in the car alone with the windows down, just before last call in a pub full of friends, and on packed festival fields anywhere in the world. The UK trio of brothers Matt and Theo Weedon joined by friend Jack Bowden rally around driving rhythms, cinematic soundscapes, and life-affirming anthemic hooks anchored by the innate personal and creative connection between them. After generating millions of streams and playing to packed houses around the world, this bond among bandmates is central to their sound, and it also drives their Glassnote Records debut. «This band is family,» Matt proclaims. «There are ups and downs, but we make up really quickly. It's a brotherhood with the boys, and it's a community with our fans. If one of us isn't feeling it, it doesn't work. We're moving towards the same goal. We want to be a big stadium rock band that makes pop songs that mean a lot to people. That's what Tors is.» Hailing from the county of Devon, Matt and Theo instantly gravitated to music as kids. By all accounts, mum is «a great singer,» while dad «may not be the best musician, but he loves music to the core,» laughs Matt. Nevertheless, Dad often chose the soundtrack for dinner, and the boys absorbed classic albums with their parents. Going further back, their grandfather, Bert Weedon, shined as a famous guitarist in the fifties and sixties. He even penned a famous guitar instructional book entitled Play in a Day. The likes of The Beatles and Brian May frequented his family home and cited the book as an essential tome for learning the instrument. Simultaneously, he performed with Frank Sinatra. As such, music has always coursed through the family's DNA. In between writing and recording music of their own, the brothers honed their talents behind the scenes as songwriters. They landed high-profile syncs such as «Perfectly Imperfect» for Declan J Donovan and «Need You Now» for Dean Lewis, piling up over half a billion streams. Inspired by everyone from Coldplay, Oasis, Kings of Leon, The Eagles, and Nick Drake to Keane and Snow Patrol, they also quietly cemented their own signature style as Tors. Their name references a hometown landmark, reflecting the natural energy surging through the music. «There's a huge national park in Devon with all of these mountains and rivers,» he elaborates. «We used to climb these huge rocks known as Tors. I still go there once a week. It's a really beautiful and spiritual place. We wanted to keep home top of mind.» Along the way, Tors gained traction with the likes of «Hold Me,» «Seventeen,» «Don't Cry,» and «Empty Hands,» gathering millions of streams. Between touring with Sam Ryder, Tom Walker, X Ambassadors, and more, they dropped the Anything Can Happen EP highlighted by the singles «Garden on the Kitchen Floor» and «Colour In The Ordinary.» The latter's title track, «Anything Can Happen,» caught fire on TikTok and posted up 3.3 million Spotify streams. During the summer of 2023, the band signed with Glassnote Records and decamped to Woodstock, NY in order to record their upcoming EP with producer Simone Felice [The Lumineers, Noah Kahan, Vance Joy]. A deliberately nuanced approach defined the songwriting and expanded their sound. «Every single thing we put into a track needs a reason to be there,» he goes on. «We love the beautiful balance of what the three of us can do. It's important to keep the songs driving along and moving.» Speaking of, the single «Miracle» storms out of the gate with uncontainable energy as it heralds the start of their next chapter. Tambourine sets the tempo as lush guitars and glistening piano underline uplifting verses. It culminates on a towering chorus as Matt confesses, «I've been waiting for a miracle maybe I'll make it there someday.» At the same time, he promises, «I'm not gonna slow down until I see my hometown reflected in a mirror like a light in the sky» «We were opening up about some experiences,» Matt goes on. «It's about being a creative, chasing your dream, and constantly hounding down this path. You're hoping you'll get that break someday or a miracle will happen. It's really our life story of being in a band. It's a struggle, but we can't and won't do anything else.» That's something the rest of us should be thankful for. «With this music, we want you to know Tors has landed,» he leaves off. «It's not about just right now. We want this record to be great in 20 years. We're here to stay.»

BERLIN | Hole 44