Category: New Audio

Sawyer Gebauer is a Wisconsin-born, Oakland, CA-based singer/songwriter, who has spent a great deal of his musical career moving back and forth between the States and Europe. When he was 19, Gebauer relocated to Sweden, where he founded and formed Brittsommar, a musical project that featured a rotating cast of musicians and received quite a bit of attention across Continental Europe with the release of their 2011 debut effort Day Of Living Velvet. After the release of Brittsommar’s debut, Gebauer relocated to Berlin where he recored 2013’s The Machine Stops in a dilapidated warehouse. Eventually, Gebauer returned to the States, recording the final Brittsommar effort 2015’s Mary Me EP at TRI Studios in San Rafael, CA 

After Brittsommar ended, Gebauer started his latest musical project Catch Prichard, which draws deeply from Americana; in fact, Gebauer has publicly cited Townes Van Zandt and Bruce Springsteen‘s 1995 release The Ghost of Tom Joad as major influences on his latest project, and that he wanted to write and record a collection of stripped down songs based around narrative and melody — and the end result is the soon-to-be released Eskota EP, a five song EP named after the Texas ghost town in which it was recorded. 

The first single from the EP “Hometown” is an elegantly simple track featuring Gebauer’s gorgeous and moody baritone, accompanied by his dexterous guitar strumming, and gently padded drumming — and the result is a sparse, spectral song that’s indebted to folk as much as it country, while possessing a narrator’s attention to physical and psychological detail. 

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Perhaps best known as the frontman of post-hardcore band Unwound and angular post-punk/post-rock band Survival Knife, Justin Trosper’s latest musical project Nocturnal Habits has Trosper reuniting with Unwound bandmate and collaborator Sara Lund, as well as The Melvins’ Dale Crover, Two Ton Boa’s Scott Seckington and Sherry Fraser. And with the project’s forthcoming debut effort, New Skin For Old Children, Trosper and company have dedicated their focus to sharp songwriting and clean production, while sonically nodding at anthemic, 90s alt rock and shoegaze as you’ll hear on the album’s soaring, latest single “Ecophilia.”

The band will be embarking on a West Coast tour to support the album’s October 28, 2016 release through Glacial Pace Records. Check out tour dates below.

Tour Dates:
11.04.16 – Portland, OR @ The Bakery
11.05.16 – Olympia, WA @ New Moon
11.06.16 – Seattle, WA @ TBD
11.09.16 – San Francisco, CA @ The Hemlock
11.10.16 – Sacramento, CA @ Red Museum
11.11.16 – San Diego, CA @ TBD
11.12.16 – Los Angeles, CA @ The Smell

Over the course of this site’s history, JOVM mainstay artists Crocodiles, comprised of primary members and best friends Brandon Welchez and Charles Rowell have an established reputation for scuzzy, swaggering, garage and psych rock with decidedly pop leaning hooks through their five previously released and critically praised full-length albums. However, with the band’s forthcoming, sixth effort Dreamless, the primary duo of Welchez and Rowell have gone through a decided sonic departure as you’d hear on the album’s haunting and bittersweet first single “Telepathic Lover,” as the band has stripped down their sound, moving guitars and pedal effects to the background while piano and synths have moved to the forefront, making their sound much more atmospheric, while retaining a jangling and shuffling pop feel.

“We’ve always been a guitar band and I think we just wanted to challenge ourselves and our aesthetic,” Crocodiles’ Brandon Welchez explains in press notes. “It didn’t start as a conscious decision but within the first week Charlie’s mantra became ‘fuck guitars.’ Only one song has zero guitar but in general we tried to find alternatives to fill that space.Much like its predecessor, BoysDreamless was recorded in the band’s new adopted hometown of Mexico City and was recorded and produced with friend, occasional bandmate and producer Martin Thulin, who collaborates with Anika in her new, side project Exploded View. During the recording sessions, each member of the collaborative trio shared instrumental duties, with Welchez and Rowell handling most of the guitar and bass work, Thulin handling piano and synths while Thulin and Welchez split the live drum work.

Interestingly, the album’s title manages to work on both a literal and metaphorical level. “I suffered insomnia throughout the whole session. I was literally dreamless,” Welchez explained in press notes. “The past two years had been fraught with difficulty for us – relationship troubles, career woes, financial catastrophe, health issues. In that pessimistic mindset it was easy to feel as if the dream was over.” The album’s second and latest single “Not Even In Your Dreams” is a jangling and noisy track in which seemingly discordant piano chords are paired with what sounds like melodica playing a twisting and turning melody, strummed acoustic guitar, a propulsive backbeat and Welchez’s ironic, deadpan snarl, all which evokes the frayed nerves and sanity, as well as the utter boredom of the insomniac, who knows that every single time they try to lie down that sleep will be elusive. The only thing the narrator has is yet another joint and or cigarette to smoke, his running thoughts about how everything in his life has been a tremendous failure — and as a result it gives the song the sense of bitter realizations and self-flagellation.

 

Now, if you’ve been frequenting this site over the past couple of years, you’ve come across a few posts on NYC-based electro funk/neo disco production and artist duo Holy Ghost!, comprised of Alex Frankel and Nicholas Millhiser. And with the release of their 2011 self-titled debut, 2013’s Dynamics through renowned indie dance label DFA Records and their self-released remix album Work For Hire, the duo quickly earned a national and international profile; in fact, as a result, the duo have remixed the work of Katy PerryLCD SoundsystemMoby and a lengthy list of others; made national TV appearances on Jimmy Kimmel Live! and The Late Show with David Letterman; toured with the legendary New Order; and played sets at some of this country’s and the world’s biggest festivals including CoachellaOutside LandsPrimavera Sound and Bonnaroo.

Earlier this year, the duo released their Crime Cutz Ep and from the EP’s first single and title track, “Crime Cutz,” the material further cemented the duo’s burgeoning reputation as artists for crafting slickly produced, retro-futuristic electro funk as Frankel and Millhauser paired shimmering synths, 808-like breakbeats, 8b it electronics and a sinuous bass line with sensually cooed vocals. And as I said of the song at the time, “Sonically, the song seems to draws so much influence from Herbie Hancock’s ‘Rockit,’ that it sounds as though it could have been easily released back in 1983″

Recently, Frankel quietly released his solo debut EP Negative Space, an effort that was mixed and mastered by the renowned, super-producer and electronic music Alex Epton, who has worked with and/or remixed the work of Bjork, TV on the Radio, FKA Twigs, Spank Rock and others, and interestingly enough, the EP was released to praise from the likes of Stereogum. Interestingly, the EP’s second and latest single “Get Back” will further Frankel’s reputation for crafting retro-futuristic electro funk as the single pairs Frankel’s sensual cooing with enormous, tweeter and woofer rocking 808-like beats, cascading layers of shimmering synths and Nile Rodgers-like guitar in a swaggering, dance floor friendly song that sounds as though it could have been released in the early 80s.

 

 

Ipanema Cosmonauts is a Saransk, Russia-based dream pop/shoegaze duo, who have started to receive international attention for a lush an enveloping sound in which they blend ambient and shimmering guitar chords with pop-leading chord progressions and soaring, almost pop-star-like vocals as you’ll hear on “Kites,” the first single off the duo’s soon-to-be released Adrift EP. Interestingly, the band’s sound manages to nod at 4AD Records heyday, paired with deeply contemplative lyrics.

 

If you’ve been frequenting this site over the past two or three months or so, you’ve likely come across a couple of posts about Chasms, a San Francisco, CA-based duo comprised of Jess Labrador and Shannon Madden that specializes in crafting sparse, minimalist (and moody) dirges that feature Labrador’s hauntingly ethereal vocals accompanied by her shimmering guitar work paired with propulsive and pummeling drum programming, swirling electronics and bursts of feedback and industrial clang and clatter — and in some way their sound and songwriting approach draws from shoegaze, drone, dream pop, doom metal and ambient electronica simultaneously.

Now, over the course of the past couple of months, the duo have released two singles off their soon-to-be-released full-length debut On The Legs of Love Purified — the slow-burning and smoky “We’ll Go,” which under the seemingly placid surface reveals a sense of unease and discomfort and the shimmering and gauzy “Black Ice.” The album’s third and latest single “Beyond Flesh” much like the album’s first single “Black Ice” sounds as though it could have been released during 4AD Records heyday as the duo pairs Labrador’s ethereal wails with shimmering power chords, layers of stormy feedback and thundering drum programming — all feed through a bit of reverb. And while stunningly beautiful, the song possesses an aching yearning.

The duo will be embarking on a tour through October and November, which will include a November 16, 2016 stop at Brooklyn’s Shea Stadium. Check out tour dates below.

Tour Dates

10.07 Portland, OR @ Lovecraft %  
10.08 Seattle, WA @ Blue Moon
10.09 Eugene, WA @ Wandering Goat 
10.10 Sacramento @ Press Club # 
10.11 San Francisco, CA @ The Knockout ^ 
10.13 La Puente, CA @ Bridgetown DIY ~ 
10.14 San Diego, CA @ The Whistle Stop *
10.15 Long Beach, CA @ 4th St. Vine 
10.16 Los Angeles, CA @ The Echo (Part Time Punks) + 
10.29 Berkeley, CA @ KALX (Live Session + Interview)
11.08 Indianapolis, IN @ State St. Pub
11.15 Providence, RI @ Machines with Magnets
11.16 Brooklyn, NY @ Shea Stadium =
11.19 Chicago, IL @ TBA


% w/ Sean Pierce, Patricia Hall 
# w/ Odonis Odonis 
^ w/ Silver Shadows, Sirena Victima, DJ Nako & Cash Askew
~ w/ Second Still 
* w/ Black Marble 
+ w/ Black Marble, Ritual Howls 
 = w/ Holy Wave 
> w/ Merchandise, Gun Outfit

 

 

Comprised of Sebastian Dutilih and Belle Doron, Amsterdam, The Netherlands-based electro pop duo CUT_  quickly became international sensations across Europe with the release of their rework of Stromae‘s “Papaoutai.” And adding to a growing international profile, the “Papaoutai” rework went viral on Spotify and received quite a bit of airplay across Europe — and as a result of the growing attention the Dutch electro pop duo were receiving, they caught the attention of the renowned indie label [PIAS] Records, who recently signed Dutilih and Doron to an international deal.

After signing to [PIAS] Records, the duo retreated to the French Alps to work on new material and the first single from those sessions is the Leo Abrams co-produced single “Tune In Tune Out,” a single consisting of a propulsive yet shuffling production featuring handclap led percussion, stuttering boom-bap-like drum programming,  cascading layers of synths with Doron’s sultry, jazz-like vocal stylings and an infectious hook in a song that feels mischievously, coquettish and bold while possessing a radio-friendly feel — but just under the surface is a subtly dark undertone. As the duo explains in press notes “we want to belong to both worlds; the dark alternative electronica that excites us, as well as forward-thinking pop that sticks our heads . . . we’re always trying to combine our love for the two.”

 

New Audio: The Raveonettes Bittersweet Ode to Heartbreak and Breakups

The latest single of the Rave Sound of the Month series “This Is Where It Ends” is an atmospheric and moody song consisting of off-kilter syncopation, buzzing and swirling ambient electronics and ethereally cooed, vocals focusing on the bitter yet necessary and heartbreaking end of a relationship and the lingering ghosts, resentments and memories it entails, while suggesting that accepting the end of a relationship can be one of the most difficult things to encounter.

Comprised of Terry Sowers (vocals, guitar), Jeremy Bringetto (bass), Rachel Hoelm (keys, vocals) and Rex Shelverton (guitar), San Francisco-based indie rock quartet Light Fantastic specialize in a jangling and shimmering psych rock that sounds as though it could have been written and recorded in 1965 as you’ll hear on “To The Center,” the latest single off the band’s highly-anticipated, soon-to-be released full-length debut, Out of View; however, just underneath the placid surface is a moody and bittersweet wistful nostalgia and the recognition that life is ultimately about constant change – i.e., the relationships that come and go, the passing of time, etc.

As the band’s Terry Sowers explained to the folks at Impose, “This one was about my recover — mostly from a previous relationship, but I also realized it was about all the change around me and this feeling I get every year around this time so we had tentatively called it ‘September’. While I had worked out most of the lyrics, I read about the significance of the fall equinox, and the symbolism was profound. It’s a very pagan sort of ritual. Despite that I had wanted to write a light-hearted ode to summer kind of record similar to our EP, the overall vibe of Out of View turned out a little darker than planned.”

 

Comprised of founding members Kristian Bell (vocals) and Gianni Honey (drums) and featuring Daniel Rumsey (bass), along with newest member Mark Breed (keyboards, guitar), the now Brighton, UK-based quartet The Wytches can actually trace its origins to Bell’s and Honey’s previous band together, The Crooked Canes, a Peterborough, UK-based band that the duo have publicly dismissed as being “really adolescent and embarrassing.” After the founding duo played n a few other locally based bands, they moved to Brighton for school and posted an ad for a bassist. Daniel Rumsey, a Dorsey, UK-born singer/songwriter and frontman of Dan Rumsey and The Bitter End, Fall Victim and The Voyage Andromeda was the only person to respond to the ad.

Initially formed as The Witches, the trio changed their name to The Wytches to make the band more searchable on Google. The then trio’s 2014 debut effort Annabel Dream Record was release to critical praise across the blogosphere, and as a result the then trio embarked on a wild, whirlwind period of national and international touring, which helped influenced the newly constituted quartet’s highly-anticipated and recently released follow up, All Your Happy Life.

Reportedly, All Your Happy Life draws from the experiences the band had while touring — including reading a ton of Tolstoy on the tour bus, listening to Elliott Smith, tons of live, underground metal sets and observation small-town English life with completely new eyes. And as you’ll hear on the album’s second and latest single “Crest of Death,” is a furious, bilious and scathing track that’s split into two distinct parts — a screamo/hardcore intro in which Bell’s vocal are paired with dirge-like guitar chords and the song’s anthemic, shout to the rafters chorus and a down-tempo, fucked psychedelia. While evoking a desperate howl into an cold, indifferent void, the song manages to express a bored, nihilistic shrug.