Category: grunge

New Video: Denmark’s Twin Dive Releases a Surreal Visual for Mosh Pit Friendly Single “Holly”

Over the course of this past year, I’ve written a bit Aarhus, Denmark-based indie rock act Twin Dive. And as you may recall, the Danish alt rock act formed back in 2018 when its founding duo of Robert Jancevich (vocals, guitar) and Ragnar “Raggi” Gudmunds (drums)  met and bonded over a mutual passion for all things rock ‘n’ roll. Since then, the band has split their time between the studio and live gigs honing and polishing their sound while releasing material that has been compared favorably to Foo Fighters, The Hives and others. During that same period, Charlotte Mortensen (bass) joined the band, helping the band bolster their sound. 

Building upon a growing profile in their native Denmark and across Scandinavia, the band played at this year’s Spot Festival, which caught the attention of Drowned in Sound, who picked the band as one of the best acts of the festival — and they just recently finished a tour of Finland with Finnish act Ursus Factory. Earlier this year, I wrote about the grungy “Animal,” a track that recalls 120 Minutes-era alt rock — i.e., Alice in Chains, Stone Temple Pilots and the like — while thematically, the song was about knowing and taming one’s inner animal. 

The rapidly rising Danish trio’s latest single “Holly” continues a run of grungy, power chord-driven material that draws from 120 Minutes-era alt rock. In fact, because of an arrangement centered around heavily pedal effected and jagged power chords, thunderous drumming and howled vocals the band’s latest single may arguably be the most indebted to Bleach and In Utero-era Nirvana of their entire catalog — but at its core. the song explores the unending battle between our sense of self and our ego in a way that’s partially ironic. 

Directed by Mark Vesterlund, the recently released and incredibly cinematic video is a surreal fever dream featuring a troupe of older Asian women doing traditional dances to the song — and while it’s an odd juxtaposition, the visual is meant to leave the interpretation of its message and meaning to the  viewer. 

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New Video: Starcrawler Releases an Anthemic Country-Tinged Rocker

Over the past few months, I’ve written a bit about the Los Angeles-based indie rock act Starcrawler, and as you may recall, the band quickly emerged with the release of last year’s critically applauded, self-titled debut album, an effort that established their sound, a heavily grunge rock-inspired sound, and for a feral live show. Since the release of their debut, the members of the band — Arrow de Wilde (vocals), Henri Cash (guitar), Austin Smith (drums) and Tim Franco (bass) — have had a busy touring schedule that has seen them play some of the world’s biggest music festivals, including Primavera Sound,Rock Am Ring, Download Festival, Voodoo Festival, FujiRock Festival, Reading Festival, Leeds Festival, SXSW and others.

Adding to a rapidly rising profile, the band was included as part of last year’s incredibly diverse crop of Vevo DSCVR — but they were only ones to have Garbage’s Shirley Manson praise the band and de Wilde in a video testimonial. They’ve opened for Foo Fighters, MC50  Morrissey, Beck, Cage The Elephant, Spoon and The Distillers. But 2019 may arguably be the biggest year of the young band’s history: “Hollywood Ending,” the first single from the band this year received praise from NPR and Rolling Stone, and as a result, the track spent several weeks at #1 on speciality radio charts. And the band’s highly-anticipated sophomore album Devour You is slated for an October 11, 2019 release through Rough Trade Records.

Produced by Nick Launay at Sunset Studios, the album finds the band capturing the aggression and essence of their unhinged live show and pairing it with a more elaborate, more nuanced yet harder-hitting sonic palette to create a sound that the band’s Arrow de Wilde says ““encapsulates all the blood, sweat, bruised knees, and broken fingers of a Starcrawler show.”  “Bet My Brains,” Devour You’s first official single, was a T. Rex-like boogie shake, centered around de Wilde’s feral vocals, a massive guitar riff and a cretinous and forceful stomp. Interestingly, the album’s second and latest single “No More Pennies” is a mid-tempo, country rocker with an enormous hook that reveals an ambitious, young band growing more mature and adventurous with their songwriting and sound — while being reminiscent of Headbanger’s Ball-era metal and T. Rex. 

Directed by the band’s Arrow de Wilde and Jonathan King, the recently released video as the de Wilde explained in press notes, “.  . . started with an archive of 16mm film that Gilbert Trejo shot with us on tour and at home over the last year.” “I was editing it together with Jonathan and we were both drawn to a lot of the shots of us around Los Angeles. So we jumped in a car, and shot the video performances around town trying to capture the feeling we get when we’re all together back in the city. We had our friends with us – Gilbert, Annie Hardy (Giant Drag), Mary James, my uncle Jimmy and Jonathan’s chihuahua Earth Angel. It’s got a feeling that captures the dreaminess of the song.” 

New Video: Brooklyn’s Pom Pom Squad Releases a Decidedly “120 Minutes”-era MTV-like Visual for “Heavy Heavy”

Earlier this year, I wrote about Brooklyn-based grunge rock/punk rock-band Pom Pom Squad — Mia Berrin (vocals), Mari Ale Figeman (bass), Shelby Keller (drums) and Ethan Sass (guitar)  — and as you may recall, the act have quickly become a local DIY scene staple for a modern take on the 90s grunge rock sound that finds the band balancing solemnity and whimsy, old school punk aesthetics and emotional vulnerability, which they’ve dubbed Quiet Grrrl punk — and for a raucous live show that they’ve honed playing alongside the likes of Soccer Mommy, Adult Mom, Long Neck and others.

The band’s sophomore EP Ow was released last Friday. Now, as you may recall EP single “Honeysuckle” was an anthemic track, centered around fuzzy power chords, thunderous drumming and a big hook within a quiet, loud, quiet song structure that accurately captured the mindset and emotions of a modern, young woman. Now, as you may recall, “Heavy Heavy” received attention from Stereogum, Paste, Under the Radar, Highsnobiety and Thrillist, as well as airplay on SiriusXM Alt Nation, and as soon as you hear it, you’ll understand why: the band crafts mosh pit friendly, power chord-driven hooks paired with thunderous drumming and a unhinged, feral vocal performance reminiscent of Fever to Tell-era Yeah Yeah Yeahs. 

Directed by the band’s Mia Berrin, the recently released video features Pom Pom Squad’s front person in a variety of guises — cheerleader, princess, angel that busts of out of those stifling roles through the destruction of a number of cakes. Of course, there’s also footage of a Doc Marten-wearing Berrin and her bandmates furiously performing the song. For any of you that have actually come of age during the 90s as I have, the video immediately brings 120 Minutes-era MTV to mind. 

Over the past couple of months, I’ve written a bit about the Brooklyn-based indie rock act Big Cheese. And since their formation back in 2012, the band has released two albums — 2014’s Loose Teeth and 2016’s Supersonic Nothing, which have helped them establish a reputation for crafting 90s alt rock-inspired fuzz pop ant=hems paired with sarcasm and irony soaked lyrics.

Now, as you may recall, the band’s forthcoming Oliver Ignatius-produced third full-length album, Wild to Be Born is slated for a September 13, 2019 release. Deriving its title from the untamed sentiment of the album’s material — and an overall feeling of being ravenous for some kind of awakened, the album, which was recorded at Holy Fang Studios reportedly finds the band expanding their sound with the material drawing from Amerciana, grunge and several other genres and styles. I’ve written about two album singles so far:  the anthemic “Golden.” a mosh-pit friendly bit of fuzz pop that brought Dinosaur, Jr., JOVM mainstays Dead Stars and The Colour and the Shape-era Foo Fighters to mind — and the grunge rock-inspired “Filthy Rich.” The album’s latest single “In This World” is centered by a propulsive and rolling bass line, thunderous drumming, slashing guitar lines and ironically delivered lyrics, making it the most post punk-like and forward thinking song off the album to date

 

 

New Video: Mark Lanegan Releases a Hallucinogenic Visual for “Night Flight to Kabul”

Over the past few years, I’ve spilled a fair share of virtual ink covering Mark Lanegan, the Ellensburg, WA-born, Los Angeles, CA-based singer/songwriter and guitarist, known as the frontman and founding member of Seattle-based grunge rock pioneers Screaming Trees, and an acclaimed solo artist, who has collaborated with an eclectic array of artists and bands — including  Nirvana’s Kurt Cobain on an unreleased Lead Belly cover/tribute album recorded before the release of Nevermind; as a member of the renowned grunge All-Star supergroup/side project Mad Season with Alice in Chains‘ Layne Staley and Pearl Jam’s Mike McCready; as a member of  Queens of the Stone Age featured on five of the band’s albums — 2000’s Rated R, 2002’s Songs for the Deaf, 2005’s Lullabies to Paralyze, 2007’s Era Vulgaris and 2013’s . . . Like Clockwork; with The Afghan Whigs‘ Greg Dulli in The Gutter Twins; as well as former Belle and Sebastian vocalist Isobel Campbell on three albums. Additionally, Lanegan has contributed or guested on albums by Melisa Auf der Maur, Martina Topley-Bird, Creature with the Atom Brain, Moby, Bomb the Bass, Soulsavers, Greg Dulli’s The Twilight Singers, UNKLE and others.

As a solo artist, Lanegan has released 10 critically applauded albums that have seen a fair amount of commercial success. (Ironically, his solo work has seen much more commercial success than his work with Screaming Trees.) The Ellensburg-born, Los Angeles-based singer/songwriter, guitarist and JOVM mainstay’s tenth solo album Gargoyle was a collaboration between him, British-born and-based musician Rob Marshall and longtime collaborator, singer/songwriter, multi-instrumentalist and producer Alain Johannes. That album’s material was both an expansion and refinement of the Krautrock-tinged blues of his two preceding albums  2012’s Blues Funeral and 2014’s Phantom Radio.

Somebody’s Knocking, Lanegan’s 11th full-length solo album is slated for an October 18, 2019 release through Heavenly Recordings, and the album’s material finds the acclaimed singer/songwriter turning to some of his most formative musical influences and loves — electronic music. “I’ve always been into electronic music since I was a kid,” Lanegan says in press notes. “I think the reason those elements have become more obvious in my music is that my tastes have changed as I’ve grown older. The bulk of what I listen to now is electronic. Alain Johannes and I had actually written “Penthouse High” for Gargoyle but then it didn’t really fit on that record. I have been a huge fan of New Order and Depeche Mode forever and have wanted to do a song along those lines for a long time – a blatantly catchy, old-school dance-type song.”

Although Somebody’s Knocking came together during an 11 day session in Los Angeles, much of the album’s deepest musical influences are decidedly European, including the album’s two other writing partners Martin Jenkins, who records as Pye Corner Audio and the aforementioned Rob Marshall, who contribute some newer, murkier forms. Reportedly, Lanegan approached working with each of the album’s writing partners from the perspective and lens of a fan and interpreter. 

Lyrically speaking, the album purportedly sets the listener down multiple rabbit holes, as Lanegan paints psychedelic pictures inspired by the music. “I feel like I write lyrics instinctively. I let the melody come first and then it tells me what the words are going to be and I write whatever feels appropriate,” Lanegan says in press notes. “That said, I’m also influenced by everything I’m into. I don’t usually like to talk about what a song means to me; I prefer that the people who connect with a song do so with their own interpretation. It never crossed my mind what Neil Young meant by After The Gold Rush, only the personal movie it created in my head. My entire life, all the music that I’ve connected to has drawn me in like that. Joy Division, Nick Drake, Son House, The 13th Floor Elevators, The Gun Club… all the music that meant the most to me, the music that saved my life was the music that told my own story back to me.”

Naturally, some aspects of the real world can’t help but seep their way into the album’s material. “It seems to me that the entire world is in a weird, precarious place right now,” the Ellensburg-born, Los Angeles-based singer/songwriter says in press notes. “I try to not be someone in a constant state of worry and alarm but watching the massive divide that is taking place and the political situations, especially in the US and UK makes me think, ‘what the fuck are these idiots thinking?’ The hatred, racism and all this other fear-driven shit, these ‘adults’ that continually drive the machine that perpetuates this ignorance to their own ends should all be in the prison cells instead of the non-violent drug “offenders” in them now. I can’t specifically say how any of this effects my writing but I know that most of the things that occupy my thoughts have a way of coming back out in a song.”

Now, as you may recall, I wrote about the bluesy-Heaven Up Here-era Echo and the Bunnymen-like “Letter Never Sent.” The album’s latest single “Night Flight to Kabul” may arguably one of  be the album’s more dance floor friendly tracks, as it’s centered around thumping, four-on-the-floor drumming, rumbling bass lines, shimmering and skronky guitars, a tight motorik groove and Lanegan’s imitable croon. In some way, the song will likely remind listeners a bit of a bluesy take on the likes of Gary Numan and New Order. But lyrically, the song evokes a hallucinatory and surrealist fever dream, in which things aren’t quite what they seem. 

Directed by Dean Karr, the recently released video for “Night Flight to Kabul” is a hallucinogenic and feverish dream. ‘“The artistry and genius of Dean Karr is what made this video happen,” Mark Lanegan says in press notes. “5,000 still photographs taken in eight hours were painstakingly put together to give the appearance of a strange wraithlike figure moving weirdly through the desolate landscape of the Salton Sea. My third video with Dean in three different decades and I have to say this was the best. The most artistically challenging and satisfying.”

“We had been talking about doing this video for ‘Night Flight to Kabul’ for a month or two and my only concern was how could I pull this off with such a challenging budget for my friend?” The video’s director, Dean Karr adds in press notes. “Being a photographer before I was ever a director, I decided to use my Nikon D810 still camera for the entire music video and turn it into animation throughout the entire clip. What a simple solution! There’s lots of post work involved, which was done by editor and FX artist Joel Nathaniel Smith. There’s alot to be said for the simplicity of working WITHOUT a crew, it was just Mark, myself and a fan of Mark’s (Jason Hall) who drove 3 hours out of his way to meet us at the The Salton Sea, CA to help us shoot a beyond unique video! I think this is one of the freshest looking things out there today and love the ‘melty’ moments, which remind me of doing hallucinogenics back in the day!”

New Video: Starcrawler Releases a Manic and Murderous Visual for Anthemic New Single “Bet My Brains”

With the release of last year’s critically applauded, self-titled debut, the Los Angeles-based indie rock act Starcrawler — Arrow de Wilde (vocals), Henri Cash (guitar), Austin Smith (drums) and Tim Franco (bass) — quickly emerged into both national and international scene for a grunge rock inspired sound and a feral live show. And since the release of their debut album, Starcrawler has had a busy touring schedule that has seen them play at some of the world’s major music festivals including Primavera Sound, Rock Am Ring, Download Festival, Voodoo Festival, FujiRock Festival, Reading Festival, Leeds Festival, SXSW and others. 

Adding to a rising profile, the band was included as part of last year’s incredibly diverse crop of Vevo DSCVR — but they were only ones to have Garbage’s Shirley Manson praise the band and de Wilde in a video testimonial. They’ve also opened for Foo Fighters, MC50  Morrissey, Beck, Cage The Elephant, Spoon and The Distillers. But this year may be a breakthrough one for the Los Angeles-based indie rock act. “Hollywood Ending,” the first single from the band this year received praise from NPR and Rolling Stone, and as a result, the track spent several weeks at #1 on speciality radio charts. And more importantly, the band’s highly-anticipated sophomore album Devour You is slated for an October 11, 2019 release through Rough Trade Records. 

Produced by Nick Launay at Sunset Studios, the album finds the band capturing the aggression and essence of their unhinged live show and pairing it with a more elaborate, more nuanced yet harder-hitting sonic palette to create a sound that the band’s Arrow de Wilde says ““encapsulates all the blood, sweat, bruised knees, and broken fingers of a Starcrawler show.” Devour You’s first single is the swinging, glam rock-inspired  “Bet My Brains.” And while bearing a dim resemblance to the boogie shake of T. Rex, the song is centered by de Wilde’s feral vocals. a massive guitar riff and a cretinous and forceful stomp. “That song came from thinking about the tunnel people in New York and Vegas and the Catacombs in France, and the underground village of people who live in the sewers of the L.A. River,” says de Wilde. “I was fascinated with the fact that there is a whole other world happening right under our feet.” Guitarist and vocalist Henri Cash adds: “Arrow and I hadn’t even talked about it yet, but I’d already written something about the same thing—about how these people’s eyes adapt to pitch-blackness, and they end up going crazy from never seeing the sunlight.” 

Directed by Jellycraw, the recently released video features de Wilde giving an absolutely manic, Heath Ledger-like performance, reminiscent of her stage antics — all while seeing the video’s other characters get murdered in a variety of ways. 

Brooklyn-based grunge rock/punk rock-band Pom Pom Squad — Mia Berrin (vocals), Mari Ale Figeman (bass), Shelby Keller (drums) and Ethan Sass (guitar) — have quickly become staples in the local DIY scene for a modern take on the beloved 90s grunge sound that finds the band balancing solemnity and whimsy, old school punk aesthetics and emotional vulnerability — and for a raucous live show that they’ve honed playing alongside the likes of Soccer Mommy, Adult Mom, Long Neck and others.

The up-and-coming purveyors of what they’ve dubbed Quiet Grrl punk will be releasing their sophomore EP Ow on September 6, 2019. The EP will include the previously released, “Heavy Heavy,” a track that received attention from StereogumPaste, Under the Radar, Highsnobiety and Thrillist, as well as airplay on SiriusXM Alt Nation. Building upon a growing profile and momentum, Pom Pom Squad’s latest single “Honeysuckle” is an anthemic track, centered around fuzzy power chords, thunderous drumming and a big hook within a quiet, loud, quiet song structure. And while possessing a mosh pit friendliness, the track finds the band crafting boldly earnest material that accurately captures the mindset and emotions of a modern, young woman.

 

 

I’ve spilled my fair share of virtual ink, covering Mark Lanegan, the Ellensburg, WA-born, Los Angeles, CA-based singer/songwriter and guitarist, who known as the frontman, and founding member of  Seattle-based grunge rock pioneers Screaming Trees, and an acclaimed solo artist, who has collaborated with an eclectic array of artists and bands — including  Nirvana’s Kurt Cobain on an unreleased Lead Belly cover/tribute album recorded before the release of Nevermind; as a member of the renowned grunge All-Star supergroup/side project Mad Season with Alice in Chains‘ Layne Staley and Pearl Jam’Mike McCready; as a member of  Queens of the Stone Age featured on five of the band’s albums — 2000’s Rated R, 2002’s Songs for the Deaf, 2005’s Lullabies to Paralyze, 2007’s Era Vulgaris and 2013’s . . . Like Clockwork; with The Afghan Whigs‘ Greg Dulli in The Gutter Twins; as well as former Belle and Sebastian vocalist Isobel Campbell on three albums. Additionally, Lanegan has contributed or guested on albums by Melisa Auf der Maur, Martina Topley-BirdCreature with the Atom BrainMobyBomb the BassSoulsavers, Greg Dulli’s The Twilight SingersUNKLE and others.

Lanegan’s solo career has seen him release ten, critically applauded albums that have seen a fair amount of commercial success. (Ironically,. his solo work has actually seen more commercial success than any of his work with Screaming Trees.) The Ellensburg-born, Los Angeles-based singer/songwriter and guitarist’s tenth solo album Gargoyle found him collaborating with British-born and-based musician Rob Marshall, who’s best known for stints with  Exit Calm and Humanist and his longtime collaborator, multi-instrumentalist and producer Alain Johannes. Interestingly, the album’s material was both an expansion and refinement of the Krautrock-tinged blues of his two previously released albums 2012’s Blues Funeral and 2014’s Phantom Radio.

Now, as you may recall, Lanegan’s 11th full-length album Somebody’s Knocking is slated for an October 18, 2019 release though Heavenly Recordings, and the album reportedly less the tale of a brooding rock veteran and more that of someone consumed by a lifelong love affair with music and words. Interestingly, much of the album’s material finds Lanegan turning to some of his most formative musical influences and loves — electronic music.

“I’ve always been into electronic music since I was a kid,” Lanegan says in press notes. “I think the reason those elements have become more obvious in my music is that my tastes have changed as I’ve grown older. The bulk of what I listen to now is electronic. Alain Johannes and I had actually written “Penthouse High” for Gargoyle but then it didn’t really fit on that record. I have been a huge fan of New Order and Depeche Mode forever and have wanted to do a song along those lines for a long time – a blatantly catchy, old-school dance-type song.”

Although Lanegan’s forthcoming 11th album came together during an eleven day session in Los Angeles, many of the album’s deepest musical influences are decidedly European, including some newer, murkier forms provided by Martin Jenkins. who records as Pye Corner Audio or Rob Marshall, a collaborator on Gargoyle and on his own, forthcoming debut album as Humanist. In each case, Lanegan approached working with each of the writers from the perspective of a fan.

Lyrically speaking, the album purportedly sets the listener down multiple rabbit holes, as Lanegan paints psychedelic pictures inspired by the music. “I feel like I write lyrics instinctively. I let the melody come first and then it tells me what the words are going to be and I write whatever feels appropriate,” Lanegan says in press notes. “That said, I’m also influenced by everything I’m into. I don’t usually like to talk about what a song means to me; I prefer that the people who connect with a song do so with their own interpretation. It never crossed my mind what Neil Young meant by After The Gold Rush, only the personal movie it created in my head. My entire life, all the music that I’ve connected to has drawn me in like that. Joy Division, Nick Drake, Son House, The 13th Floor Elevators, The Gun Club… all the music that meant the most to me, the music that saved my life was the music that told my own story back to me.”

Naturally, some aspects of the real world can’t help but seep their way into the album’s material. “It seems to me that the entire world is in a weird, precarious place right now,” the Ellensburg-born, Los Angeles-based singer/songwriter says in press notes. “I try to not be someone in a constant state of worry and alarm but watching the massive divide that is taking place and the political situations, especially in the US and UK makes me think, ‘what the fuck are these idiots thinking?’ The hatred, racism and all this other fear-driven shit, these “adults” that continually drive the machine that perpetuates this ignorance to their own ends should all be in the prison cells instead of the non-violent drug “offenders” in them now. I can’t specifically say how any of this effects my writing but I know that most of the things that occupy my thoughts have a way of coming back out in a song.”

Centered around a motorik groove, shimmering guitar lines and a tight hook, “Letter Never Sent,” the album’s latest single manages to bear an uncanny resemblance to Heaven Up Here-era Echo and the Bunnymen but imbued with a bluesy tinge.