Category: indie rock

 

Comprised of Matt Miller (guitar, lead vocals), Sean Glassman (guitar, vocals and keys), Brian d’Alessandro (drums, vocals and keys) and Paolo Codega (bass, vocals), the Brooklyn-based indie rock quartet Coastgaard can trace their origins to when the band’s founding members d’Alessandro and Miller first began playing together in Sons of Huns back in 2009. Sons of Huns eventually split up but d’Alessandro and Miller continued playing with other.  d’Alessandro and Miller recruited Glassman and Codega to flesh out the band’s sound.

Over the past couple of years, the Brooklyn-based quartet has seen increasing attention across the blogosphere and on this site for a jangling, guitar pop sound that draws heavily from 60s surfer rock and 90s alt rock — and in a way that’s reminiscent of Raccoon Fighter and Vampire Weekend, The Smiths and others.

“A Well Adjusted Man,” the first single off Coastgaard’s forthcoming sophomore full-length Devil on the Balcony pairs upbeat jangling guitar pop with lyrics that follow the inner monologue of a man who vacillates between brooding self-reflection and self-assured potency which gives the song a subtle noir-ish feel. Interestingly enough, the song is arguably the most cinematic song the band has released to date; in fact, I can envision the song as part of the soundtrack of an art film that focuses on alienation and the difficulty of connecting with another.

 

 

 

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Just in time to close out the year, the members of Radiohead announced that last year, they were approached to write a theme song for the latest James Bond film, Spectre. Knowing that the studio and the film’s director went with Sam Smith‘s “Writing On The Wall,” it’s pretty obvious that someone decided that Radiohead’s “Spectre” just wasn’t going to work out — although to be honest, “Spectre” is a gorgeous,moody and dramatic jazz-inspired composition that sounds as though it could have been on Amnesiac or King of Limbs. To my ears, what makes the song so strange is that Radiohead’s theme song as though it could have been part of an art-house film about consumerism, greed, alienation and regret, while capturing the tone and feel of a Bond film.

 

New Video: The Gorgeous and Surreal Video for Bedouine’s Sultry and Jazzy, New Single “The City”

The Los Angeles, CA-based singer/songwriter Bedouine‘s work has largely been inspired by a nomadic youth. As the mysterious singer/songwriter explained in press notes “I love exploring different places and sounds. My childhood was this amalgamation […]

The Insurrectionists is the solo recording project of  young, up-and-coming 20-something, New York-based singer/songwriter and multi-instrumentalist Casey K, who began playing the guitar when he had turned 10. Using songwriting as an outlet for his frustrations and pain of growing up in a broken home, The Insurrectionists actually began as a full-fledged band featuring Casey K., his brother and a friend in 2005 before eventually morphing into its current solo format. But whether as a trio or as a solo act, the project has been largely influenced by a diverse array of acts and genres including Nirvana and Brand New while incorporating elements of piano ballads and piano rock, as well as synths and electronic music.

With the 2013 release of his debut EP, SquarePeg/RoundHole and several other singles, Casey K. has received praise for anthemic alt rock/indie rock with driving rhythms and lyrics that explore and discuss the modern condition — including the hellish company of people, messy lust and desire and more. “Diet Coke,” the first single off The Insurrectionists’ soon-to-be released album, I Gave You The Moon But You Wanted The Stars will likely cement Casey K.’s burgeoning reputation for writing a song with an anthemic and infectious hook, earnest vocals and driving rhythms — but it also sounds as though it draws from New RadicalsYou Get What You Give” but with a harder, grittier edge, while possessing a dreamy feel. The song suggests that the young singer/songwriter and multi-instruemtalist has an innate ability to craft an infectious radio-friendly hook that also manages to be subversive.

 

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Istanbul, Turkey-based multi-instrumentalist and producer Gunes Alpman first won the attention of the blogosphere and this site in 2011 with his then-solo recording project Alpman, which was heavily influenced by 60s psychedelia, funk, surf rock, cinematic scores and 60s recording techniques in a sound that he has publicly described as “spychedelic.”

Last year, Alpman recruited Umut Çetin, Ali Somay and Baran Göksu to assist in fleshing out his sound as his backing band, The Midnight Walkers and have been writing, recording and performing across Turkey. His latest single “After Work,” is the second release of a monthly release series, pairs propulsive percussion, handclaps, twinkling synths and a throbbing bass line in a song that not only may arguably be the funkiest single he’s released to date, but also a single that sounds as though it’s indebted to 70s and 80s funk, complete with a dusty, analog-like sound and a cinematic flair. Interestingly, listening to this single reminds me of Shawn Lee and Tim “Love” Lee‘s funky, analog era-sounding collaboration  New York Trouble/Electric Progression.