Joy Room is a London, UK-based indie rock quartet, who all went to school together and bonded over their mutual love of Red Hot Chili Peppers and The Last Waltz. Their swaggering, debut single “Late at Night” manages to nod at the 90s Brit Pop/alt rock of Blur and others, as layers of power chords, thundering drumming paired with lyrics that describe the loneliness, bitterness and feelings of loss , self-flagellation and denial that come as the result of a bitter breakup.
Category: indie rock
New Video: The Gorgeously Cinematic Visuals for Living Hour’s “Seagull”
As you’ll hear on “Seagull,” the first single off the band’s full-length debut released earlier this year, the band’s overall sound manages to possess elements of shoegaze, dream pop and chillwave as shimmering and jangling guitar pop, swirling synths, ethereal vocals are paired together to craft a stunningly gorgeous and dramatic sound; in fact, the song reminds me quite a bit of the sort of guitar rock you’d hear while watching 120 Minutes-era MTV — in particular think of Mazzy Star‘s “Fade Into You” and The Cranberries “Linger.” Or in other words, it’s the sort of song that sounds as though it would be the soundtrack of an intense and fervent make out session — or a dramatic and bitter breakup.
Directed and edited by Nicholas Taylor, the recently released music video for “Seagull,” is a gorgeous and cinematically shot video that captures a day in a life of a teenaged girl and her family as they eat dinner, go to soccer practice and the rest of the banal and mundane aspects of life — but just underneath the surface, there’s something off: the mother of the trio seems moodily distracted, as though still recovering from a massive and inconsolable loss while the girls seem to be desperate to try to move on as best as they could.
Live Footage: The Kills Performing “Impossible Tracks” on “The Late Late Show with James Corden”
Ash and Ice, the duo’s latest full-length effort and first full-length effort in over 5 years was released earlier this year, and if you’ve been frequenting this site you might recall that I wrote about album singles “Heart Of A Dog” and “Siberian Nights,” two singles that reflected a thorough refinement of their sound as the duo paired enormous boom-bap drum programming, skittering beats, buzzing electronics, scorching guitar chords and anthemic hooks with Mossheart’s bluesy, cigarettes and whiskey soaked vocals to crate a swaggering and arena rock-friendly song that possesses a raw, insistent and urgent carnality.
Recently, the band performed a swaggering, boozy live version of album single “Impossible Tracks” on The Late Late Show with James Corden — and the live version maintains a fervent urgency of the album’s material.
Earlier this summer, I wrote about the Melbourne, Australia-based indie rock quartet Teeth and Tongue With the 2014 release of Grids, the band comprised of New Zealand-born, Melbourne, Australia-based Jess Cornelius (guitar, vocals), Marc Regueiro-McKelvie (guitar), Damian Sullivan (bass) and James Harvey (drums) received attention across Australia for an ambient-leaning sound that paired textured and layered vocals with lyrics that thematically focused on the intricacies of romantic relationships with an unvarnished honesty. And as a result of the attention they’ve received across Australia, they’ve managed to tour with internationally recognized indie rock sensation and fellow Australian Courtney Barnett, which has helped raised their profile internationally.
“Dianne,” the first single off Teeth and Tongue’s recently released album Give Up On Your Health revealed a band that has gone through a change in sonic direction and songwriting approach, with the band taking up an angular, dance floor friendly New Wave/post-punk sound reminiscent of Blondie, Yeah Yeah Yeahs‘ It’s Blitz! and Dirty Ghosts. Give Up On Your Health’s latest single “Turn, Turn, Turn” much like its predecessor is inspired by a painful breakup — in particular, the song lyrically is full of the bitter regret, uncertainty, self-deception and eventual acceptance that occurs in the aftermath of a breakup. Sonically speaking, the song sounds as though it draws from 80s New Wave, synth pop and DFA Records as you’ll hear undulating and propulsive synths, cowbell-led percussion, angular guitar chords in a sensual and slinky arrangement, along with an infectious, dance-floor friendly hook. Somehow, every time I’ve heard it I’m reminded of Stevie Nicks’ “Stand Back” and Yeah Yeah Yeahs’ “Heads Will Roll.”
Earlier this summer, I wrote about Melbourne, Australia-based indie rock/shoegaze act Flyying Colours and if you were frequenting this site then, you may recall that the the Australian band was initially formed by its founding duo, childhood friends Brodie J. Brummer and Genna O’Connor. And with the release of their first two critically applauded EPs, the act received national attention for a sound that possess elements of shoegaze, psych rock and grunge. After recruiting new members Melanie Barbaro and Andy Lloyd Russell to flesh out their sound, the members of the newly constituted quartet went into the studio to write and record the material that would eventually comprise their forthcoming full-length debut, MINDFULLNESS, which is slated for a September 23, 2016 release through Club AC30 Records.
Over the past year or so, the Australian shoegazers have seen a growing international profile as “Not Today” and “Running Late” off their second EP ROYGBIV received airplay from several renowned radio stations across the globe including KEXP, BBC Radio 6, RRR and FBi among others, and as a result, they landed at number 47 on the CMJ Radio Top 200 and Amazing Radio charts, as well as praise from the likes of Clash, 405, Stereogum, Wonderland and NME. And adding to a growing internationally recognized profile, Flyying Colours has toured with Pinkshinyultrablast, Johnny Marr, The Brian Jonestown Massacre and A Place to Bury Strangers.
Whereas MINDFULLNESS‘ first single “It’s Tomorrow Now” was a noisy and towering squalor sound that had the Melbourne, Australia-based quartet pairing buzzing power chords, some incredible guitar pyrotechnics, a propulsive motorik groove and an anthemic hook in a song that sounds as though it were channeling The Jesus and Mary Chain, the album’s latest single “Long Holiday” is a hazily, expansive song in which shimmering guitar chords played through reverb, delay and other effect pedals are paired with a propulsive rhythm section and a rousingly anthemic hook while sonically sounding as though it were indebted to RIDE, A Storm in Heaven The Verve and The Smiths.
New Video: The Creepy Film Noir Visuals and Tense, Uneasy Sounds of No One Mind
As you’ll hear on “Tiger” No One Mind’s latest single, layers of angular, buzzing guitars, a propulsive, throbbing bass line and rapid-fire drumming is paired with venomous lyrics full of recrimination, bitter accusations and spite and it comes from a deeply personal and fucked up place that should be familiar to anyone who has felt as though their heart was stomped on by someone close to them — including the miscommunication and misunderstanding, pettiness and deceit that adds a razor sharp edge to the feeling of deceit and loathing at the core of the song while pairing it with a song structure that feels dimly familiar yet alien.
Directed by Zoe Dehmer, the recently released video for “Tiger” is an film noir-like video that follows a pair of two young girls — presumably sisters — who appear as though they’re under the influence of hallucinogens as they wander around a suburban town, explore each other and mess with each other, while hinting at something deeply menacing and cruel just under the surface.
New Video: The Trippy Sounds and Visuals of WL’s “Feeling Down”
“Feeling Down” the latest single off the Portland-based trio’s forthcoming sophomore effort Light Years is a trippy yet strangely funky song that pairs layers of cascading and droning keys, four-on-the-floor drumming, Misty Mary’s ethereal and aching vocals singing a repetitive, mantra-like refrain with blasts of saxophone to create a song that’s moody and feels as though it evokes the enveloping and overwhelming fog that depression can feel like.
Directed by Zach Erickson and featuring art by Souther Salazer, the video for “Feeling Down” featuring a black and white, newspaper cut out of the band’s Misty Mary moving in and out of focus, superimposed over an oceanic blue background in which concentric, psychedelic shapes appear both in the background and eventually overtake her and everything around her. Certainly, the video is as equally trippy as the song while evoking a sense of being overwhelmed — by everything.
Magic Trick is the recording project of singer/songwriter Tim Cohen, featuring a rotating cast of collaborators and friends. And if you’ve been frequenting this site for some time, you might recall that I wrote about two singles of Cohen and Company’s third full-length album River of Souls, an effort that at points reminded me quite a bit of Flowers-era Echo and the Bunnymen. Cohen’s fourth Magic Trick album Other Man’s Blues reportedly found the renowned singer/songwriter at a crossroads as it was written and recorded during a year that was split between two completely different lives and world — part of the year with his partner and their newborn daughter, the second part was as a touring musician, touring with Magic Trick and the Fresh & Onlys, and the week he spent recording Other Man’s Blues at Phil Manley‘s Lucky Cat Studios in San Francisco.
As the story goes, Cohen arrived at the studio with a color-coded composition book of songs he had been writing while bouncing to and fro, and the book would have to suffice in lieu of rehearsal time with the 13 musicians — including James Kim (drums), Beach House‘s James Barone, The Aislers Set’s Alicia Van Heuval and Paul Garcia splitting time on bass, Once and Future Band‘s and Danny James‘ Joel Robinow on keys, The Cairo Gang and The Muggers‘ Emmett Kelly (guitar), backing vocals from Van Heuval, Noelle Cahill and Anna Hillburg, who also plays trumpet, as well as San Francisco-based musicians Dylan, Edrich, Tom Heyman, and Marc Capelle. And although some may think that with such a large roster of musicians, that the sessions were the product of grandiose ambition; but actually, the sessions were the result of an open door policy at the studio in which, friends would stop by, hang out, drink tequila, bullshit and jam together, creating a loose, freewheeling, improvised affair in which the songs were shaped by the session players — and the material reportedly manages to shift from baroque pop, post-punk, R&B, jam rock paired with Tim’s lyrics about family, himself, his experiences and thoughts about being a father and a musician, about life and its perpetual changes.
The album’s latest single “First Thought” is a shuffling and twangy country blues that sounds as though it could have been released sometime between 1972-1975 while gently nodding at psych rock and gospel with an extended jam band coda featuring an impressive guitar solo. And what makes the song impressive is the fact that Cohen and Company manage to make the song feel both completely improvised, as though a bunch of friends were jamming late night over whiskey, tequila and weed, while the song possess a careful attention to craft. Lyrically, the song deals with self-doubt, uncertainty and acceptance but with a wry, mischievous wit, revealing that Cohen is an unheralded songwriter.
New Audio: JOVM Mainstays GOAT Returns with a Gorgeous and Cinematic, New Single
Now, if you’ve been frequenting this site over the past couple of months you’d likely know that the mysterious Northern Swedish collective’s highly-anticipated, third, full-length effort Requiem is slated for an October 7, 2016 release and the album’s “Try My Robe” continues on a similar vein as “I Sing in Silence,” as the collective has gone for a stripped down, acoustic, psych rock vibe paired with chanted/shouted vocals, shimmering and dexterously looping guitar work, mischievously complex, handclap led percussion and a slow, shuffling bass line that manages to be deceptively propulsive in a song that sounds subtly influenced by African and Middle Eastern music. Requiem’s latest single “Alarms” is a gorgeous track consisting of African and Middle Eastern-like percussion, shimmering and gorgeous guitar lines and an ethereal melody that floats just above the instrumentation. Sonically, the song manages to sound both incredibly cinematic and as though it could have been released in 1966.
New Video: “Lost Under Heaven” Captures Lost Under Heaven’s Urgent, Swooning and Youthful Passion
Spiritual Songs For Lovers To Sing’s latest single “Lost Under Heaven” consists of a rather simple arrangement of buzzing guitar chords, gently swirling feedback, propulsive, staccato drumming paired with howled lyrics and a rousingly anthemic hook to craft a song that swoons with a furious urgency while being somewhat reminiscent of PJ Harvey’s “Good Fortune” but filtered through shoegaze and New Wave.
The recently released video for “Lost Under Heaven” employs a relatively simple concept of featuring the duo moodily walking around darkened streets and footage of the duo passionately performing the song in what appears to be an empty garage. Interestingly, the release of the video comes in advance of the duo’s sets at Reading and Leeds Festivals this weekend — and in some way serves as a teaser to what fans should expect from their upcoming live sets.
Led by its founding member and creative mastermind David Eugene Edwards, Wovenhand much like Edwards’ previous projects have a long-held reputation for intense and anthemic music that showcases Edwards’ Romantic and incredibly dramatic crooning — and for a relentless experimentation and reinvention. His previous project 16 Horsepower was well-received for a sound based around antique Americana while Wovenhand’s earliest incarnations specialized in hushed ballads; however, with the newest and most current lineup, featuring Planes Mistaken For Stars‘ Chuck French (guitar) and Neil Keener (bass), Ordy Garrison (drums) and Crime and The City Solution‘s Matthew Smith (piano, synth) the band has written and recorded some of the heaviest and most forceful material to date on their latest effort Star Treatment slated for release on September 9, 2016 through Sargent House Records globally — with the exception of Europe.
As Edwards explains, the soon-to-be released album’s title isn’t a reference to our contemporary obsession with celebrity; rather it’s a reference to the concept of astrolatry — or humanity’s enduring interest in the stars of the night sky. “It’s ethereal in its concept,” Edwards says. “There are many layers, as always. I’ve been paying attention to the stars in the sky and in literature, and it’s a theme throughout the album.” He adds, “There’s more love song style on this in general, which is nice. The idea of what love is and how it’s expressed and all these different atmospheres.” Star Treatment‘s first single and opening track “Come Brave” finds the band pairing a propulsive, rumbling and rolling drum beat, enormous power chords, Edwards crooning vocals, a swooning and urgent Romanticism and rousing, arena rock friendly-like hooks with celestial hooks in a song that sounds as though it drew from Crocodiles and Heaven Up Here-era Echo and the Bunnymen, complete with a dark and mysterious fury.
The band will be embarking on a world tour to support the album. Check out tour dates below.
Tour Dates:
08/26 LAS VEGAS, NV @ Hard Rock Hotel & Casino – Psycho Las Vegas
09/12 COLOGNE, DE @ Gebäude 9 *
09/13 FRANKFURT, DE @ Zoom *
09/15 BERN, CH @ ISC *
09/16 ZURICH, CH @ Bogen F *
09/17 VIENNA, AT @ Flex *
09/18 BUDAPEST, HU @ A38 *
09/20 SALZBURG, AT @ Rockhouse *
09/21 MUNICH, DE @ Ampere *
09/22 LEIPZIG, DE @ UT Connewitz *
09/23 BERLIN, DE @ Heimathafen *
09/24 HAMBURG, DE – Reeperbahn Festival
09/26 ARHUS, DK @ Train *
09/27 OSLO, NO @ John Dee *
09/29 HELSINKI, FI @ Tavastia
09/30 STOCKHOLM, SE @ Nalen *
10/01 LUND, SE @ Mejeriet *
10/02 COPENHAGEN, DK @ Vega Jr. *
10/04 EINDHOVEN, NL @ Effenaar *
10/05 AMSTERDAM, NL @ Melkweg *
10/06 LEUVEN, BE @ Het Depot *
10/07 GENT, BE @ Handelsbeurs *
10/08 CHARLEROI, BE @ L’Eden *
10/10 LILLE, FR @ L’Aéronef *
10/11 PARIS, FR @ La Maroquinerie *
10/13 ORLEANS, FR @ L’Astrolabe *
10/14 GRENOBLE, FR @ La Belle Electrique *
10/15 FEYZIN, FR @ L’Epicerie Moderne *
10/16 TOULOUSE, FR @ La Rex *
10/18 LONDON, UK @ The Dome *
09/12 COLOGNE, DE @ Gebäude 9 *
09/13 FRANKFURT, DE @ Zoom *
09/15 BERN, CH @ ISC *
09/16 ZURICH, CH @ Bogen F *
09/17 VIENNA, AT @ Flex *
09/18 BUDAPEST, HU @ A38 *
09/20 SALZBURG, AT @ Rockhouse *
09/21 MUNICH, DE @ Ampere *
09/22 LEIPZIG, DE @ UT Connewitz *
09/23 BERLIN, DE @ Heimathafen *
09/24 HAMBURG, DE – Reeperbahn Festival
09/26 ARHUS, DK @ Train *
09/27 OSLO, NO @ John Dee *
09/29 HELSINKI, FI @ Tavastia
09/30 STOCKHOLM, SE @ Nalen *
10/01 LUND, SE @ Mejeriet *
10/02 COPENHAGEN, DK @ Vega Jr. *
10/04 EINDHOVEN, NL @ Effenaar *
10/05 AMSTERDAM, NL @ Melkweg *
10/06 LEUVEN, BE @ Het Depot *
10/07 GENT, BE @ Handelsbeurs *
10/08 CHARLEROI, BE @ L’Eden *
10/10 LILLE, FR @ L’Aéronef *
10/11 PARIS, FR @ La Maroquinerie *
10/13 ORLEANS, FR @ L’Astrolabe *
10/14 GRENOBLE, FR @ La Belle Electrique *
10/15 FEYZIN, FR @ L’Epicerie Moderne *
10/16 TOULOUSE, FR @ La Rex *
10/18 LONDON, UK @ The Dome *
* w/ Emma Ruth Rundle
Earlier this week, I wrote about Chicago, IL-based quartet Radar Eyes and their 80s post-punk inspired single “Community” off their forthcoming effort Radiant Remains, an effort that sees the band moving from the fuzzy, garage rock that first caught attention towards an anthemic and moody 80s post-punk sound — and an effort meant to be a swan song for the band, in the aftermath of Anthony Cozzi’s (vocals, guitar) relocation to Los Angeles. Radiant Remains’ second and latest single “Midnight Drive” is a jangling and anthemic song consisting of a propulsive drumming and shimmering guitars and a earnest and rousingly anthemic hook that sounds as though it draws from the likes of The Alarm, U2, Crocodiles, Heaven Up Here and Ocean Rain-era Echo and the Bunnymen, and Starfish-era The Church as the song swoons and swaggers with a desperate urgency.
Since their formation back in 2005, San Diego, CA-based drone metal/doom metal band Goblin Cock, comprised of frontman and founding member Rob Crow (guitar, vocals) a.k.a. Lord Phallus, and a member of Pinback; Lara Benscher (vocals, guitar), a.k.a. Larben The Druid; Dave Drusky (guitar), a.k.a. Bane Ass-Pounder; Sam Mura (bass), a.k.a. King Sith; Anthony Fusaro (drums), a.k.a. Braindeath; Adam Ekorth (keys), a.k.a. Loki Sinjuggler; Mike Goldfarb (keytar, banjo), a.k.a. Phuck Tard, have developed a reputation for pairing metal power chords with rather unusual lyrical subjects –i.e., they once wrote material about Sesame Street‘s Snuffleupagus.
The band’s soon-to-be released album Necronomidonkeykongimicon is slated for a September 2, 2016 release through Joyful Noise Recordings and as the band notes, the album is a “crushingly brutal ‘Dear John’ letter to society.” And interestingly enough, the album’s latest single “Your Watch” was written for those who “heroically endure” the exhaustion that comes from being a parent — and they pair those lyrics with sludgy power chords, forceful drumming and anthemic, shout-along worthy hooks and melodic vocals. Sonically, the song sounds as though it could have been released in 1993 or 1994 but with a mischievously — and yet subtle — post-modern take on a familiar and beloved sound.
Goblin Cock will be embarking on a US tour throughout the fall to support the new album and it includes a September 25, 2016 stops at The Knitting Factory. Check out tour dates below.
Tour Dates:
9/14: Phoenix, AZ @ Valley Bar
9/15: El Paso, TX @ Bowie Feathers
9/16: Dallas, TX @ Gas Monkey Bar n Grill
9/17: Austin, TX @ The Mohawk
9/18: Houston, TX @ Rudyards
9/20: Atlanta, GA @ The Masquerade – Purgatory
9/21: Carrboro, NC @ Cat’s Cradle – Backroom
9/22: Richmond, VA @ Strange Matter
9/23: Washington, DC @ DC9
9/24: Philadelphia, PA @ Underground Arts – Black Box
9/25: Brooklyn, NY @ Knitting Factory
9/27: Providence, RI @ The Parlour
9/28: Allston, MA @ Great Scott
9/29: Syracuse, NY @ Funk N Waffles
9/30: Ann Arbor, MI @ Blind Pig
10/1: Indianapolis, IN @ The Hi-Fi
10/2: Chicago, IL @ Empty Bottle
10/3: Minneapolis, MN @ 7th Street Entry
10/6: Spokane, WA @ The Observatory
10/7: Seattle, WA @ El Corazon – Funhouse
10/8: Portland, OR @ Ash Street Saloon
10/10: San Francisco, CA @ Social Hall SF
10/11: Los Angeles, CA @ Echoplex
10/14: San Diego, CA @ Casbah