Late last year, I wrote about the Boston-based alt rock quintet Aneurysm, and as you may recall, the band formed back in 2014 and since then, they’ve developed a reputation for relentless touring and realizing a handful of 7 inch vinyl releases. Their long-awaited full-length debut Awareness is slated for a February 1, 2019 release through Tor Johnson Records, and the album, as the band’s Dan Bahto explains in an interview with No Echo, the material on the album is sort off a collection of things they had been working on since they started.

Awareness‘ first single was the pummeling, mosh pit friendly “St. E.” Centered round enormous power chords, thunderous drumming and howled vocals, the track brought Nirvana, METZ and others to mind. The album’s second and latest single “Newport” continues on a similar vein as its predecessor while rooted in a melodicism that brings Social Distortion to mind; in fact, the song is centered around world-weary and hard-fought reflections on sex, drugs, cops, death and rock ‘n’ roll.  The song kicks ass but as I turn 40 in a couple of months, it has a sobering air: it’s full of the recognition of that you’re getting older; that the scene is slowly phasing you out; that with each passing day you’re looking at your mortality in the mirror.

 

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Late last year, I wrote about the Southern California-based trio Warish, and as you may recall the trio which features founding members Riley Hawk (guitar, vocals) and Bruce McDonnell (drums) formed earlier this year, when its founding duo wanted to try their hand at something a bit more distinct than they’d previously done. “We wanted to do simpler riffs and a fun live show,” Hawk explains in press notes. “A little more punk, a little bit of grunge… a little evil-ish.” Their sound reportedly draws from a variety of things — early Butthole Surfers, Scratch AcidIncesticide-era NirvanaStatic Age-era Misfits — and with “Fight,” the first single off their self-titled debut EP, the trio quickly make their presence known as the song is centered around Hawk’s effects-laden vocals, enormous grunge rock meet thrash punk power chords, pummeling drumming, mosh pit friendly hooks and an aggressively sleazy, Troma Films-like vibe.

Warish’s self-titled debut EP is slated for a February 19, 2019 release through RidingEasy Records, and the EP’s latest single “Human Being” is a mosh pit friendly ripper centered around explosive power chords, thundering drums and howled vocals. Sonically speaking, the track recalls The Colour and the Shape and One by One-era Foo Fighters — but with a raw, gritty feel.

 

With the release of “Sleep,” and “Strangers,” the Gothenburg, Sweden-based singer/songwriter Sarah Klang began receiving praise across the blogosphere for crafting heartbreakingly sad material that some critics compared favorably to the likes of Roy Orbison and Jeff Buckley, and others — although interestingly enough, Klang has publicly cited Barbra Streisand and ambient electronica as major influences on her work. Building upon a growing national and international profile, Klang released her critically applauded full-length debut Love In The Milky Way last year, which she supported with a tours across the US, Germany, Denmark, Norway and Sweden. Adding to a breakthrough year, Klang played a sold-out hometown show at the Gothenburg Concert Hall and three sold-out nights at Stockholm’s Södra Teatern — and she nominated for a Swedish Grammy for Alternative Pop Album and P3 Guld Award for Best Live Act.

Slated for a Fall 2019 release, Klang’s forthcoming (and still untitled) sophomore, Kevin Andersson-produced full-length album was written and recorded during an extremely busy year — and the first single from those recording sessions is the slow-burning and heartbreaking single “Call Me.” Centered around an arrangement featuring twinkling piano, a shimmering string section, a soaring hook and Klang’s aching vocals, the song manages to recall both 70s AM rock and Dolly Parton ballads simultaneously, the song as Klang explains in press notes “is about the love that only happens once. It might not last for long, but you’ll remember it forever. ” And as a result, the song’s narrator expresses a swooning despair and bitter acceptance over the loss of her love, mixed with a bit of hope that she’ll know that feeling once again.

 

Perhaps best known for stints drumming for Shilpa Ray, WALTZ and Lola Pistola, Robert Preston Collum relocated to Los Angeles for a change of scenery, and began his solo recording project Pink Mexico. Shortly after relocating to Los Angeles, Collum self-released his Pink Mexico debut pnik mxeico back in June 2013. The album attached the attention of Austin, TX-based Fleeting Youth Records, who re-released pnik mxeico the following December.

Preston then relocated back to Brooklyn during the fall of 2014, where released a split 7 inch with Los Angeles-based indie band SunLikeDrugs and a 12 inch vinyl pressing of pnik mexico by the Bordeaux, France-based label Big Tomato Records. And with a growing national and international profile, Collum caught the attention of Burger Records, who signed him and released his sophomore Pink Mexico fool, an effort that Collum said was written in window-less 10×10 rooms between Los Angeles and Brooklyn, reportedly fueled by nasty hangovers, cheap coffee and cigarettes. Interestingly, over the past year or so, Pink Mexico expanded to into a fully fledged band with the addition of Grady Walker (bass) and Ian Everall (drums), who toured with Collum during the tour to support fool and contributed to Pink Mexico’s forthcoming, third full-length album Dump, which is slated for a March 1, 2019 release on cassette and digitally through Burger Records and Little Dickman Records.

Written and recorded during 2017 and 2018 at Civil Defense Studios with Jeremy Scott, who has worked with Vivian Girls and These Are PowersDump is the first Pink Mexico album as a fully fledged band and the album’s latest single “High Dive” is a grungy take on surf rock, featuring fuzzy and distorted power chords and a mosh pit friendly hook. Sonically, the song manages to hint at The Jesus and Mary ChainIncesticide-era Nirvana, Melvins and Foo Fighters while clocking in at a little over 2 minutes — or in other words, a fast and furious ripper that’s absolutely necessary.

 

Earlier this month, I wrote about Lily & Madeleine, an Indianapolis, IN-based folk pop duo, consisting of siblings Lily and Madeline Jurkiewicz. The act can trace its origins to when the Jurkiewicz Sisters began singing together while in high school, uploading home videos of various cover songs to YouTube. Those videos catgut the attention of Bloomington, IN-based producer Paul Mahern, who invited the sisters into his studio to record what would become their debut EP, 2013’s The Weight of the Globe when their class schedule permitted. Kenny Childers (Gentleman Caller) assisted by co-writing the material off the EP with the sisters; but it was video of the sisters singing in Mahern’s studio reached the front page of news aggregator Reddit — and as a result, Sufjan Stevens signed the Jurkiewicz Sisters to his label Asthmatic Kitty Records.

Adding to a growing profile, John Mellencamp asked the Jurkiewicz Sisters to contribute guest vocals to the soundtrack of his musical Ghost Brothers of Darkland County. After playing some of their first sold out shows in their hometown, they made their national TV debut on CBS This Morning to promote their self-titled, full-length debut, which was released in February 2013. The album was praised from a number of major media outlets, including The New York Times, which praised the album for their extraordinary sibling vocal blend, “deep and seamless and relaxed.” Since then the Indianapolis-based sibling folk pop duo have released two more albums — 2014’s Fumes, which was released through Asthmatic Kitty and 2016’s Keep It Together, which was released through New West Records.

Now, as you may recall, the Jurkiewicz Sisters kicked off this year with the inclusion of “Just Do It” on the first Spotify New Music Friday playlist of 2019 and the track, which was co-produced by Daniel Tashian and Ian Fitchuck, who worked on Kacey MusgravesGolden Hour pairs the Lily and Madeleine’s gorgeous and effortless harmonizing with a shimmering dance pop-like production centered around a sinuous bass line, twinkling keys, hand claps and fluttering electronics; but at its core, the song not only talks about taking chances, it talks of confidently coming of age as a woman — and demanding what you need and want from yourself and others.

Canterbury Girls, the Jerkiewicz Sisters’ the fourth full-length album is slated for a February 22, 2019 release through New West Records and interestingly, its latest single is the Phil Spector-like “Can’t Help The Way I Feel.” Centered by what may arguably be the tightest and funkiest groove on the entire album, the track features a razor sharp and infectious hook, handclaps, winkling keys. shimmering and arpeggiated organ lines and the Jerkiewicz Sisters easygoing yet gorgeous harmonizing. At its core, the song’s narrator is proud and defiant, openly saying that while her friends may disapprove of her love interest, she simply can’t help how she feels — even if the relationship isn’t good for her. Somehow, I suspect that many of us can relate.

Lily & Madeleine will be touring to support the new album throughout February and March, and the tour will include a February 21, 2019 stop at Rough Trade. Check out the tour dates below.

TOUR DATES: 

Mon., Feb. 18 / Cafe Nine / New Haven, CT

Weds., Feb. 20 / The Saint / Asbury Park, NJ

Thurs., Feb. 21 / Rough Trade NYC / Brooklyn, NY

Fri., Feb. 22 / World Cafe Live Upstairs / Philadelphia, PA

Sat., Feb. 23 / Songbyrd / Washington, DC

Mon., Feb. 25 / Cat’s Cradle – Back Room / Carrboro, NC

Tues., Feb. 26 / Eddie’s Attic / Decatur, GA

Thurs., Feb. 28 / Zanzabar / Louisville, KY

Fri., Mar. 1 / Deluxe @ Old National Centre / Indianapolis, IN

Sat., Mar. 2 / Schubas Tavern / Chicago, IL

Sun., Mar. 3 / Turf Curb / St. Paul, MN

Mon., Mar. 4 / The Mill / Iowa City, IA

Weds., Mar. 6 / The Pike Room at The Crofoot / Pontiac, MI

Thurs., Mar. 7 / The Drake Hotel / Toronto, ON, Canada

Fri., Mar. 8 / Quai Des Brumes / Montreal, QC, Canada

Sat., Mar. 9 / Berklee College of Music: The Red Room @ Cafe / Boston, MA

 

 

New Video: Up-and-Coming British Singer Songwriter Yola Releases a Swooning Wall of Sound-Inspired New Single

Late last year, I wrote about Yola an up-and-coming London-born and-based singer/songwriter, who has led a rather remarkable life; the sort of life that should be made into an inspiring biopic: Yola grew up extremely poor, and as a child she was actually banned from making music. She has also overcome being in an abusive relationship, stress-induced voice loss and literally being engulfed in flames in a house fire, which inspired her Dan Auerbach-proudced full-length debut Walk Through Fire,  slated for a February 22, 2019 release through Easy Eye Sound. 

The up-and-coming British singer/songwriter has received praise from a number of media outlets both nationally and internationally, including NPR, Rolling Stone, Wall Street Journal, The Tennessean, Refinery 29, Billboard, American Songwriter, BrooklynVegan, Nashville Scene, Paste and Stereogum. But perhaps much more interesting she has opened for James Brown and joined renowned trip hop act Massive Attack before traveling to Nashville to work with Auerbach and a backing band that features musicians, who have worked with Elvis and Aretha Franklin.  

Now, as you may recall, album single “Ride Out in the Country” was a Muscle Shoals-like take on honky tonk country that to my ears recalled Sandra Rhodes’ under-appreciated Where’s Your Love Been. Centered around twangy guitar chords, lap steel guitar, some Rhodes electric organ, a soaring hook and Yola’s easy-going and soulful vocals, the song is an achingly sad breakup song, written from the perspective of someone reeling from a devastating breakup, complete with the recognition that your former lover has moved on and that maybe you should be doing so too — even if it’s profoundly difficult for you. Walk Through Fire’s latest single is the slow-burning, swooning, Phil Spector Wall of Sound, meets classic Motown Records-like “Faraway Look.” Centered around an old-school arrangement and a soaring hook, the song is roomy enough for Yola’s incredible vocal range to shine. 

Certainly, what the first two singles reveal is that the British singer/songwriter is a rare vocalist, a vocalist, who can wail the blues and belt like a true pop balladeer — sometimes within the same song. And in this case, “Faraway Look” is about that precise yet profound and deeply awkward moment when it’s so obvious that you’ve fallen in love with someone that everyone else notices, including your object of affection. And in that peculiar moment, it’s now or never. 

Directed, by Tim Duggan, the recently released video follows several very lonely people. who seem to be longing for much more in their lives — and yet, they’re not quite sure how to go about it; but part of their longing is stirred by watching Yola perform the song on a variety of devices. Interestingly, the video is shot with grainy Super 8 Film, which gives the video an appropriate old-timey feel. 

New Video: Moving Panoramas Return with Slick Visuals for Jangling and Anthemic New Single “ADD Heart”

Led by founding member and creative mastermind Leslie Sisson (vocals, guitar), who has had stints in The Wooden Birds, Matt Pond PA, Western Keys, Black Lipstick, Black Forest Fire, Tanworth-in-Arden, and Aero Wave, collaborated with The American Analog Set, Windsor for the Derby, Rhythm of Black Lines, RIDE’s Mark Gardener, Dan Mangan, John Wesley Coleman, Snowden, and Broken Social Scene, and has developed a reputation as a solo artist in her own right, the Austin, TX-based dream pop act Moving Panoramas can trace their origins to when its founding member and creative mastermind returned home to Texas to be closer to the members of her previous full-time band The Wooden Birds and her to her family. Sisson took a job teaching music at School of Rock where she met Rozie Castoe (bass),  who was in an 80s-themed show that Sisson directed. Interestingly, at the same time, Sisson took up a gig subbing in Black Forest Fire with Karen Skloss (drums), who was a long-time friend. When each of their various creative projects broke up, the trio started Moving Panoramas, rooted in their mutual love of shoegaze; however, since the band’s formation and release of their debut effort One, the band has gone through a series off lineup changes that has result in Sisson collaborating with a rotating cast of previous bandmates, as well as current bandmates Cara Tillman, Jordan Rivell, Jody Suarez and Phil McJunkins.

Moving Panoramas’ sophomore album In Two was delayed by a series of unexpected roadblocks during its production — i.e., health and timing issues — that delayed its release until February 22, 2019 through Modern Outsider Records. Recorded with engineer Louie Lino at Resonate Studio in Austin, the band’s sophomore effort reportedly finds the band expanding upon their sound and songwriting approach, as there’s a concerted effort for diversity in rhythm, volume and instrumentation, including the incorporation of pedal steel. Along with that the album features guest spots from Nada Surf‘s Matthew Caws, A Giant Dog‘s and Sweet Spirit‘s Sabrina Ellis and former bandmates Karen Skloss, Jolie Flink and Laura Colwell. Now, as you may recall, last year I wrote about album single “Baby Blues,” a decidedly anthemic track centered around shimmering power chords, a propulsive rhythm section, ethereal vocals and a soaring hook. And while bringing to mind tracks off Sunflower Bean’s Twentytwo in Blue, the track possesses elements of psych rock, shoegaze and 70s arena rock, performed with the easygoing self-assuredness of old pros; however, underneath the self-assured performances is the recognition of time rushing by, of people moving in and out of your life — without knowing why, how or even when. 

Much like its predecessor, “ADD Heart,” In Two’s latest single is an infectious slice of anthemic rock with jangling guitars, Sisson’s ethereal vocals and a soaring hook — but steel pedal guitar adds a cinematic, alt country vibe to the proceedings. Thematically, the song focuses on an inattentive and inconstant love interest, who has the song’s narrator spinning in frustration emotionally because the love interest just can’t seem to focus on one thing at any given time. It’s an accurate description of what love and dating is like in the social media age if there ever was one. 

The recently released video for the song was directed by Willi Patton, and as Patton says in press notes, “We were honored to be approached by Leslie Sisson of Moving Panoramas to do a music video for their new single, ‘ADD Heart.’ I knew immediately upon hearing the song that the energy needed to be high, and I really wanted to capture the feeling of not being able to focus, narratively as if the video itself suffers from ADD. It pushes you along in one direction, only to quickly switch course, pick up on some other thread, leaving more unanswered questions than resolutions. We’re always so grateful to musicians for letting us experiment, to treat their work as a solid canvas to splash some paint on, deconstruct and then clumsily attempt to put back together.”

 

Comprised of Patrick Tsotsos,  Nick Dehmlow, Brendan Peleo- Lazar, Trevor Newton Pritchett and Constantine Hastalis, the up-and-coming psych rock act Lucille Furs initially formed in Logan Square section of Chicago — and in a short period of time, the band added themselves to a growing list of attention-grabbing psych rock and indie rock acts in the Chicagoland area, thanks in part to a sound that borrows liberally from the likes of The Zombies, West Coast Pop Art Experimental Band, Temples, Love, Diane Coffee, Charles Bradley and others. Since the band’s formation, half the band has relocated to Los Angeles, and as the band notes, listeners will likely hear those influences within their work.

Slated for a February 15, 2019 release through Requiem Pour Un Twister Records, Lucille Furs’ forthcoming sophomore album Another Land was written back in September 2017 and was recorded direct to tape before being completed at Treehouse Records. Rather than being topical, the album’s material is rooted in the surreal and esoteric — perhaps sin a way to aim at the timeless. Interestingly, the album’s latest single is the bouncy and stomping “Paint Euphrosyne Blue,” a track that sonically sound as though it could have been released sometime between 1964-1968 as the track is centered around jangling guitars, twinkling organs and an infectious and soaring hook that recalls The Monkees, The Doors and others. And while arguably being a perfect road trip song, the band notes that the song references the goddess of mirth — and that the song is about the human need to adapt to the point of becoming unoriginal. It’s about chasing Van Gogh’s depression because it makes you feel like a better painter.  So at its core the song is rooted in a bitter yet hilarious irony.

 

 

 

 

New Video: Stone Mecca’s Politically Charged and Heartfelt Visuals for “Boogeyman”

Stone Mecca is a Los Angeles, CA-based producer, singer/songwriter and self-taught multi-instrumentalist, who honed his own craft by listening to Jimi Hendrix, BB King, Parliament Funkadelic, Al Green, Prince, and Earth, Wind and Fire — and as a producer and musician, the Los Angeles-based producer and musician has played live with the aforementioned Earth, Wind and Fire, George Clinton, Wu-Tang Clan and RZA. Developing a reputation for easily navigating through a diverse array of musical genres and styles, Stone Mecca has contributed to the soundtracks for Django Unchained, The Main with the Iron First, Friday, Blade: Trinity, Soul Plane, Repo Men, Afro Samurai and Afro Samurai Resurrection. The Los Angeles-based producer and multi-instrumentalist has also appeared on albums by Wu-Tang Clan, RZA, Kanye West, Ice Cube and Snoop Dogg. And as a solo artist, Stone Mecca’s 2007 full-length debut First Contact featured the critically acclaimed song “A Walk,” a track that OkayPlayer said “in a fair world, music like this would be present all the tim eon prime time rotation in various radio markets.” 

Stone Mecca’s latest album Alienman was released last November, and the album finds the Los Angeles-based producer and multi-instrumentalist stripping down his sound to the rawest form possible — and while pairing tweeter and woofer rocking hip hop beats, funky bass lines, bluesy guitars and soulful melodies, his sound generally blurs the lines between hip-hop, soul, blues, funk and roots rock. Alienman’s latest single is the sultry and swaggering “Boogeyman.” Centered around thumping beats, some blazing guitar work and a G-funk era bass line, the track features some politically charged and righteous lyrics that subtly recall the great Curtis Mayfield and JOVM mainstay Cody ChesnutT, as the song touches upon hypocrisy and challenges media-driven fear-mongering, stereotyping and racism. 

Directed by Alex Von Kurkendall and based on a concept by Stone Mecca and Von Kurkendall, the recently released video further emphasizes the politically charged nature of the song as it reminds the viewer that with every group there are villains and heroes — and that most important, we live in a society in which the dignity and decency of entire groups of people are being ignored.