Category: indie rock

New Video: The Creepy, Grindhouse-Inspired Visuals for ExSage’s Anthemic “Tripwire”

Interestingly, the duo’s soon-to-be released EP Out of the Blue was produced by Alain Johannes, who has collaborated with Mark Lanegan, Them Crooked Vultures, Brody Dalle, and Queens of the Stone Age, and as you’ll hear on Out of the Blue’s first single “Tripwire,” the band sonically speaking sounds as though they were indebted to The Raveonettes and The Kills. In other words, enormous blazing power chords are paired with thunderous and propulsive drumming and harmonized vocals led by Clover’s pop star-like vocals, and a rousingly anthemic hook — all of which gives the song a larger than life swagger just underneath the song’s bluesy psychedelia.

The recently released video for the song is indebted to creepy, Grindhouse movies and includes a deranged doctor performing surgery without anesthesia, and his bandaged victims walking around like mummies before being driven around in the duo’s sweet Dodge Charger.

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New Video: Introducing the Debaucherous Old School Rock Sounds and Visuals of NYC’s Cheena

Cheena is a New York based indie rock act, who specializes in a gritty and scuzzy old-school sound that draws from glam rock and punk paired with lyrics full of sleazy, rock ‘n’ roll mayhem and debauchery — or as the liner notes of a great EP by a now-defunct band once read these are “songs to fight and fuck for.” And with the release of their full-length debut, Spend the Night With . . . , the band has received both national and international attention for a sound that seems inspired by T. Rex, Thin Lizzy, Ziggy Stardust-era David Bowie and others, as you’ll hear on the anthemic, barn-burner “Stupor.” Frankly, just listening to this song reminds me of all the great dive bars I used to drink irresponsibly in — oh how, I miss them so!

Interestingly, as the band announced their first European tour, they also released the video for “Stupor,” a video that captures the members of the band, in tight jeans and leather, drinking beer, running around and shot on grainy VHS-style tape to give it that proper old-school, shitty feel

New Video: The Surreal Visuals for Teeth and Tongue’s “Turn Turn Turn”

Give Up On Your Health’s second and latest single “Turn Turn Turn” much like its predecessor is inspired by a painful breakup — and lyrically, the song is full of the bitter regret, uncertainty, self-deception and gradual acceptance that occurs in the aftermath of a breakup, while sonically speaking, the song draws from 80s New Wave, synth pop and the DFA Records roster. Or in other words, undulating and propulsive synths are paired with cowbell-led percussion, angular guitar chords in a sensual and slinky arrangement, along with an infectious, dance-floor friendly hook. And somehow, every time I’ve heard it I’m reminded of Stevie Nicks’ “Stand Back” and Yeah Yeah Yeahs’ “Heads Will Roll.”

The recently released video for the song turns the simple act of eating into something surreal, disgusting and detached and mechanical — and perhaps in some way, the video’s actors are deluding themselves into this being normal.

Comprised of founding  members Kos Island, Greece-born, Athens, Greece-based Angelos Krallis (vocals, guitar, lute, tsambouna, and udu), Evangelos Aslanides (drums, percussion, djembe, darbuka and bendir) and Pantelis Karasevdas (drums, percussion, congas, djembe) and a rotating cast of friends and collaborations, Chickn is a Athens, Greece-based indie act, whose work has largely been influenced by Eastern Mediterranean music, psych rock, prog rock and jazz fusion. And since their formation in 2012, the band has developed a reputation for free flowing improvisation and a constantly morphing lineup that fits their particular needs at the time.

The band’s self-titled debut was written over the course of 2014-2014 in Athens and Valencia and was recorded from July 2015 to October 2015 at Sonic Playground Studio and at Iraklis Vlachakis’ Athens home, where it was co-produced by Chickn and Nikos Triantafyllou before being mastered by Alan Douches at New York’s West Side Studios. And interestingly enough, the album’s first single “Aleppo/Jam” will remind some listeners of Animals-era Pink Floyd, Drakkar Nowhere, Rush and several others as a persistent bass line is paired with shimmering synths, swirling electronics, a buzzing guitar solo and an anthemic hook — all while drawing from jazz fusion, sci fi and psych rock in a trippy yet loose arrangement that manages to emphasize some exceptional musicianship.

 

 

 

 

 

 

Earlier this year, I wrote about the South Devon, UK-based shoegaze/dream pop/indie rock duo Matthew and Me. And with the previous release of singles such as “Patterns” and “Kitsune,” the duo received a reputation across their native UK for a sound that seemed to draw from the likes of Sigur Ros and Mogwai, and as a result, the duo received airplay on BBC Radio 1, BBC Radio 6, XFM, and they’ve made appearances at some of Britain’s largest festivals including  including Field Day, Somersault, Port Eliot, and Glastonbury. Now “Joy,” the single I wrote about at the time, was a slow-burning and expansive song that began with a lengthy, delicate and hazy introduction in which Board’s aching falsetto was paired with shimmering and swirling guitar chords and gently padded drumming — with each individual chord feeling as though it were painter’s brushstroke adding color and texture in a fashion that was reminiscent of both the aforementioned Sigur Ros and A Storm in Heaven-era The Verve.

“Silver,” the is the duo’s latest single and the first single off their forthcoming EP Startpoint, which is slated for a November 18, 2016 release through Beatnik Creative Records. Recorded between their home studio, Deep Litter Studios and Startpoint Studios, and was produced by Chris Bond, who has worked with Ben Howard and Eliza Shaddad. Interestingly, the single  is an sparse and atmospheric song in which shimmering guitar chords, swirling and soaring electronics, and a steady backbeat are paired with Board’s plaintive and aching falsetto to craft a song that sounds reminiscent of Death Cab for Cutie‘s Narrow Stairs — but with an anthemic hook.

 

 

New Video: The Cinematic Visuals for The Deltahorse’s “Call It a Day”

Now, if you’ve been frequenting this site for some time, you’re most likely familiar with The Deltahorse in some fashion or another — and you’d know that earlier this month I wrote about “Happy Heart (Can Go For Miles),” the first single off the act’s long-anticipated and soon-to-be released, full-length debut Transatlantic. “Happy Heart” consisted of Colley’s swaggering and sultry electric baritone saxophone passages, stuttering drumming and drum programming, Sash’s propulsive bass lines with Vadim’s plaintive vocals signing lyrics about how a happy heart can endure almost everything; however, just under the surface was an underlying bitter irony. The album’s second and latest single “Call It A Day” is a cinematic and forceful single consisting of slashing, staccato piano chords, boom bap drum programming, Colley’s swaggering and strutting electric baritone sax skronking, subtly ominous and swirling guitar and bass chords, propulsive percussion and Zeberg’s coolly ironic vocals singing lyrics that hint at the desire to continually move forward and physical desire while beginning to cement their reputation for crafting material with deep, danceable grooves paired with a literate, cinematic sound.

The recently released music video employs a rather simple concept — the band’s Vadim Zeberg in close up singing the song with the Atlantic Ocean behind him. Throughout Zeberg is revealed to have a rather expressive face, at one point after briefly looking at his shoulder at something, he begins to smile mischievously, at other points bobbing his head while singing, and at other points looking at things with an ironically, raised eyebrow.

New Video: The Dark Psychedelic Sounds and Visuals of Chocolat’s “Ah Ouin”

The band’s third and forthcoming effort, Rencontrer Looloo is slated for a November 11, 2016 release through Beyond Beyond Is Beyond Records and while being the band’s second post-hiatus album, it also has the band experimenting with their songwriting approach and sound as the band’s material is heavily modal-leaning while possessing elements of skronking experimental jazz, surf metal and psych rock as you’ll hear on the menacing and trippy yet strangely radio-friendly new single “Ah Ouin.”

Directed by Jonathan Robert, who also designed the album’s artwork, the recently released animated video for “Ah Ouin,” according to the band was inspired by 60s psychedelic cartoons and sci-fi cartoons of the 70s and 80s. As the members of the band mention “It’s like a meeting between Yellow Submarine and sci-fi comic book Heavy Metal — and in fact, it employs the same bright yet darkly surreal imagery.

New Video: The Continued Psychedelic Sounds and Visuals of JOVM Mainstay GOAT

Building on the growing attention they’ve received internationally, GOAT will be releasing their highly-anticipated third, full-length effort Requiem on Friday. And from the album’s first single “Try My Robe,” the band continues on a similar path to the singles they’ve released earlier this year, as the song revealed an acoustic, psych folk sound that at times seems influenced by African and Middle Eastern music, which gives the song a mind-bending and mesmerizingly hypnotic quality. The album’s latest single “Union of Mind and Soul,” is based around a looping flute line, layers of jangling and propulsive bass and guitar chords, a buzzing and trippy guitar solo and howled lyrics focused on opening one’s mind towards greater understanding of themselves and the universe. And while sonically drawing from 60s folk and psych rock, the song may arguably be the most urgent and yet old-timey song they’ve released to date.

The recently released video is a fittingly psychedelic video that looks as though it could have been shot in the 1960s, thanks to the Instagram-like filters and the use of slow-motion and the use of rewound footage. And in some way, the video accurately captures small town Swedish life in all of its beauty, boredom and sameness.