Category: garage rock

New Video: JOVM Mainstays Death Valley Girls Release a Hallucinatory and Menacing Visual for “Dream Cleaver”

Over the past handful of years, I’ve written quite a bit about the Los Angeles-based garage rock/psych rock/proto metal act Death Valley Girls, and as you may recall the act which is currently comprised of founding duo Larry Schemel (guitar) and Bonnie Bloomgarden (vocals, guitar) and a rotating cast of collaborators that includes Alana Amram (bass), Laura Harris (drums), Shannon Lay, members of The Make Up, The Shivas and Moaning, as well as The Flytraps Laura Kelsey can trace their origins to when they were formed by Schemel, Bloomgarden, Rachel Orosco (bass) and Hole‘s Patty Schemel (drums). 

Although they’ve gone through a series of lineup changes, the band’s sound and overall aesthetic throughout their recorded output has largely been influenced by The Manson Family and B movie theatrics while thematically their work has touched upon the occult. Last year’s Darkness Rains may arguably be among the most menacing and darkest of their growing catalog. The band has been busy touring over the past year or so since the release of their third album, but they’ve managed to set some time aside to write and record — with their latest single “Dream Cleaver,” being the first batch of new material from the act this year. 

Interestingly, the hook-driven new single finds the band’s sound subtly moving to a New Wave-like sound along the lines of The Psychedelic Furs and Echo and the Bunnymen, as you’ll hear brief blasts of bluesy saxophone floating over jangling guitars, gorgeous girls group-like harmonies paired with a motorik-like groove. And while possessing a newfound sheen, the manages to retain the menace and unease of their previously released material. 

Directed by Casey Rup, the recently released video for “Dream Cleaver” is a nightmarish and anxiety-including hallucination that follows three murderous witches as they search for materials for a neon-colored and bubbling potion. 

Advertisements

New Video: Allah Las Release a Tongue-in-Cheek Take on “Weekend at Bernie’s”

Formed back in 2008, the acclaimed Los Angeles-based psych rock act Allah-Las — Matthew Correia (drums), Spencer Dunham (bass), Miles Michaud (vocals, guitar) and Pedrum Siadatian (guitar) — can trace their origins to when three of the band’s four members worked at renowned Los Angeles-based record store Amoeba Music. And since their formation, the band has released three albums, which have helped establish their sound, a sound and approach that’s heavily inspired from their hometown and draws heavily from the sounds of the 60s — primarily, psych rock, surfer rock and garage rock.

Slated for an October 11, 2019 release through Mexican Summer Records, the acclaimed Los Angeles-based psych rock’s fourth album LAHS derives its title from a common misspelling of the band’s name. And reportedly, the album finds the venturing into new, exciting sonic territories with the material revealing their growth as songwriters, performers, arrangers and producers — with one of the album’s tracks featuring the band’s Matthew Correia singing in Portuguese. Interestingly. the album’s songs find the band crafting material with a razor-sharp focus on Krautrock-like grooves. In fact, the album’s latest single “In The Air,” is centered around looping and shimmering guitar lines, a motorik-like groove, ethereal vocals and an infectious hook. And as a result, the song feels like a hazy and lysergic dream that lingers long after the hallucinogens have dissipated. 

Directed by Sam Kristofksi and starring Kirin J. Callinan and the members of Allah Las, the recently released video for “In The Air” is a half-baked, tongue-in-cheek version of the 80s film Weekend at Bernie’s that follows the band as they take one of their incapacitated bandmates around town on a series of wild adventures. 

New Video: JOVM Mainstays Oh Sees Release a Trippy and Nightmarishly Animated Visual for “Poisoned Stones”

Over the past nine years, I’ve spilled quite a bit of virtual ink covering the Bay Area-based JOVM mainstays Oh Sees. And as you may recall, the act, which is led by its ridiculously prolific founder and creative mastermind John Dwyer has a cultivated a long-held reputation for wide-ranging and restless experimentation that has seen the band dabble between a variety of genres and styles including lysergic-tinged folk, furious and sweaty garage punk rippers, sci-fi driven krautrock and more — with each successive album being wildly different from its predecessor. 

Face Stabber, a 2LP album is slated for an August 16, 2019 release through their longtime label home Castle Face Records, and the album’s first single “Henchrock” was a free-flowing, skronky The Yes Album-era Yes meets Return to Forever-like expansive bit of prog rock. The album’s latest single “Poisoned Stones” continues on a similar vein — skronky prog rock but this time delivered with a muscular and forceful insistence, as the track is centered around enormous power chords and thunderous drumming. 

The recently released video for “Poisoned Stones” features 8 bit video game graphic animation by Eaten Alive Illustrations that’s a surrealistic nightmare as it follows our motorcycle riding protagonist being chased through the desert — until the bat-like creature chasing him captures him and drops him off into the lair of a cloaked magician. After killing the magician, the protagonist escapes, feeds something to a wolf, who has a mind-bending trip and allows our protagonist to ride him until they arrive at a castle that will be destroyed by an even weirder, alien-like dragon. 

New Video: Watch Acclaimed Indie Rock Act Night Beats Take on The Sonics

Deriving its name from Sam Cooke’s Night Beat album, the Seattle, WA-based psych rock/garage rock act Night Beats was formed by its Dallas, TX-born, Seattle, WA-based founding member and creative mastermind Danny “Lee Blackwell” Rajan Billingsley back in 2009 when Billingsley relocated to Seattle to study comparative religion at the University of Washington. That same year, Billingsley self-recorded the Night Beats debut EP, Street (Atomic), which was released through Holy Twist Records. 

After trying out a couple of different lineups, Billingsley recruited his high school friend and former B.B. Mercy drummer James Traeger to join the band. Traeger relocated from Austin, TX, where he was studying at the time to join Billingsley. The band played for a while as a duo before recruiting Tacoma, WA-born Tarek Wegner (bass), who once played with The Drug Purse and Paris Spleen to join the band. Early in their history, the band toured across North America extensively — and within weeks of releasing the H-Bomb EP the band was signed by Chicago-based label Trouble in Mind Records, who re-released the album in the fall of 2010. The re-released EP wound up topping several college radio while helping the band develop a reputation for a sound that incorporates elements of early R&B, psych rock, blues rock, funk and soul. (Unsurprisingly, the band has toured with the likes of The Black Angels, Roky Erickson, The Zombies, The Jesus and Mary Chain, The Strange Boys, Black Lips, Black Rebel Motorcycle Club and The Growlers.) 

The following year, the band released a split EP with The UFO Club through Austin-based label The Reverberation Appreciation Society, which they followed up with their self-titled debut album. They also released a 2012 split single with TRMRS, which was released through Volcom Vinyl Club. 2013 saw the release of their sophomore album Sonic Bloom through The Reverberation Appreciation Society. The band supported the album with touring across North America, Europe, Israel, South Africa and Australia. 

2014 saw the band go through the first of a series of lineup changes. Tarek Wegner left the band and eventually released an EP What Colors Last, as well as a full-length effort Soul Fuckers, which was supported by a West Coast tour with Tomorrow’s Tulips. Meanwhile, Night Beats signed to London-based label Heavenly Recordings, who released the band’s acclaimed Robert Levon Been co-produced third album Who Sold My Generation in 2016. The album also featured Been, who’s best known for his work with Black Rebel Motorcycle Club contributing bass. Jakob Bowden was recruited to tour in support of the album. 

The last half of 2016 saw the band go on an UK and European Union tour without James Traeger. Throughout 2017, Evan Synder toured with the band. During a 2018 US tour opening for Black Rebel Motorcycle Club, Jonah Swilley sat in on drums with the band. Last May saw the band touring Spain with Evan Synder playing drums. Bowden wasn’t with the band either. 

This year has been a rather busy year for Billingsley. Night Beats’ Dan Auerbach-produced Myth Of A Man was released in January — and the album found the band’s founder playing with a backing band of session musicians, who had worked with the likes of Elvis Presley and Aretha Franklin. Perhaps as a way of explaining Traeger’s and Bowden’s absence from the album, the official press release simply said that the album was “written during a particularly destructive period of the band.” Additionally, Billingsley along with an all-star backing cast featuring The Mystery Lights’ Mike Brandon, Black Lips’ Cole Alexander and Warbly Jets’ Julien O’neil recorded and released a Record Store Day album, Night Beats Perform The Sonics’ Boom, an exact track-by-track over of The Sonics classic (and beloved) 1966 album Boom. 

Night Beats Perform The Sonics’ Boom finds Billingsley and an indie rock All-Star backing band treading a line between faithful cover meant to keep the legacy of The Sonics’ classic album alive for contemporary listeners while imbuing the material with a fuzzy  and soulful take. Album single “Let The Good Times Roll” manages to sound almost like it were released sometime between 1966-1968 but with a gritty, mod rock vibe reminiscent of The Who Sings My Generation-era The Who. 

Directed, shot, and edited by James Oswald on what looks like grainy Super 8mm film, the recently released video follows Billingsley and his backing band on tour, split between the yellow and white lines of endless blacktop, the band playing sweaty and passionate  shows in front of rapturous fans, and intimate backstage footage featuring the band getting themselves together before playing. As someone, who has covered and seen thousands of shows, the video captures the spirit and soul of a show in a way that feels warmly familiar. 

   

Throughout the course of this site’s nine-year history, I’ve spilled quite a bit of virtual ink on the Bay Area-based JOVM mainstays Oh Sees (a.k.a. Thee Oh Sees, OCS, The Oh Sees, The Orange County Sound, Orinoka Crash Suite and other variations). And as you may recall, the act which is led by its ridiculously prolific creative mastermind John Dwyer has a long-held reputation for wide-ranging and restless experimentation that has seen the band dabble and bounce between a variety of genres and styles including lysergic-tinged folk, furious and sweaty garage punk rippers, sci-fi driven krautrock and more. Of course, with each successive album generally being wildly different from its predecessors, it makes the band incredibly difficult to pigeonhole.

Last year’s Smote Reverser found the band meshing classic psych rock and prog rock in a way that brought JOVM mainstays King Gizzard and the Lizard Wizard to mind, but with a muscular and menacing air.

Oh Sees’ latest album, the 2LP Face Stabber is slated for an August 16, 2019 release through their longtime label home Castle Face Records. Interestingly, the album’s first single “Henchrock” is a free-flowing skronky The Yes Album-era Yes meets Return to Forever-like bit of prog rock that clocks in at a little over 21 minutes and possesses a lysergic, retro-futuristic air.

The members of Oh Sees will be embarking on a lengthy tour throughout the summer and fall months that includes a three night, October run at Warsaw — October 18, 2019 – October 20, 2019. Check out the rest of the tour dates below.

Tour Dates:

July
11-13 Carnation WA Timber! Festival

August
 9 Pioneertown, CA Pappy and Harriet’s

23 Charleville Cabaret Vert festival

24 Guéret Check-in Festival

27 Ravenna Hana-Bi (Free)

29 Vienna Arena

30 Munich Strom

31 Berlin Kreuzberg Festsaal

September
Brussels Les Botaniquesen

Bordeaux BT 59

Toulouse Le Bikini

Paris Le Bataclan

London Troxy

Amsterdam Paradiso

30 San Francisco, CA The Chapel

October
San Francisco, CA The Chapel

San Francisco, CA The Chapel

4 Portland, OR Crystal Ballroom

7 Vancouver, BC Rickshaw Theatre

10 Minneapolis, MN First Avenue Ballroom

11 Chicago, IL Thalia Hall

12 Chicago, IL Thalia Hall

14 Toronto, ON Danforth Music Hall

15 Montreal, QC Le National

16 Cambridge, MA The Sinclair

18 Brooklyn, NY Warsaw

19 Brooklyn, NY Warsaw

20 Brooklyn, NY Warsaw

22 Philadelphia, PA Union Transfer

23 Carrboro, NC Cat’s Cradle

24 Nashville, TN Mercy Lounge

25 New Orleans, LA One Eyed Jacks

26 Austin TX Hotel Vegas

27 Austin, TX Hotel Vegas

29 Albuquerque, NM Sister Bar

31 Los Angeles, CA Teragram Ballroom

Live Footage: The Mystery Lights Perform Material off “Too Much Tension!” at Paste Studios

Comprised of founding members Mike Brandon and L.A. Solano with Alex Q. Amini and Zach Butler, the New York-based quartet The Mystery Lights have received attention across the blogosphere for an old-timey garage rock/garage psych sound and aesthetic that recalls The Who Sings My Generation-era The Who, The Animals, Raccoon Fighter, The Black Angels and 70s art punk — and for being the the first rock act to sign with Daptone Records subsidiary Wick Records.

Interestingly, the band can trace its origins back to Salinas, CA where Brandon and Solano grew up, met and played in a nubmer of different local bands in their teens before relocating to New York. The band’s lineup solidified with the addition of Alex Amini, Kevin Harris and Noah Kohll. And despite lineup changes, the band initially developed a word-of-mouth reputation over the period of a few years for explosive live shows across town. Naturally, those live shows helped the band develop their sound and approach. 

2016 saw the release of the band’s self-titled debut, which they supposed with a wild array of touring, including the now-prerequisite stop at SXSW. Over the past couple of years, the members of The Mystery Lights have been relentlessly playing shows everywhere — and they’ve been busy writing and recording, their Wayne Gordon-produced sophomore album Too Much Tension! Recorded at Daptone Records’ famed House of Soul Studios, the recently released album finds the band digging deeper into their influences to enrich their sound — without echoing the past. Thematically, the album touches upon substance abuse, self-care and the recognition of happiness only once it’s lost, imbued with a post-modern anxiety.  

The New York-based band was recently invited to Paste Studios at Manhattan Center to perform material off the new album that included the fed-up anthem “I’m So Tired (of Living in the City),” the tense and uneasy “Someone Else Is In Control,” the slow-burning The Animals-like ballad “Watching the News, Gives Me The Blues,” and the rollocking “Traces” — and all of the tracks performed at the live session were delivered with the raw, fiery intensity of their live set.

 

SadGirl is a Los Angeles-based garage rock trio who specializes in a vintage sound — and interestingly, their newest album Water, which is slated for a June 14, 2019 release through Suicide Squeeze Records reportedly finds the trio tapping into the romantic and nostalgic spirit of their hometown while exuding an authenticity that suggests that they’ve peeked at the scuzzy underside of the manicured lawns, glitzy boulevards and relentless sunshine.

“If you want to learn about water, go to the desert,” the Los Angeles-based garage trio’s recording engineer and friend Max Garland has sagely said, and unsurprisingly that statement made a huge impact on the band’s Misha Lindes (guitar, vocals). “Here we are in Los Angeles, a desert ping-ponging between drought and El Nino. This record is just an attempt to share a very small portion of my experience growing up and living here,” Lindes says of the album. “It’s basically just about the fluidity of water and its power and importance.” And while seemingly post-apocalyptic, the album is a collection of old-school tinged pop songs, recorded with vintage recording techniques; in fact, the album was pieced together out of a series of recording sessions over the past two years using a variety of tape machines in different set ups — from living rooms to professional studios.

Interestingly, Water‘s later single is the slow-burning, Roy Orbison-like ballad “Miss Me.” And while rooted in a traditional of bittersweet and aching love songs written from the perspective of the tortured and heartbroken lover, yearning for that love interest, who has cruelly spurned them — for another or for no particular reason. But underneath that bitter sentiment is a heartbroken tell-off to that lover, to “miss me with that bullshit” before walking away from them for good with your sanity and dignity. “This song is about realizing someone close to you isn’t the person you thought you knew, and coming to terms with the fact that they may never share the same values as you,” SadGirl’s Lindes says of the song. “Getting to that point where you decide that it’s no longer worth the effort and it’s better to walk away with what’s important to you still intact.”

The members of the Los Angeles-based garage rock will be embarking on a tour. Check out the current collection of tour dates below.

Tour Dates

May 18 Elm Street Festival – Dallas, TX
May 24 Holland Project – Reno, NV
May 25 ORMF – Davis, CA
May 26 Slims – San Francisco, CA
July 11 Teragram Ballroom – Los Angeles, CA