RedBooster is a Rock Funk Experimental band bornt in the summer 2014 and growing since then in the city of Berlin, Germany. The band is formed by three long career musicians coming from different spots on the map, who meet to create a musical project based on the search of a personal sound through musical experimentation “We met on a sunny day and ideas started to flow”. The concept of the band has its fundamental basis settled in such a wide styles as Rock, Funk and Psychedelia. Styles that converge and interlace to mold the foundations on which all the compositions are held.“We are always on time to make it unequal”.Present and future works begin on the principle of independency. All technical and creative processes, as they are the composing, recording and production, publishing, distribution, social media and aestetical elements of design, are developed by the members of the band, having sometimes the help of some people close to the project. “If you don't do it by yourself, nobody will do it for you” or “Weniger reden, mehr tun”.
The lyrics that support RedBooster's songs show their rebellion and discontent towards the limitations established by a dehumanized society, which constantly transfuses wrong values in order to control and invalidate the individual, revealing thus an intolerant and combative attitude towards an ilogical humanity dominated by the great powers. They can also describe emotional landscapes full of vital messages, urgent love and mixed sensations, trough an encouraging voyage of positive feelings. LYRICS
In RedBooster we are "sound freaks", and as good freaks, we spend much of the week surrounded by cables, microphones, compressors, interfaces , amps, valves, effects, etc. From the beginning of the project we decided to carry out the recording and production of our first full length album avoiding to spend big amounts of money impossible to face for an emerging band which hasn't got the support of a record label. For this, with a few problems, we were gathering all the equipment and structure necessary to carry out such an enterprise and get a product that fits the present standards of sound, but at the same time keeping in mind the handcraft concept of the past fifties and sixties recordings.
Then, when we managed to gather the basic equipment and using a lot of imagination, improvisation and warming our head a lot, we were gradually designing the proper structure. The result was a kind of Frankestein that moved, talked and even danced and who followed us until the final result, the album “Fusión Lenta”. On the way, Hector Verdú glimpsed as sound engineer and Álvaro D. iñigo as producer in a resoluted sonic pair and willing to take all the time necessary to carry out the recording. However, after having achieved our first objective, we have the feeling that this is only the begining and we continue working daily in order to perfect our techniques in favor of the next recordings of the band.
Sometimes, if you tune your ears and close your eyes, under the light bustle of the streets of Berlin you may hear a progression of perfectly synchronized sounds that become symphony. A symphony that if you manage to perceive once, you won't be able to stop hearing. You have definitely fallen into the jaws of its hypnotic beauty. Berlin, that cosmopolitan city where music flows from the depths of the subsoil to the tallest building, or where a loaded and bittersweet historical content is no more than a vital inspiration for hearts and sensitive minds around the world.
Hot spot for one of the most notable and influential counter-cultural movements in recent European history, such as the "Kraut Rock" or "Kosmische Musik" with artists such as Klaus Schulze, Tangerine Dream or Ash Ra Tempel representing the mythical "School of Berlin".
The streets that witnessed the creation of David Bowie's trilogy, while Iggy Pop ripped the clothes to the rhythm of "Lust for life", or where the most epic concert of Pink Floyd was celebrated. The city that inspired masterpieces such as Lou Reed's "Berlin", four works by Nick Cave & The Bad Seeds, U2's brilliant “Achtung Baby” album, or masterpieces by Depeche Mode, David Byrne, Leonard Cohen and Nina Hagen among others. Always taking as a central reference the prestigious "Hansa" studios, where all these musicians left their imprint. What city could say that it has a museum dedicated to some guys like The Ramones ...?
Look at it as you like, if you are a musician and you are in Berlin, you could not be in a better place.
“What would happen if we cut the red and the blue cables at the same time?”, “How would a guaguanco sound if played through a fuzz?”, “What if we put to Hendrix the head of Syd Barrett?” or “How would Chemical Brothers sound in the court of the king crimson?”. These and many more mental incongruences come to our minds when we are inmerse in the composition process. It's well to say that without this yearning for letting our minds fly, experimenting with structures and making unearthly mixes, surely we would have had to return from our sonic voyage and put our feet on the ground. As every good son who untiringly looks for the approval of his record label mom. But no, it's just getting into the rehearsal room, to fire the candles, to tune the instruments, to switch on the amps and then any click, feedback or fairly strange sound can be seriously considered as sonic art.It's worth to say that during creation process “no music style shall be rejected”, it's just about choosing the right ingredients, bizarrely mix them and drive them through the magic Booster...
Something really common that use to happen to the musicians that register their music to share it to the public is that they are asked about their influences or directly about the music they listen to. A senseless question since the answer could take hours or even days in some cases. Ok, just summarizing, we are part of that generation that used to buy virgin cassette tapes and right after, crossed the whole city to find a friend who was kind enough to record an album on each side, and after that we asked him to fill the remaining track with some single hits. Those who waited for hours with our ears close to the radio player in order to catch our favorite single and hit the rec button on the fly. Despite it was never possible to have it from beginning to the end due to the several interruptions of the presenters' voice, but that did not matter to us if we could later listen to it for thousand times. We were part of that youth that used a Bic pen to rewind the cassette tape in order to save battery on the walkman, or that could spend weeks listening to the same album until we got enough. We listened to as much music as hours has a day. Sometimes alone, some others with friends, smoking and drinking while we tasted that sharp Rory Gallager's solo, the dark bass of Geezer Butler, the impossible break of John Bonham or the elegant voice of Paul Rodgers. That was a constant flow of emotions and sensations that started little by little defining our musical identity.
We were part of that generation lucky to have its first contact with good music through some bands as: The Velvet Underground, The Kings, Rolling Stones, The Beatles, Bob Dylan, The Beach Boys, Kraftwerk, The Doors, Cream, Led Zeppellin, Deep Purple, The Who, Ping Floyd, Yes, King Crimson, Creedence Clearwater Revival, ACDC, The Ramones, Queen, T.Rex,Grateful Dead, Fleetwood Mac, Bob Marley, David Bowie, Triana, Leño, Radio Futura, Barón Rojo, La Polla Records, Tequila, Serú Girán, Spinetta, Pappo, Sui Generis and so on, an endless list that made nothing else but feed our interest for new sonic experiences. But also, at the same time, we were lucky enough to be direct witnesses of one of the best and more effervescent ages of Rock and Roll, “the nineties age” and to be part of the strangely named “generation X”, where we all wildly danced under the savage rhythm of Pixies, Fugazi, Sonic Youth, Red Hot Chilli Peppers, Soundgarden, Pearl Jam, Alice in chains, Nirvana, The Smashing Pumpkins, Stone Temple Pilots, Rage Against The Machine, Beck, Spin Doctors, Mudhoney, Violent Femmes, R.E.M, Radio Head and many bands that led us to go deeper and deeper in a culture and a music subworld even more unknown and extravagant. “Those years had something special; good music, a good convulse background and lots of love. We were there to live it and now we are here to tell it with its good and bad experiences”.
Those guys who in spite of loving Rock, didn't disgust to go clubbing where sounded some of those bands and Djs who got the electronic music started to normalize, and even to achieve an unprecedented dimension for that genre: The KLF, Snap!, Technotronic, C+C Music Factory, Depeche Mode, The Chemical Brothers, The Prodigy, Groove Armada,Underworld, Orbital, Massive Attack, Portishead, Daft Punk among others. Nobody could say that those were always happy nights, but when told through the filter of the past they become authentic epical adventures. Do you know what am I talking about?
For this and other factors of the art culture, to show some influences is totally inevitable. There will always be grooves through which, influxes of what has been absorbed for years appear. For a musician, listen to music is and should be as important as practice with its instrument and “never let a day pass without listening to something new”. For us, to make music starting from the premise of resembling any specific band or artist has no sense, because we think that every single artist should fight to develop his own style and personality when creating his works. The result of that idea will always be, in a certain way, something like an own style, for better or worse. To mistake along the way will just be the perfect incentive to create more filtered ideas every time.
This is a list of albums that has been made under strict personal character, to show the artists and bands of which we feel we could have been influenced at some point. It is definitely not a best albums or artists list.
At this moment, RedBooster is working on the imminent release of its first long play, which is planed for March 2017 and will be accompanied by a robust live tour and the production of documentary material, videos and multimedia. We are also working on a rarities album, and even on our next studio long play.
Mario Engelter is the sound engineer of “Studio K61”. He has been in charge of the mastering process for “Fusion Lenta” and the live recording of “Pájaros libres” for the video “Live in K61”. We have also been lucky of having his support along different phases of the project. http://studio-k61.com/
Antonio Bellido and Francisco J. Romero. This IT pair have been in charge of the design and layout for the physical format of the album “Fusion Lenta”, in addition to the corporate logo present on the website and social networks.
Our Berlín based Dutch friend Silvia Maria Gebhardt had enough with just a single recording session to give a new and magical identity to the track “Decir que no” with her artistry on the violin.
is a regular collaborator of the band, adding keyboards on some of the concerts and occasional studio recordings.
Audiovisual producer Carmen Iborra is the director and production manager of the video “Live in Studio K61”, besides the creator of a wide archive of videos and photos of the band.
Natalia Mercado sometimes takes us away from more of a bureaucratic problem, making calls, writing and sending Emails or translating, also taking nice pictures in some concerts.
Other people who collaborated with us: Matt Norman (Studio K61), Alexander Paul Brandes
(Photography), Svenja Igelnova (Video camera), Stefan Hoffmann and Niklas Matthaei (Deutsche Pop),
Natalia Reales (Photos)
Special thanks to all radio programs, websites, magazines, Blogs, institutions and people who daily lend us their unselfish support reporting and playing our music around the world. In general, thanks to all the people who in some way or another have been, is or will be linked to the project.