Category: Alt-rock

New Video: Two from Grunge Legends L7

Currently comprised of founding members Donita Sparks (vocals, guitar) and Suzi Gardner (guitar, vocals) along with Jennifer Finch (bass) and Demetra Plakas (drums), the acclaimed and pioneering, Los Angeles-based grunge act L7 can trace their origins back to 1985, a full year after Gardner had contributed backing vocals to Black Flag’s “Slip It In.”

Once Sparks and Gardner formed the band, they were added by Finch and Roy Koutsky (drums). Koutsky left shortly after and was briefly replaced by Anne Anderson (drums) in 1988. After Anderson left the band, Plakas became the band’s permanent drummer. Although they formed Rock for Choice, a pro-choice women’s rights group that was supported by the likes of Pearl Jam, Red Hot Chili Peppers, Nirvana, and Rage Against the Machine, they’re best known for their third album, 1992’s Butch Vig-produced Bricks Are Heavy, which featured their seminal track (and smash hit) “Pretend We’re Dead.” “Pretend We’re Dead” spent 13 weeks on the US Alternative Charts, peaking at #8 and reached #21 on the UK Singles Chart.

After the release of 1994’s Hungry for Stink, which was supported by that year’s Lollapalooza tour with Smashing Pumpkins and The Breeders, the band went through a number of lineup changes: Finch left the band during the recording of 1997’s The Beauty Process: Triple Platinum, an album that featured bass playing by Sparks and Greta Brinkman; however, Belly’s Gail Greenwood joined the band.

1999’s Slap-Happy didn’t chart on either side of the Atlantic, and sometime after the release of that album, the Los Angeles-based grunge band went through yet another lineup changes with Greenwood leaving the band to be replaced by Stone Fox’s Janis Tanaka, who later played bass in Pink’s and Bif Naked’s backing bands.

By 2001, the members of L7 weren’t touring and were on an indefinite hiatus. During that time Sparks formed a new band, Donita Sparks and The Stellar Moments while Finch was a member of punk rock act The Shocker. Simultaneously during that period, Sparks was working on a documentary on the band, which was rumored to have a 2014 release date. And interestingly enough, by the end of 2014 the band announced that they would reuniting featuring the lineup with which they achieved their biggest success — Sparks, Gardner, Finch and Plakas.

The reunited L7 toured Europe and North America with a number of stops across the international circuit in 2015 including Germany’s Rock am Ring, Riot Fest stops in Denver and Chicago, and Austin’s Fun Fun Fun Festival.  The Sarah Price-directed L7 documentary, L7: Pretend We’re Dead was released in 2016 while the band was on a busy tour schedule throughout both 2016 and 2017.

Building upon the growing buzz surrounding the reunited band, the members of the Los Angeles-based grunge outfit released “Dispatch from Mar-a-Lago,” their first new song in almost 18 years in September 2017. They followed that up with “I Came Back to Bitch,” which was released in February 2018. The band’s recently released seventh album Scatter the Rats is the first album from the Los Angeles-based grunge outfit in 20 years and from album singles “Burn Baby” and “Stadium West,” the new album is sort of a return to form: scuzzy and distorted power chords, thunderous drumming, snarled lyrics and rousingly anthemic hooks. And interestingly enough, both singles reveal that the members of L7 have had a massive influence on contemporary indie rock — you can hear L7’s influence in the work of JOVM mainstays The Coathangers, Sharkmuffin, Dream Wife and others. 

New Video: Swervedriver’s Murky Yet Anthemic “Space Oddity”-like “Mary Winter”

Over the past few months, I’ve written a bit about the renowned, Oxford, UK-based alt rock/shoegazer act Swervedriver, and as you may recall, the act which is primarily centered around their founding duo Adam Franklin (vocals, guitar) and Jimmy Hartridge (guitar, vocals) along with Mikey Jones (drums, vibes) and revolving bassists Mick Quinn and Ben Ellis can trace their origins back to 1989. During their initial run from their founding until 1998, the band released four full-length albums — 1991’s Raise, 1993’s Mezcal Head, 1995’s Ejector Seat Reservation and 1998’s 99th Dream — while going through a number of lineup changes, management changes and different labels. 

By 1993, Franklin and Hartridge teamed up with Jef Hindmarsh (drums) and Steve George (bass) and with that lineup, they developed a reputation for a heavier rock sound than their shoegazer counterparts — but over their last five years together, their sound slowly evolved to include elements of psych rock, pop and indie rock. And although Franklin, Hartdige, Hindmarsh and George were the longest tenured lineup in the band’s history, they went on a lengthy hiatus in 1998, in which the individual members went on to pursue a variety of professional and creative pursuits. Franklin embarked on a solo career that would rival Swervedriver’s creative output, including a stint fronting the experimental electro pop/electro folk act Toshack Highway, whose releases ranged from sextet ensemble works to four-track bedroom recordings and then with the more traditionally guitar rock-driven Adam Franklin & Bolts of Melody. Hartridge founded a distribution company. Hindmarsh founded Badearth Management, a music management company that eventually managed Scottish rock act Terra Diablo and others.

In early 2005, Franklin, Hartrdige, Hindmarsh and George reconvened to collaborate with Castle Music to choose songs on what would be a two disc anthology Juggernaut Rides ’89-’98, a compilation that included 33 tracks remastered from the originals DATs. Half of those tracks were non-album tracks, along with four previously unreleased tracks — including the last recordings the band worked on in 1998, “Just Sometimes” and “Neon Lights Glow.” Released to critical applause, Juggernaut Rides ’89 – ’98 helped build up growing interest in the shoegazer pioneers’ work. 

2006 was a rather busy year for the members of the band’s longest tenured lineup. Franklin began collaborating with Interpol‘s Sam Fogarino in Magnetic Morning. Hindmarsh went on to publish Rider, which chronicled his experiences and observations on the road touring with the band between 1992 and 1998. Somewhat inspired by the wildly successful 2004 reunion tour of the Pixies, the band reunited for a world tour in 2008 that garnered the attention and acclaim that largely evaded them a decade earlier. 

2015’s I Wasn’t Born to Lose You was the first album of new, original material from the band in 17 years, and although they’ve managed to be consistent in their second run, they’ve gone through a series of lineup changes between the 2008 reunion tour and the release of I Wasn’t Born to Lose You. 

Now, as you may recall, the band’s second reunion-era album and their sixth altogether, Future Ruins was released earlier this year through Dangerbird Records. Future Ruins’ predecessor, was written and recorded immediately after an Australian tour and inspired by the results, the members of the pioneering shoegazer act decided to repeat the process after a lengthy Stateside tour in which they played Raise and Mezcal Head in their entirety. “That’s a good way to record,” Franklin says in press notes, “because you’ve literally just seen the whites of the audience’s eyes and you’re thinking, ‘If that audience from last night were here now…’ You can’t get too mellow. We came home with 30 different songs.” 10 more days of vocals and overdubs at Brighton UK‘s Seaside Studios with Grammy Award-winning engineer TJ Doherty quickly followed.

The material on Future Ruins finds the band retaining the escapist vibes that they’ve long been known for — but while generally being inspired by the uneasy tension and anxiety of our ongoing sociopolitical moment. Interestingly, the album’s second single “Drone Lover” actually predates the I Wasn’t Born recording sessions. As the band’s Adam Franklin explained in press notes, at the time, ““I have no recollection of where this tune came from. It’s a song that’s been knocking around for a few years, but for some reason had never been presented to anyone until we were in the studio this time and I clicked play on the demo while searching for something else. TJ and Mikey both went ‘what’s this?’ and then ‘so why aren’t we recording it?’ – and so we recorded it. The lyric mentions love but it’s really about war – remote war and killing from a distance whilst chomping on last night’s leftover pizza or something.”  The album’s third single, was the shimmering and wistful “The Lonely Crowd Fades In The Air.” As Franklin admits, the band was thinking of The Clash, “even though it doesn’t sound anything like them, but it’s like a punch on the nose from a velvet glove.” Oddly, as I have a day left of my 30s, the song seems to hit me in a personal way, as the song’s narrator thinks about all the directions his life may have taken, if he made different decisions at key points in his life. 

The members of Swervedriver are currently on a co-headlining tour with Failure that includes a Friday night stop at Warsaw. You can check out the remaining tour dates below — but I thought I should talk about the album’s first single, album opener “Mary Winter.” Arguably, the darkest single of the three they’ve released, the song is centered around fuzzy and jangling power chords, thunderous drumming and an anthemic hook — and despite the fact that the song sounds as though it could have been released in 1994, the song evokes an uneasy sense of foreboding while lyrically the song sounds indebted to David Bowie’s “Space Oddity,” as the song’s narrator is a space traveler, hurtling away from the world. Whether the narrator is escaping willfully or not, is left for us to decide. In the meantime, everything is fucked up — and while it may seem hopeless, we can’t just escape the planet. So maybe we should start asking ourselves, “What can we do to make it right?” Fittingly, the video employs the use of old space imagery, helping to emphasize a sense of weightlessness and helplessness. 

New Audio: Indie Rock All-Star Act Filthy Friends Return with a Searing Indictment of Unchecked Capitalism

Initially comprised Sleater-Kinney’s and Heavens to Betsy’s Corin Tucker (vocals, guitar),  Fastbacks’ Kurt Bloch (guitar), The Fresh Young Fellows’ Scott McCaughey (bass), R.E.M.’s Peter Buck (guitar) and King Crimson’s Bill Rieflin (drums), Filthy Friends featured some of the most accomplished, influential and beloved musicians of the past 40 years or so in an indie rock/alt rock All-Star act that in some way was meant to be a side project of sorts and a free-flowing collaboration between likeminded, long-time friends and colleagues.

Since their formation, the act released their attention-grabbing, critically applauded, politically-charged debut Invitation and were included on an anti-Trump protest compilation 30 Songs in 30 Days. Unfortunately, as they were about to begin touring to support Invitation, Scott McCaughey suffered a stroke, which curtailed the band’s tour plans. While McCaughey was recovering, Tucker wrote and recorded an album with the reunited Sleater-Kinney, which they supported with a tour — and Peter Buck collaborated with acclaimed singer/songwriter Joseph Arthur in Arthur Buck. And the band has gone through a lineup change with Steve Wynn and the Miracle 3’s Linda Pitmon (drums) replacing Bill Rieflin.  

Slated for a May 3, 2019 release through Kill Rock Stars Records, the band’s long-awaited sophomore album Emerald Valley finds the band of accomplished musicians crafting material that rages about and mourns over the fate of our planet and the people who inhabit it. Reportedly, the album’s core idea came from a demo Buck shared with Tucker, a grinding blues that eventually turned into the album’s title track.  According to Tucker, as soon as she heard it, it sparked something within her: “I had this long poem growing in my brain,” she says. “It turned into a sort of manifesto about the kind of place we are at as a country but also as a region. Just taking stock of where we’re at and feeling like I can’t believe we let things get this bad.” Interestingly, Emerald Valley’s latest single, the blistering and anthemic, 90s alt rock-like “Last Chance County” is a searing indictment of unchecked capitalism, in which the desperate and powerless get crushed by the powerful, the greedy and super rich. And at its core, the song demands that we gotta change things now — and if we don’t, we’ll fuck up things so badly, that we won’t be able to save ourselves. 

New Audio: Dan Mangan’s Spectral Cover of R.E.M.’s “Losing My Religion”

Dan Mangan is a Smithers, British Columbia, Canada-born, Vancouver, British Columbia, Canada-based multi-Juno Award-winning singer/songwriter and multi-instrumentalist, whose music career started in earnest back in 2003 when he was 20 with the release of his debut EP All At Once. 500 copies were pressed and then sold or given away throughout the Vancouver area. Building upon the initial bit of buzz surrounding him, Mangan financially supported with a bank loan, recorded his Daniel Elemes and Simon Kelly co-produced full-length debut Postcards & Dreaming with the assistance of a small community of musicians, who offered cheap or free session work. Much like All At Once, Mangan initially released his full-length debut independently, selling the album online and at live shows; but by 2007, Vancouver-based indie label File Under: Music re-released the album with new artwork and a new, extra track “Ash Babe.”

August 2009 saw the release of Mangan’s sophomore full-length effort Nice, Nice, Very Nice. Deriving its name from a line Kurt Vonnegut’s Cat’s Cradle, the John Critchley-produced album was recorded at Toronto’s Green Door Studios and featured an assortment of Canadian musicians include Veda Hille, Justin Rutledge, Mark Berube, Hannah Georgas, members of Said The Whale, Major Maker and Elliot Brood. The album’s first two singles “Robots” and “Road Regrets” received airplay on local Vancouver radio stations, as well as The Verge and CBC Radio 3 — with Magnan eventually winning Artist of the Year at that year’s Verge Music Awards. 

The following year, Nice, Nice, Very Nice was licensed and released by renowned, Toronto-based indie label Arts & Crafts in the States and in Europe through City Slang Records. Adding to growing critical acclaim surrounding the album, Nice, Nice, Very Nice was shortlisted for the Polaris Music Prize, named iTunes Album of the Year in the singer/songwriter category, won three Western Canadian Music Awards — Independent Album of the Year, Roots/Solo Album of the Year and Songwriter of the Year. And “Robots” was named Best Song in the CBC Radio 3 BUCKY Awards. 

Over the course of the next year, Mangan began collaborating with musicians from Vancouver’s experimental music scene, recruiting rummer Kenton Loewen (Mother Mother, Submission Hold and Gord Grdina Trio), bassist John Walsh (Brasstronaut) and guitarist Gord Grdina (Gord Grdina Trio, Haram, and East Van Strings) to be his backing band for the writing and recording sessions that eventually comprised 2011’s Colin Stewart-produced Oh Fortune. Loewen, Walsh and Grdina recruited a large, rotating cast of local musicians including trumpeter JP Carter (Fond of Tigers, Destroyer), violinist Jesse Zubot (Fond of Tigers, Hawksley Workman, Tanya Tagaq), pianist Tyson Naylor and cellist Peggy Lee (Mary Margaret O’Hara, Wayne Horvitz, Veda Hille). Additionally, Magnan enlisted Eyvind Kang to contribute orchestral arrangements. The album was a critical and commercial success with the album winning Juno Awards for New Artist of the Year and Alternative Album of the Year with nominations for Songwriter of the Year and Video of the year for the Jon Busby-produced video for “Rows of Houses.” The album won three Western Canadian Music Awards for “Rock Album of the Year,” Independent Album of the Year,” and “Songwriter of the Year.” Also, the album was long-listed for that year’s Polaris Music Prize. Lastly, “Rows of Houses” won Best Song in the CBC Radio 3 BUCKY Awards, making Mangan the winningest artist in the award’s history — and the only artist to date that has won in the Best Song category multiple times. 

Credited to Dan Mangan + Blacksmith, 2015’s Club Meds found Magnan and his backing band of Grdina, Loewen, Walsh, Naylor, Carter and Zubot focusing on core band contributions — and while critically applauded, the album wasn’t as commercially successful as its predecessor. Since then, Mangan released the digitally released EP Unmake, which featured a cover of Robyn’s “Hang With Me,” stripped down versions of “Kitsch” and “Forgetery,” off Club Meds and an acoustic version of “Whistleblower,” re-worked from the original 6/8 time to 4/4 time and contributions from Tegan and Sara’s Tegan Quin, and drummer Loel Campbell (Wintersleep and Holy Fuck). Mangan has also done a few film and TV scores, including the CBC/AMC series Unspeakable, headed the Arts & Crafts Records imprint Madic Records, which released albums by Walrus and Astral Swans, who he has produced. During this exceedingly busy period, the acclaimed Canadian singer/songwriter and multi-instrumentalist took some time off and became a father before writing and releasing his latest album the Drew Brown-produced, More or Less, an album that Mangan claims “feels more like ‘me’ than ever.” 

The critically applauded Vancouver-based singer/songwriter and multi-instrumentalist is currently in the middle of a lengthy tour to support his latest effort, and it includes a March 14, 2019 stop at Mercury Lounge. (You can check out the tour dates below.) And to celebrate the tour, and its inclusion in the trailer for Unspeakable, Mangan released a spectral, Peter Gabriel-like cover of R.E.M.’s “Losing My Religion,” that’s centered around a looped guitar line, twinkling jazz-like keys and Magnan’s plaintive vocals. Admittedly, while I’ve been a huge R.E.M. fan for most of my life, I’ve hated “Losing My Religion” for many years because it was played way to death and then some throughout 1991 and 1992; but Mangan’s cover reminds me of the original song’s mysterious quality and weary ache. “When I was a kid, R.E.M. was a staple in my household,” says Mangan. “I remember air guitaring to this song with my brother and sister. It was such a massive hit but also so unlikely a candidate to be so. The chorus isn’t really a chorus. It’s long. It’s repetitive. It’s like a hypnotic cyclical trance of words that stick with you even if you have no idea what they’re about. I really wanted to try and approach it from a new angle. There’s no point in attempting to sing like Michael Stipe — there is only one Michael Stipe. So I tried my best to let it live in a new light while paying homage to the original.”

 

 

Comprised of Lush‘s Miki Berenyi (vocals, guitar) and Moose‘s KJ “Moose” McKillop (guitar), who are married, along with Modern English‘s Mick Conroy (bass) and Elastica’s Justin Welch (drums), the indie rock all-star act Piroshka derives their name from the Hungarian version of Little Red Riding Hood — and while each member may be known for their highly acclaimed individual creative pursuits, they’ve long been connected within a complex and oft-knotted web: Berenyi and McKillop have long been considered shoegaze pioneers with their own bands before they got married and raised a family; Elastica were considered rising Brit Pop stars, and as a result Berenyi and McKillop were familiar with Welch. After Modern English broke up for second time, Conroy joined McKillop’s band Moose. Welch joined the reformed Lush in 2015. Interestingly, when Lush needed a bassist for what turned out to be their final show in Manchester, Conroy filled in.

It was those Manchester show rehearsals that laid the foundations for their current project. But as I write this, I realize that I need to backtrack a bit because backstories are often extremely confusing — and there details I hadn’t figured out a good way to fit in. So here we go: After Chris Acland’s suicide in 1997, his devastated and grieving bandmates felt unable to continue. Berenyi in particular felt that she had to completely get away from music; in fact, Berenyi spent the next close to 20 years as a parent with a full time job — and as a result, she didn’t agree to reunite Lush until 2015.  Adding to the six degrees of musical and creative separation, Welch was a close friend of Acland’s, making it easy to recruit him to fill in. As the story goes, Welch was the one, who asked Berenyi if she’d be up to doing something else, after the Manchester show. As she mentions in press notes, she had never made music outside of Lush and never wanted to do anything solo. “I need someone else to motivate me, and in this case it was Justin,” Berenyi recalled. “He sent drum tracks with guitar parts and odd words, so I wrote some vocals and lyrics, which became ‘This Must Be Bedlam’ and ‘Never Enough.’ When Mick added bass, it sounded great. When Moose added guitar and keyboards — I’d never written like that before, it was such good fun.”

“We sounded great!” Welch added in press notes. “Like a proper punk band. Mick brings a huge amount of enthusiasm and livens up the room, and I thought this is the kind of band I want to be in again.” Conroy agreed, adding “I’d seen Lush so many times, it was like playing with old friends. Miki agreed and it was good fun, too. And with Moose available, we thought, ‘let’s all have a bash, see what happens.’”

Adding another layer to the entangled web of personal, professional and creative connections, Bella Union‘s label head Simon Raymonde was among the first people to hear the band’s demos for their forthcoming full-length debut Brickbat and after listening to them, he quickly signed the band — and as it turns out, his former Cocteau Twins bandmate Robin Guthrie produced Lush’s debut album. Alan with that Raymonde’s current Lost Horizons bandmate Richie Thomas was a former member of Moose. Raymonde then introduced the members of Piroshka to Lanterns on the Lake‘s Paul Gregory to mix the album — with the exception of “What’s Next,” which was mixed by Alan Moulder. Fiona Brice, who was once a Bella Union recording artist, wrote string arrangements while The Higsons and Blockhead‘s Terry Edwards, who also played on Lush’s final album played brass.

Slated for a February 15, 2015 release through the Bella Union, Piroshka’s debut album Brickbat is derived for a slang term for a missile and reportedly, the title hits on how the album is a marked departure from each individual members’ known work; in fact, the material is centered by blunt, forceful lyrics that tap into the fear, loathing, envy and spite at the heart of our sociopolitical moment.  Much of the material was written through the anxious prism of parenthood in a world gone mad. Similarly to JOVM mainstays Atmosphere‘s Mi Vida Local, Brickbat‘s first single “Everlastingly Yours” is rooted in a very real fear — that you can’t protect your loved ones from the constantly evolving dangers of our world. While the song is centered around a shimmering and anthemic shoegazer-like arrangement featuring soaring synths, a propulsive, angular bass line, four-on-the-floor-like drumming and Berenyi’s aching and ethereal vocals, the song thematically as McKillop explains is “about school shootings and our reaction to almost being almost unable to take our eyes off twenty-four hour news and internet feeds.” And as a result, the song points at the vacillating cycle of disgust, depression and powerlessness that we all feel on a daily basis.

Featuring four-on-the-floor drumming, jangling guitar chords, shimmering synths and Berenyi’s ethereal vocals, Brickbat‘s latest single “What’s Next” continues in its predecessor’s footsteps as it’s centered around the urgency of our sociopolitical moment — with the song’s narrator essentially saying “Wait, hold up. What the fuck, man? Shouldn’t we want better?” And throughout there are references to people hitting the streets to protest, out of fear, concern and outrage. Interestingly, as the band’s Berenyi explains in press notes “‘What’s Next’ started life as a guitar-and-drums demo from Justin that he’d called ‘Protest’ – the drums being inspired by the idea of a protest march. It’s one of the very first songs Piroshka worked on together. The lyrics are inspired by the shock and fallout regarding current political upheavals – how this finger-pointing and rage and blame are so damaging, how we need to get back some kind of solidarity if we possibly can because the divisions between us are playing into certain people’s hands. Funnily enough, the song was called Time’s Up when it was first recorded, but that title then got taken so we thought we’d better change it!”

 

Live Footage: The Blue Stones Perform “Be My Fire” on SiriusXM’s The Verge Channel

I’ve written a bit about up-and-coming alt rock duo The Blue Stones and as you may recall, the band which is comprised of high school friends Tarek Jafer (vocals, guitar) and Justin Tessier (drums, percussion, backing vocals) can trace their origins to when the duo decided that they should start a musical project together, while attending college. Jafar and Tessier spent seven years honing and perfecting their sound, a period which they wrote and recorded an independently released EP. 

Building upon several years of hard work and dedication, the duo released their full-length debut Black Holes last October — and the album features two previously released, attention-grabbing singles, Rolling With The Punches,” a single that received placements on USA Network‘s Suits, Showtime‘s Shameless and ESPN‘s Monday Night Football and lead single and album title track “Black Holes (Solid Ground), which has amassed 8 million streams, furthered cement the duo’s growing profile for  playing blues rock that as the duo’s Justin Tessier says is “lean, raw, tight, without a wasted note.”

Throughout 2017 and 2018, the members of The Blue Stones played sets across the national festival circuit with stops at Carolina Rebellion, Northern Invasion, Winnetka Music Festival and Bonnaroo Festival. Black Holes’ third single, the sultry and anthemic “Be My Fire,” is centered around the sort of enormous power chords, thundering drumming and arena rock friendly hooks that bring The Black Keys, Jimi Hendrix, and North Mississippi All Stars to mind — although the song is actually an urgent and plaintive yearning for someone just out of reach. Recently, the members of the up-and-coming alt rock duo were invited to SiriusXM’s The Verge Channel, where they performed several singles from their full-length debut, including the aforementioned “Be My Fire,” and a cover of The Rolling Stones’ classic “(I Can’t Get No) Satisfaction).” Check out some live footage of The Blue Stones performing “Be My Fire.” 

New Video: The Chavez Ravine Releases a Darkly Ironic Visual for “Bermuda Triangle”

Comprised of Manny Nieto (vocals, guitar), Phil Guerrero (drums) and Mando Lopez (bass), the indie rock trio The Chavez Ravine may arguably be as Los Angeles as it can get: the trio of grizzled local scene veterans features members, who have played in a number of renowned bands including Distortion Felix, FEAR, The Breeders, and Morrissey‘s backing band — and the band’s name is derived from the name of the Los Angeles that was appropriated by the city in 1958 to make room for Dodger Stadium. “I think our name The Chavez Ravine does mean something, considering we are all SoCal Latinos making music that’s not metal, as a DJ or playing hip-hop,” Nieto says. “Our DNA is more Devo vs. Wipers.” Additionally, Nieto is known for his work at Suplex Audio, where he has produced albums by HEALTH, Trash Talk, The Breeders, Darker My Love, Los Lobos and others. 

The Los Angeles-based trio recently took part in Dangerbird Records‘ MICRODOSE monthly single release and live event series, which celebrates new music from the city’s Eastside neighborhood — and beyond.  And their contribution is the 90s grunge rock-inspired “Bermuda Triangle,” a muscular and insistent track centered by fuzzy power chords, a steady backbeat, down-tuned bass and a hook that subtly recalls Social Distortion (at least to my ears). 

The recently released video stars Richard “Cully” Roberts as a distraught lover, who desperately attempts to bring his dead girlfriend, Chloe Diaz with his car. Once brought back to life, Roberts takes Diaz out to dance at a quiet bar, where the members of The Chavez Ravine are playing the song. While heading to the car, a distracted Roberts gets hit by a car and dies; however, instead of attempting to bring her lover back to life, she gleefully kills him. Darkly ironic, indeed.