Category: experimental rock

Video by William Ruben Helms

New Video: Stimmerman Shares Eerie “Mirror”

Eva Lawitts is a New York-based singer/songwriter, multi-instrumentalist, producer, grizzled local scene veteran and JOVM mainstay: Lawitts began her career with a 14-year run with local, prog rock shredders Sister Helen. Since Sister Helen’s break-up, she has developed a reputation as a go-to session and touring musician, working with Vagabon, Princess Nokia, and others.

Lawitts aslo co-runs Brooklyn-based recording studio, Wonderpark Studios, where she’s a producer and engineer. Adding to a busy schedule, the Brooklyn-based singer/songwriter, multi-instrumentalist and producer played bass on Oceanator‘s Things I Never Said. 

Her recording project Stimmerman — which is simultaneously a band and a solo project — was founded back in 2017 after her previous band Sister Helen split up. “I wanted a project that was all mine and so I picked a family name long-changed for the purposes of assimilating into American Society (what a concept)- Stimmerman,” Lawitts explains in press notes. 

Lawitts’ Stimmerman debut, 2019’s Goofballs which featured “It Shows” and “Dentist vs. Pharmacist.” was ” . . . more or less about loss and survivor’s guilt: it’s a meditation on a friend’s fatal overdose at a young age through that lens.”

Lawitts’ latest album Undertaking is slated for a May 26, 2023 release through Worry Records. The album reportedly sees Lawitts further cementing her reputation for creating boundary pushing work inspired by an eclectic array of music that aims to hold a cathartic space for the listener/audience.

Undertaking‘s latest single “Mirror” is built around a brooding and eerie production featuring twinkling keys paired with sparse skittering beats, swirling guitar textures and Lawitts’ comforting and self-aware crooning. While “Mirror” sonically brings a sleek synthesis of Beacon and Sylvan Esso with a playful nod to lullabies, the song lyrically is an self-aware yet unvarnished and unafraid baring of the soul — and its deepest desires and thoughts.

The accompanying video for “Mirror” was animated and edited by Max McDaniel-Neff features footage of bodies of water with line drawings depicting the song’s lyrics superimposed over the water.

Video by William Ruben Helms

New Video: SUUNS Share Sludgy and Shoegazy “Wave”

Montréal-based experimental rock outfit SUUNS— founding members Ben Shemie (vocals, guitar) and Joe Yarmush (guitar, bass) with Liam O’Neill (drums) — can trace their origins back to 2007: Shemie and Yarmush got together to make some beats, and it quickly evolved to a few songs. The duo was joined by O’Neill and Max Henry (keys) to complete the band’s first lineup. The band signed to Secretly Canadian in 2010. That year, Henry left the band as a full-time official member to pursue a scholarly career — although he continues to record with the band.

In 2020, the trio signed to Joyful Noise Recordings, who released that year’s Fiction EP and 2021’s The Witness.

Engineered by Adrian Popovich and recorded at Mountain City Recording Studio last July, the band’s latest single “Wave” evolved over an 18 month period of touring to support The Witness. “While touring The Witness, between plane rides, car rides, van rides, and text threads, we started working on new music,” SUUNS’ Ben Shemie explains. “New sounds and a new approach seemed to take shape while testing new material. What started to emerge were really slow songs, some strange experimentations, and some unclassifiable jams. Among these tunes, ‘Wave’ emerged.”

The slow-burning dirge-like “Wave” is rooted in relentless repetition, swirling and sludgy guitar textures, droning feedback and distortion, blown-out boom bap paired with Shemie’s plaintive delivery buried a smidge under the syrupy mix. Sonically “Wave” makes a nod at fellow Montrealers The Besnard Lakes before ending with a noisy, slow-burning fade out.

The accompanying video by Ilyse Krivel consists of time lapse footage of the sun setting over a body of water, superimposed by footage of rippling waves at the shore.

Single Review by William Ruben Helms

New Audio: Brighton’s The Fuchsias Share Dynamic “Elephante”

Brighton UK-based ambient music/post rock duo The Fuchsias — Bobby Fage and Stephen Ingham — can trace their origins back almost 20 years: Fage and Ingham played together in a now-defunct ambient collective that played in venues across Brighton, as well as The Big Chill Festival and Beautiful Days Festival. Ingham went on to tour with Dark Horses for over a decade. Fage worked on several songs on Towards Nova Zembla’s 2005 full-length debut, and did compositional work for installation artist Sean Kubsia’s Mysteres des Memoires and Recall, which displayed his fascination with utilizing experimental methods.

The duo wound up reconnecting over a mutual desire to create new minimalistic material — with live electronic elements. The British duo’s recently released four-track debut EP Isle sees them delving into modular guitar experimentation while simultaneously reflecting their unique tastes and passion for expansive, immersive music.

Isle EP‘s latest single, the expansive and cinematic “Elephante” alternates between glistening and looping guitar lines paired with tweeter and woofer rattling boom bap and ambient sections with twinkling electronics. While being decidedly beat driven, “Elephante” is rooted in the sort of patient, patiently textures of Mogwai, Public Service Broadcasting, and others.

Video by William Ruben Helms

New Video: JOVM Mainstays TEKE: TEKE Return with Cinematic and Mischievous “Dobugawa”

Initially started as a loving homage and tribute band to legendary Japanese guitarist Takeshi “Terry” Terauchi, the Montreal-based collective TEKE: TEKE – Yuki Isami (flute, shinobue and keys), Hidetaka Yoneyama (guitar), Sergio Nakauchi Pelletier (guitar), Mishka Stein (bass), Etienne Lebel (trombone), Ian Lettree (drums, percussion) and Maya Kuroki (vocals, keys and percussion) —  features a collection of accomplished Montreal-based musicians, who have played with the likes of Pawa Up First, Patrick Wilson, Boogat, Gypsy Kumbia Orchestra and others.

With the release of their debut EP 2018’s Jikaku, the members of the Montreal-based septet came into their own highly unique and difficult to pigeonhole sound that features elements of Japanese Eleki surf rock, shoegaze, post-punk, psych rock, ska, Latin music and Balkan music.

Kill Rock Stars Records, released the Canadian collective’s full-length debut Shirushi last year, and in the lead-up to the album’s release, I wrote about five of its singles:  

  • “Kala Kala:” Deriving its title from a phrase that roughly translates to English as clattering, “Kala Kala” is centered around a mind-melting arrangement and song structure, Kuroki’s howling and crooning. And to my ears, the track accurately captures the band’s frenetic live energy. 

  • “Chidori,” a cinematic yet mosh pit friendly freak out that’s one part psych rock, one part Dick Dale-like surf rock, one part Ennio Morricone soundtrack delivered with a frenetic aplomb. 

  • “Meikyu:” Deriving its title from the Japanese word for labyrinth, the track is a no bullshit, no filler all killer ripper with menacing guitar work, dramatic bursts of trombone, fluttering flute, thumping tribal drumming and some wild soloing within an expansive, mind-melting song structure.  

  • Yoru Ni,” a fever dream featuring dreamy blasts of flute and trombone, menacing and slashing guitars and intricate Japanese shamisen. Deriving its name from the Japanese phrase for “at night,” the song despite it’s mischievous tone, is a somewhat romantic and spiritual tale about its central character letting go of a long-held delusional quest. 

  • “Barbara,” a mischievous and cinematic track with a stomping, punk rock energy that sounds like the perfect soundtrack for a misfit circus — or the Coney Island Mermaid Parade, as each instrumental part seemingly introducing a new and strange character. Much like the previously released singles, “Barbara” captures the frenetic energy of their live sets. The lyrics as the band explained are a twisted take on zashiki-warashi, spirit beings, who like to perform pranks and bring good fortune to those who see them. 

The Montreal-based JOVM mainstays announced a short run of tour dates that includes their first ever New York stop, November 11, 2022 at Public Records. As always, you can check out the rest of the tour dates below. And along with the tour announcement, the band shared a new single from the album, “Dobugawa,” a cinematic song that feels and sounds like a seamless Twin Peaks-era David Lynch and French chanson, with a subtle bit of mischievous fantasy.

The songs title translates into English as “dirty river,” and it sets the scene for an off-kilter, romantic tale about the ambiguity of identity. “Set in a poor industrialized town in 1930’s Showa-era Japan, an ambiguous couple take a stroll along a dirty river (Dobugawa) said to be filled with all the city’s hidden words,” TEKE: TEKE’s Maya Kuroki says.

Animated by the band’s Maya Kuroki and edited by the band’s Serge Pelletier, employs the use traditional animation and collage, which emphasizes the fantastic and surreal elements of the song — while being subtly menacing. “This is a very cinematic song, with elements of fantasy and surrealism. I wanted to keep the animation simple so as to give off a dark, sparse feeling of what lies beneath in contrast to what otherwise seems like a peaceful, spring afternoon, Kuroki explains.

The video also features English-translated subtitles, allowing the viewer to further engage with the song’s lyric and meaning.

Video by William Ruben Helms

New Video: Boris Shares a Frenzied “Headbanger’s Ball”-Like Ripper

Formed back in 1992, Japanese, experimental heavy rock outfit Boris ((ボリス, Borisu) — currently core members Takeshi (vocals, bass, guitar), Wata (vocals, guitar, keys, accordion and echo) Atsuo (vocals, drums, percussion and electronics) with Mucho (drums) — settled on their current lineup in 1996. Since then, the members of Boris have tirelessly explored their own genre-defying take on heavy music.

In an effort to sublimate the negative energy surrounding everyone and everything in 2020, Boris wrote and recorded NO, one of the most extreme albums of their widely celebrated and lengthy career. The band self-released the album during the heigh of pandemic-related lockdowns, desiring to get the album out as quickly as possible. But interestingly enough, they intentionally titled NO‘s closing track “Interlude,” while planning the album’s follow-up. 

Released earlier this year through Sacred Bones Records W saw the band crafting material that stylistically ranged from noise to New Age, continuing their long-held reputation for dynamic and sonically adventurous work. While being disparate, the material is held together by a melodic deliberation through each song that helps the band accomplish their ultimate goal with the album — eliciting deep sensation. 

NO and W were conceived to weave together to form NOW, a pair of releases that respond to each other: The band followed one of their hardest albums with an effort that’s sensuous, lush yet thunderous. The result is a continuous circle of harshness and healing that seems more relevant — and necessary — now than ever. 

Throughout their 30-year history, the acclaimed Japanese outfit has a long-held reputation for being remarkably prolific. Their second album of this year, the 10-track Heavy Rocks (2022) is slated for an August 12, 2022 release through Relapse Records. The album, which is another installment of their Heavy Rocks series sees Boris channeling 70s proto-metal and glam rock through their own unique lens. 

“The world has changed over the last two years. Everyone’s thinking is simpler and pragmatic. Now, it is easier for everyone to grasp what is important to each of us,” the members of Boris say of the new album.

“We leave it to the future and pass it on. The soul of rock music is constantly evolving. A soul that transcends words and meaning to reach you – instinct, intuition, and fangs.

This is the heavy rock of Boris now.

As we land on our 30th anniversary, Boris continues to evolve, accelerating the latest and universal.

Boris does not lead anyone anywhere.

We just keep showing this attitude.”

So far I’ve written about two of the album’s previously released singles:

“She Is Burning,” a mosh pit friendly ripper that saw the Japanese outfit effortlessly mesh glam rock, punk and proto-metal while subtly hinting at hinting at early Soundgarden and Thin Lizzy.

and 

“Question 1,” a mind-bending and expansive track that features four distinct movements:

  • a furiously breakneck Headbanger’s Ball– meets D-beat punk-inspired metal introduction with screamo delivered lyrics for the song’s first 80 seconds or so. 
  • a lush post rock/post section featuring wailing guitars and layers of shoegazey feedback paired with thunderous drumming and a plaintive vocal delivery for the middle two minutes or so
  • a section that subtly meshes the Headbanger’s Ball-meets D-beat punk-inspired metal of the song’s introduction with a subtle bit of thrash metal
  • a dreamy acoustic guitar-driven coda that quickly fades out. 

The song manages to unapologetically kick ass and take names — while sending the listener into a mad frenzy. Play this one as loud as your ears can take. 

Heavy Rocks (2022)‘s third and latest single “My name is blank” is a decidedly Headbanger’s Ball-like ripper centered around dense layers of guitar pyrotechnic-fueled riffage, howled lyrics and thunderous drumming that’s meant to send the listener into a frenzy.

Directed by YUTARO (ART LOVE MUSIC), the accompanying visual for “My name is blank” features the band performing the song in an empty studio with flashing lights while a cape-wearing demon rocks out in the background. Also, there are a helluva lot of empty bottles of all kind — suggesting the demon may have drank a potion to become what they are, or some wild ritual.

Single Review by William Ruben Helms

New Audio: Boris Returns with a Mind-Bending and Expansive Ripper

Formed back in 1992, Japanese, experimental heavy rock outfit Boris ((ボリス, Borisu) — core members Takeshi (vocals, bass, guitar), Wata (vocals, guitar, keys, accordion and echo) Atsuo (vocals, drums, percussion and electronics) with Mucho (drums) — settled on their current lineup in 1996. Since then, the members of Boris have tirelessly explored their own genre-defying take on heavy music.

In an effort to sublimate the negative energy surrounding everyone in 2020, Boris wrote and recorded NO, one of the most extreme albums of their widely celebrated and lengthy career. The band self-released the album during the heigh of pandemic-related lockdowns, desiring to get the album out as quickly as possible. But interestingly enough, they intentionally titled NO‘s closing track “Interlude,” while planning the album’s follow-up. 

Released earlier this year through Sacred Bones Records W saw the band crafting material that stylistically ranged from noise to New Age, continuing their long-held reputation for dynamic and sonically adventurous work. While being disparate, the material is held together by a melodic deliberation through each song that helps the band accomplish their ultimate goal with the album — eliciting deep sensation. 

NO and W were conceived to weave together to form NOW, a pair of releases that respond to each other: The band followed one of their hardest albums with an effort that’s sensuous, lush yet thunderous. The result is a continuous circle of harshness and healing that seems more relevant — and necessary — now than ever. 

Throughout their 30-year history, the member of Boris have been remarkably prolific. Their second album of this year, the 10-track Heavy Rocks (2022) is slated for an August 12, 2022 release through Relapse Records. The album, which is another installment of their Heavy Rocks series sees Boris channeling 70s proto-metal and glam rock through their own unique lens. 

“The world has changed over the last two years. Everyone’s thinking is simpler and pragmatic. Now, it is easier for everyone to grasp what is important to each of us,” the members of Boris say of the new album.

“We leave it to the future and pass it on. The soul of rock music is constantly evolving. A soul that transcends words and meaning to reach you – instinct, intuition, and fangs.

This is the heavy rock of Boris now.

As we land on our 30th anniversary, Boris continues to evolve, accelerating the latest and universal.

Boris does not lead anyone anywhere.

We just keep showing this attitude.”

Earlier this month, I wrote about Heavy Rocks‘ first single and album opener “She Is Burning,” a mosh pit friendly ripper that saw the Japanese outfit effortlessly mesh glam rock, punk and proto-metal while subtly hinting at hinting at early Soundgarden and Thin Lizzy. 

Heavy Rocks‘ second and latest single “Question 1” is a mind-bending and expansive track that features four distinct movements:

  • a furiously breakneck Headbanger’s Ball– meets D-beat punk-inspired metal introduction with screamo delivered lyrics for the song’s first 80 seconds or so.
  • a lush post rock/post section featuring wailing guitars and layers of shoegazey feedback paired with thunderous drumming and a plaintive vocal delivery for the middle two minutes or so
  • a section that subtly meshes the Headbanger’s Ball-meets D-beat punk-inspired metal of the song’s introduction with a subtle bit of thrash metal
  • a dreamy acoustic guitar-driven coda that quickly fades out.

The song manages to unapologetically kick ass and take names — while sending the listener into a mad frenzy. Play this one as loud as your ears can take.

Video by William Ruben Helms

New Video: Boris Shares a Feral Ripper

Formed back in 1992, Japanese, experimental heavy rock outfit Boris ((ボリス, Borisu) — core members Takeshi (vocals, bass, guitar), Wata (vocals, guitar, keys, accordion and echo) Atsuo (vocals, drums, percussion and electronics) and Mucho (drums) — settled on their current lineup in 1996. Since then, the members of Boris have tirelessly explored their own genre-defying take on heavy music.

In an effort to sublimate the negative energy surrounding everyone in 2020, Boris wrote and recorded NO, one of the most extreme albums of their widely celebrated and lengthy career. The band self-released the album during the heigh of pandemic-related lockdowns, desiring to get the album out as quickly as possible. But interestingly enough, they intentionally titled NO‘s closing track “Interlude,” while planning the album’s follow-up. 

Released earlier this year through Sacred Bones Records W saw the band crafting material that stylistically ranged from noise to New Age, continuing their long-held reputation for dynamic and sonically adventurous work. But the work is held together by a melodic deliberation through each song that helps the band accomplish their ultimate goal with the album — eliciting deep sensation.

NO and W were conceived to weave together to form NOW, a pair of releases that respond to each other: The band follows their hardest album with an effort that’s sensuous, lush and thundering. The result is a continuous circle of harshness and healing that seems more relevant — and necessary — now than ever. 

Throughout their history, the member of Boris have been remarkably prolific. Their second album of the year, the 10-track Heavy Rocks (2022) is slated for an August 12, 2022 release through Relapse Records. The album, which is another installment of their Heavy Rocks series sees Boris channeling 70s proto-metal and glam rock through their own unique lens.

“The world has changed over the last two years. Everyone’s thinking is simpler and pragmatic. Now, it is easier for everyone to grasp what is important to each of us,” the members of Boris say of the new album.

“We leave it to the future and pass it on. The soul of rock music is constantly evolving. A soul that transcends words and meaning to reach you – instinct, intuition, and fangs.

This is the heavy rock of Boris now.

As we land on our 30th anniversary, Boris continues to evolve, accelerating the latest and universal.

Boris does not lead anyone anywhere.

We just keep showing this attitude.”

Heavy Rocks‘ first single, album opening “She Is Burning” is a mosh-pit friendly, power chord-driven ripper that effortlessly meshes glam rock, punk and proto-metal in a way that kicks ass and takes names — while subtly hinting at early Soundgarden and Thin Lizzy.

Fittingly, the accompanying video which features dancing by Snatch, has the band dressed up as though they walked out of 1974 and the dancer performing in front of enormous flames. And holy shit, does it kick so much fucking ass!

Video by William Ruben Helms

New Video: Yoo Doo Right Shares Brooding Instrumental “The Failure of Tired, Stiff Friends”

Deriving their name from one of Can‘s best known — and perhaps most covered — songs, Montreal-based outfit Yoo Doo Right — Justin Cober (guitar, synths, vocals), Charles Masson (bass) and John Talbot (drums, percussion) — have developed an improvisational-based approach that features elements of krautrock, shoegaze, post-rock and psych rock that the band has described as “a car crash in slow motion.” 

Since their formation, You Doo Right have become a highly in-demand live act that has toured across North America, including making a run of the festival circuit with stops at Levitation, M for Montreal, Sled Island, Pop Montreal and New Colossus Festival earlier this year. Back in 2018, the Montreal-based experimental outfit was the main support act for Acid Mothers Temple‘s North American tour — and as a result, they’ve shared stages with the likes of DIIV, A Place to Bury Strangers, Wooden Shjips, Kikagkiu Moyo, FACS, Frigs, and Jessica Moss and several others. 

Yoo Doo Right’s highly-anticipated sophomore album A Murmur, Boundless To The East is slated for a June 10, 2022 through Mothland. After premiering the album’s material for hometown fans at Société des arts technologiques de Montréal, the band knew that there was only one way to record the album — live off-the-floor at Hotel2Tango. The band recruited acclaimed producer Radwan Ghazi Moumneh to assist them in crafting their vision.

Last month, I wrote about  A Murmur, Boundless To The East‘s first single, the epic “Feet Together, Face Up, On The Front Lawn,” a brooding mix of malevolence and uncanny beauty. The album’s second single, the instrumental track “The Failure of Stiff, Tired Friends” is centered around arpeggiated synths, twinkling keys, a relentless bass line serving as a silky bed for a Ennio Morricone-like guitar theme. Much like its predecessor, “The Failure of Stiff, Tired Friends” is a brooding and uneasy track that evokes lonely late night walks from the bar or a party in which you’re lost in your thoughts.

Directed and animated by Jared Karnas, follows a bored and lonely guy at a packed party. The night has stretched on, and he has spent a significant portion of the night, peeling the sticker off a beer bottle. He leaves the party and walks through the night streets of Montreal — to me, the video seems set in the Williamsburg-like Plateau Mont-Royal section — lost in his own brooding thoughts, barely noticing the couples in love or a sweet pup.

“The mood from this piece by Yoo Doo Right brings out a feeling I’m well accustomed to, which comes when we walk alone in the city, either very late at night, or very early in the morning,” Jared Karnas explains. “This moment of twilight that comes with sadness and loneliness, as we head back home after an evening that drew on. Time stops, we encounter people along the way, we hear the birds sing, yet we are lost in our thoughts, detached from our surroundings. It is this moment afloat that I set out to illustrate in this video.” 

Video by William Ruben Helms

New Video: Yoo Doo Right Shares Mind-Bending and Epic “Feet Together, Face Up, On The Front Lawn”

Deriving their name from one of Can‘s best known — and perhaps most covered — songs, Montreal-based Yoo Doo Right — Justin Cober (guitar, synths, vocals), Charles Masson (bass) and John Talbot (drums, percussion) — have developed an improvisational-based approach that features elements of krautrock, shoegaze, post-rock and psych rock that the band has described as “a car crash in slow motion.” 

Since their formation, You Doo Right have become a highly in-demand live act that has toured across North America, including making a run of the festival circuit with stops at Levitation, M for Montreal, Sled Island, Pop Montreal and New Colossus Festival earlier this year. Back in 2018, the Montreal-based experimental outfit was the main support act for Acid Mothers Temple‘s North American tour that year — and as a result, they’ve shared stages with the likes of DIIV, A Place to Bury Strangers, Wooden Shjips, Kikagkiu Moyo, FACS, Frigs, and Jessica Moss and several others. 

Their full-length debut, last year’s Don’t Think You Can Escape Your Purpose featured the slow-burning exercise in restraint and unresolved tension, album title track “Don’t Think You Can Escape Your Purpose,” and the forceful and trippy motorik groove-driven “Presto Presto, Bella’s Dream.”

Yoo Doo Right’s highly-anticipated sophomore album A Murmur, Boundless To The East is slated for a June 10, 2022 through Mothland. After premiering the album’s material for hometown fans at Société des arts technologiques de Montréal, the band knew that there was only one way to record the album — live off-the-floor at Hotel2Tango. The band recruited acclaimed producer Radwan Ghazi Moumneh to assist them in crafting their vision.

A Murmur, Boundless To The East‘s first single, the epic “Feet Together, Face Up, On The Front Lawn,” features a lengthy introductory section featuring oceanic guitar feedback paired with thunderous drumming before morphing into a brief krautrock section featuring oscillating synths, driving rhythms and glistening guitars paired with punchily delivered vocals. The song ends with a lengthy coda of oceanic guitar feedback and thunderous drumming.
The end result manages to be a brooding mix of malevolence and uncanny beauty.

Mackenzie Reid Rostad created an accompanying short film shot with thermal cameras, which gives the entire proceeding a spectral vibe. “We knew we wanted to explore a narrative or continuity with the film and in the end, this happened to be that of enclosure. It’s both a product and a process of something that itself has no end,” Reid explains. “The track’s title and those for the rest of the album really echo this general desire to transcend this something as manifest in the proliferating enclosures of the visible (fences, power lines, highways, etc.) and non-visible (frontiers, thresholds) world. The entire video was shot with a thermal camera and beyond the materiality of the image (light/heat and visible/non-visible), its very existence is a fragment of the latter, as this kind of technology has been developed and heavily deployed in the service of private property and national frontiers. These are the kinds of things I’m thinking about when listening to Yoo Doo Right anyhow and again this something, of which enclosure is an aspect, is a process. I started with this somewhere in the back of my mind and the music pulled this process out of everything that followed.”

Video by William Ruben Helms

New Video: Lyon’s Ashinoa Shares Tribal and Hallucinogenic “Koalibi”

Lyon, France-based experimental synth act Ashinoa quickly exploded into the national and international scene with the release of their full-length debut, 2019’s Sinie Sinie, an effort that saw the French synth outfit establishing a minimalist krautrock sound and approach.

The Lyon-based synth act supported their full-length debut with tours across their native France opening for JOVM mainstays METZ and Flamingods, Warrmduscher, Bo Ningen, Kikagaku Moyo and others.

Ashinoa’s sophomore album L’Orée is slated for a March 25, 2022 release through Fuzz Club. The album reportedly sees the building upon the minimalist krautorck of their debut while taking the listener on a psychedelic journey through the wilderness through shape-shifting electronics.

Primarily centered around a largely synthesizer-driven soundscape, L’Orée‘s material sees the members of Ashinoa exploring a much more natural, organic sound than their previously released work, a sound that at times is percussive and dance floor friendly and other times hypnotic and expansive — and largely inspired by the environment it was written and recorded in. Recorded in a house, tucked away in the French countryside, which bordered on a surrounding forest, the band recalls that the album sessions were spent soaking up their immediate surroundings with a number of collaborators coming in and out to play on the record: 

“The house we recorded the album in was kind of in the middle of nowhere, surrounded by Douglas Pine trees. From this proximity to the forest, we wanted to take our soundscapes to a place we’ve never been before,” the members of the French-based experimental act explain. “Before we were surrounded by concrete, and then far from it. We were looking for a new listening place, to discover new intriguing sounds. We had laid down the basis of the album and then musician friends that would visit us at the time were invited to participate in the making of the album, each one of them bringing a touch of their own.”

So far i’ve written about two previously released singles:

  • Disguised by Orbit,” a L’eclair and Mildlife-like bop centered around cosmic grooves, old school boom bap and Brit Pop swagger
  • “Feu De Joie,” which features some scorching psych rock riffage, twinkling synths and an oscillating beat in a jazz fusion meets psych rock-like jam

L’Orée‘s third and latest single “Koalibi” is a percussive track centered around syncopated polyrhythm, oscillating electronics, a trippy motorik groove and jungle noises — specifically birds and animals calling to each other. Koalibi” is one-part tribal house, one-part acid house one-part psych pop — and entirely danceable.

“’Koalibi’ sounds like the jungle, with animals screaming and birds flying up in all directions. It’s a ritual movement. It’s dancing,” the band says of L’Orée‘s third single.

Animated by Morgane Botella, the accompanying visual for “Koalibi” fittingly features jungle-like imagery with various wild creatures flying, crawling, swimming and climbing through the jungle, as humanoid figures float by on boats. The humanoid figures travel to a mystical spot, where they trip out and dance throughout the night in their boats — as the wind blows through the reeds and grasses.

Single Review by William Ruben Helms

New Audio: Lyon, France’s Ashinoa Shares Slow-Burning and Trippy “Feu De Joie”

 Lyon, France-based experimental synth act Ashinoa quickly exploded into the national and international scene with the release of their full-length debut, 2019’s Sinie Sinie, an effort that saw the Lyon-based act establishing a minimalist krautrock approach.

Ashinoa supported Sinie Sinie with tours across France opening for JOVM mainstays METZ and Flamingods,Warrmduscher, Bo Ningen, Kikagaku Moyo and others. The rising French act’s sophomore album L’Orée is slated for a March 25, 2022 release through Fuzz Club, and the album reportedly sees the band building upon the minimalist karutrock of their debut while taking the listener on a journey through the wilderness through shape-shifting, psychedelic electronics. 

While primarily centered around a largely synthesizer-driven soundscape, L’Orée‘s material sees the members of Ashinoa exploring a much more natural, organic sound than their previously released work, a sound that at times is percussive and dance floor friendly and other times hypnotic and expansive — and largely inspired by the environment it was written and recorded in. Recorded in a house, tucked away in the French countryside, which bordered on a surrounding forest, the band recalls that the album sessions were spent soaking up their immediate surroundings with a number of collaborators coming in and out to play on the record: 

“The house we recorded the album in was kind of in the middle of nowhere, surrounded by Douglas Pine trees. From this proximity to the forest, we wanted to take our soundscapes to a place we’ve never been before,” the members of the French-based experimental act explain. “Before we were surrounded by concrete, and then far from it. We were looking for a new listening place, to discover new intriguing sounds. We had laid down the basis of the album and then musician friends that would visit us at the time were invited to participate in the making of the album, each one of them bringing a touch of their own.”

Late month, I wrote about “Disguised by Orbit,” a L’eclair and Mildlife-like bop centered around cosmic grooves, old school boom bap and Brit Pop swagger. “Feu De Joie,” L’Orée‘s second and latest single, derives its name for the French term for bonfire. Interestingly, “Feu De Joie” is centered around some scorching psych rock riffage, twinkling synths paired with an oscillating beat — and may arguably be the most jazz fusion meets psych rock leaning track on the album.

“The main theme was inspired by the Hispanic composer Manuel de Falla and his ‘El amor Brujo’ work. This track condenses the idea that we had for the album. It signals a change between universes.”