Category: Psych Rock

New Video: JOVM Mainstays The Limiñanas Return with Cinematic and Moody Black and White Visuals for “Dimanche” feat. Bertrand Belin

Over the past couple of years I’ve written a bit about the Perpignan, France-based psych rock duo The Limiñanas, and as you may recall the French duo have become one France’s most renowned indie acts, thanks in part for a sound that draws from psych rock, shoegaze, and yé-yé, centered around arrangements featuring fuzzy, distorted power chords, reverb heavy hooks and effortlessly cool vocals. And much like fellow countrymen La Femme, their sound is heavily indebted to 60s American guitar rock and psych rock while managing to capture something  quintessentially French.

Released last year, the duo’s Istanbul Is Sleepy EP was initially recorded at their home studio and finished at Anton Newcombe‘s Berlin-based studio, and the EP’s title track and lead singer “Istanbul Is Sleepy” found the French duo collaborating with the The Brian Jonestown Massacre founder and frontman, who contributed both his imitable vocals and guitar to a scuzzy, garage rock track that reportedly was influenced by Rain-era The Cult. And as the members of The Limiñanas recalled in press notes, the collaboration can trace its origins to 2016 or so, when Mojo Magazine asked them to contribute a track to a Kinks tribute compilation. “We chose ‘Two Sisters,’” Lionel explains in press notes. “Marie and I were thinking for the vocal part, it would be great to approach Anton Newcombe, having opened for The Brian Jonestown Massacre at Le Trianon in Paris. The work began like that. We had an album to record and we decided to finish it with him. During the Christmas week we took our demos, flew to Berlin and recorded at Anton’s studio. Six days later we had a finished album

“Shadow People,” the first official single off the duo’s Twisting the Shadow People, which was released earlier this year, found the duo collaborating with French actress Emmanuelle Seigner and Renaud Picard, the frontman of Hair and the Iotas on a slow-burning and meditative track that featured a hazy, dream-like hook. “Dimanche,” Shadow People’s latest single is a chilly and menacing track that has the band collaborating with Bertrand Belin who delivers lyrics in a cool and detached French over pulsating synths, a motorik-like groove and twangy guitar chords — and interestingly enough, the latest single reveals a band that’s subtly expanding upon their sound, while continuing their focus on the dichotomy between dark and light in the moody fashion that captured the attention of critics and fans internationally. 

Directed by Aurelien Richter,  the recently released video for “Dimanche” was shot gorgeously and artful black and white that nods to film noir and Quentin Tarantino films and the visuals emphasize the song’s overall moody vibe.  Throughout you’ll see the members of The Limiñanas with Emmanuelle Seigner, Foulke de Boixo, who has made frequent appearances in their videos and the Betrand Belin. 

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New Video: Psych Rock Supergroup MIEN Release Sinuous, Hand-Painted, Animated Visuals for Album Single “Earth Moon”

Comprised of The Black Angels‘ Alex Mass (vocals, samples, loops), The Horrors‘ Tom Furse (keys, programming), Elephant Stone‘s Rishi Dhir (bass, sitar, keys) and The Earlies‘ John-Mark Lapham (keys, samples, programming), the indie All-Star supergroup and side project MIEN can trace its origins to roughly 2004, when Rishi Dhir, who was playing sitar and bass with a previous band on a SXSW bill with The Brian Jonestown Massacre had a chance encounter with The Black Angels’ Alex Mass. Dihr also had a chance encounter with The Earlies, who he would similarly collaborate and share a stage with. Interestingly, Mass, Dihr and Lapham bonded over a mutual love and appreciation of The Association‘s “Wantin’ Ain’t Gettin;” in fact, upon learning that Lapham had a deep desire to cover it, they all began the slow process of putting together the version they’d always dreamt of. Unfortunately, while that never came to fruition, it created the collaborative and creative sparks that would become MIEN.

In 2012, Dihr was playing bass with The Black Angels, and at the time they were sharing bills with The Horrors, whose Skying was on heavy rotation for him. Dihr made the acquaintance of Tom Furse, and they made a pact to work together on something in the future. As a quartet, the members of MIEN made another pass at covering The Association but coincidentally around the same time, there was a Lapham demo, based around a Beastie Boys sample that eventually became the murky and hallucinatory “Black Habit,” the first single off the band’s self-titled debut.

The album’s second and latest single “Earth Moon” continues on a similar ambient and kaleidoscopic vibe; however, the song finds the act pairing propulsive yet atmospheric electronics with shimmering sitar — and while being as menacing as its predecessor, sonically it’s a perfect amalgamation of Directions to See a Ghost-era The Black Angels and Elephant Stone. 

The recently released video for “Earth Moon” features the sinuous and undulating, hand-painted animation of Rochester, NY-based visual artist and musician Mike Turzanski. As MIEN’S John Mark Lapham says in press notes “I’ve admired Mike Turzanski’s artwork since around 2011 when he did some work for a project I was working on at the time called The Revival Hour. Mike is a Rochester, NY based artist and musician that creates these surreal and oftentimes nightmarish worlds through his art. (I’ve been looking for ways to work with him again ever since he had me and a friend of mine dunked in a cold lake in Rochester spitting pink goo out of our mouths for a photography project… don’t ask…) When it came time to find an artist to create a video for Earth Moon, he was the first person I thought of. I knew he had done a lot painting and sketches, but wasn’t sure he ever tackled a completely animated video production. When I asked him if he’d be interested, he jumped on it and within a few weeks we got a fully formed hand painted video! Mike’s an amazing artist and we’re honored to have his hands all over MIEN. I’m looking forward to our next collaboration (though hopefully not in a freezing lake this time…)”

“The vision for “Earth Moon”’s video was first presented to me with the visual inspiration of early 70s animations. These vintage videos have the distinct look and feel of something completely hand made,” Mark Turzanski explains of the video concept in press notes. “Looping psychedelic visuals in a very raw form felt like the best approach. Each frame was hand drawn and scanned in to produce the analog and physical look. Taking this older cel animation frame by frame technique was very consuming but well worth the result.  “Earth Moon” is a song that makes you feel like your body is a rippling wave in space. I wanted to create a video that would only add to this feeling.”

New Audio: Indie Rock Supergroup MIEN Return with a Shimmering and Menacing New Single

Comprised of The Black Angels‘ Alex Mass (vocals, samples, loops), The Horrors‘ Tom Furse (keys, programming), Elephant Stone‘s Rishi Dhir (bass, sitar, keys) and The Earlies‘ John-Mark Lapham (keys, samples, programming), the indie All-Star supergroup and side project MIEN can trace its origins to roughly 2004, when Rishi Dhir, who was playing sitar and bass with a previous band on a SXSW bill with The Brian Jonestown Massacre had a chance encounter with The Black Angels’ Alex Mass. Dihr also had a chance encounter with The Earlies, who he would similarly collaborate and share a stage with. Interestingly, Mass, Dihr and Lapham bonded over a mutual love and appreciation of The Association‘s “Wantin’ Ain’t Gettin;” in fact, upon learning that Lapham had a deep desire to cover it, they all began the slow process of putting together the version they’d always dreamt of. Unfortunately, while that never came to fruition, it created the collaborative and creative sparks that would become MIEN.

In 2012, Dihr was playing bass with The Black Angels, and at the time they were sharing bills with The Horrors, whose Skying was on heavy rotation for him. Dihr made the acquaintance of Tom Furse, and they made a pact to work together on something in the future. As a quartet, the members of MIEN made another pass at covering The Association but coincidentally around the same time, there was a Lapham demo, based around a Beastie Boys sample that eventually became the murky and hallucinatory “Black Habit,” the first single off the band’s self-titled debut. 

The album’s second and latest single “Earth Moon” continues on a similar ambient and kaleidoscopic vibe; however, the song finds the act pairing propulsive yet atmospheric electronics with shimmering sitar — and while being as menacing as its predecessor, it’s oddly enough the most Black Angels-like song they’ve released to date. 

New Audio: RidingEasy Records and Permanent Records Team Up Once Again for Sixth Edition of Renowned “Brown Trip” Compilation — Release Explosive First Single from Album Slated for 4/20/18

Over the better part of the past few years, Permanent Records’ and RidingEasy Records have collaborated on an expansive series of proto-metal and pre-stoner rock compilations, Brown Acid. Each individual edition of the series is based on RidingEasy Records’ founder Daniel Hall’s and Permanent Records co-owner Lance Barresi’s extensive, painstaking research and curation — with both Hall and Barresi spending a great deal of time tracking down songs’ creators, most often bands that haven’t written, played or recored together in 30 or 40 years, and then encouraging them to take part in the compilation process. As Permanent Records’ Barresi explained in press notes regarding the previous editions of the compilations “All of (these songs) could’ve been he given the right circumstances. But for one reason or another most of these songs fell flat and were forgotten. However, time has been kind in my opinion and I think these songs are as good now or better than they ever were.”

Naturally, by having the original artists participate as much as possible in their compilations, it frequently can give the artists and their songs, a real, second chance at attention and success. And certainly as a critic and as a fan, these songs help fill in the larger picture of what was going on in and around the underground music scenes during the 60s and 70s. Following the critical and commercial success of its first five volumes, RidingEasy Records and Permanent Records’ sixth volume of 60s and 70s proto-metal and pre-stoner rock Brown Acid: The Sixth Trip is slated for an April 20, 2018 continuing an annual rite of passage.  And much like the previous five editions, the sixth edition continues on Barressi’s and Hall’s exhaustive, painstaking research and curation with the duo continuing to discover that the well of hard rock, psych rock and proto-metal 45s from the period is incredibly deep — with the sixth edition featuring 9 deep cuts from bands based in Continental USA and one Canadian act.

Interestingly, each edition of Brown Acid has begun with an barn burner of a track and the sixth edition also continues that honored tradition with a swaggering yet frenetic, mind-melting, guitar pyrotechnic-fueled track from San Francisco, CA-based act Gold, “No Parking” recorded circa 1970. Reportedly, the band used to open their sets with the song — and as soon as you hear it, you’ll hear why: it captures a band that’s completely unafraid to kick ass and take names.  

New Video: Indie Rock, All-Star, Super Group MIEN Release Trippy and Menacing Visuals of “Black Habit”

Comprised of The Black Angels’ Alex Mass (vocals, samples, loops), The Horrors’ Tom Furse (keys, programming), Elephant Stone’s Rishi Dhir (bass, sitar, keys) and The Earlies’ John-Mark Lapham (keys, samples, programming), the indie All-Star supergroup and side project MIEN can trace its origins to roughly 2004, when Rishi Dhir, who was playing sitar and bass with a previous band on a SXSW bill with The Brian Jonestown Massacre had a chance encounter with The Black Angels’ Alex Mass. Dihr also had a chance encounter with The Earlies, who he would similarly collaborate and share a stage with. Interestingly, Mass, Dihr and Lapham bonded over a mutual love and appreciation of The Association’s “Wantin’ Ain’t Gettin;” in fact, upon learning that Lapham had a deep desire to cover it, they all began the slow process of putting together the version they’d always dreamt of. Unfortunately, while that never came to fruition, it created the collaborative and creative sparks that would become MIEN. 

In 2012, Dihr was playing bass with The Black Angels, and at the time they were sharing bills with The Horrors, whose Skying was on heavy rotation for him. Dihr made the acquaintance of Tom Furse, and they made a pact to work together on something in the future. Now, as a quartet, they made another pass at covering The Association but coincidentally, there was a Lapham demo, originally based around a Beastie Boys sample that eventually became “Black Habit,” the latest single off the band’s forthcoming self-titled debut. Interestingly, MIEN’s sound as you’ll hear on “Black Habit” manages to be a seamless synthesis of the sounds and work of each of the individual members long-term, major projects, the song finds them exploring ambient sounds paired with motorik-like grooves; but underneath is a feverish and hallucinatory vibe that manages to evoke the unsettling paranoia of our Fake News/everything is going to hell in a hand basket world. 

Naturally, the accompanying visuals are equally trippy — drawing from 60s psychedelia but with the same paranoia at its core. 

Over the past year or so, I’ve written quite a bit about one of the most exciting, young British indie rock acts I’ve come across in some time, the  Halifax, UK-based trio The Orielles, comprised of Sidonie B. Hand-Halford (drums); her younger sister,  Esmé Dee Hand-Halford (bass, vocals); and their best friend, Henry Carlyle Wade (guitar, vocals). And as you may recall, with a great deal of buzz surrounding them in the UK, Heavenly Recordings head Jeff Barrett caught the band opening for their new labelmates The Parrots in late 2016 and immediately signed them to the renowned indie label.  The trio followed that up with a breakthrough 2017 that included a series of incredibly self-assured and attention grabbing singles,  The Mallard‘s Finding Meaning in Deference-like “Sugar Taste Like Salt,” the psych rock-like “I Only Bought It For The Bottle,” and the funky, almost dance floor friendly freakout of “Let Your Dogtooth Grow.”

February 16, 2018 will mark the release of the up-and-coming British trio’s highly-anticipated full-length debut, Silver Dollar Moment and quickly following upon the announcement of the album, the band released the album’s first official single “Blue Suitcase (Disco Wrist)” continues in a similar vein as its immediate predecessor as it finds the trio mischievously experimenting with their sound, meshing and smashing elements of psych rock, pop and disco/boogie, in particular Luther Davis Group’s “You Can Be A Star” and Rita Lee’s “Chega Mais,” while fusing an anecdote of spotting an unaccompanied blue suitcase on a train platform, which was followed by allegorical discussions and theories about what was in it and why it was left behind — with the band touching upon Schrodinger’s Cat and James and the Giant Peach among others. Certainly, this single will further cement their reputation for crafting self-assured and increasingly genre defying material.

 

 

 

 

 

Over the past couple of years of this site’s history, I’ve written a bit about the Brooklyn-based psych rock/indie rock trio  Sunflower Bean. Comprised of founding duo Nick Kivlen (guitar, vocals) and Jacob Faber (drums) with Julia Cumming (bass, lead vocals), the band can trace their origins back to when Kivlen and Faber were members of local indie rock act Turnip King together — and at the time, Kivlen and Faber had been spending a great deal of their time away from the band jamming together, before deciding that they should start their own project. Cumming, who was then a member of Supercute! with Rachel Trachtenburg, was recruited by Kivlen, who had known her through mutual friends.

The band quickly became a buzz-worthy act with a run of attention grabbing, critically applauded sets during 2014’s CMJ Festival, which they promptly followed with a series of shows across town; but with the release of that year’s Rock & Roll Heathen EP and 2015’s Show Me Your Seven Secrets EP, which featured singles “Tame Impala” and “2013.” the band quickly rose to national and international prominence. Adding to a growing profile, the Brooklyn-based psych rock trio toured across the US and the UK both as a headliner and as an opener for  Wolf AliceBest Coast and The Vaccines. Sunflower Bean completed a breakthrough run with the release of their  Matthew Molnar-produced debut effort Human Ceremony, which was released to critical praise back in 2016.

After spending the better part of 2016 with a roughly 200 date world tour, the members of the band initially planned to take a well-earned, extended break; however by mid-December. the trio were in Faber’s Long Island basement with song ideas that eventually became their highly-anticipated Jacob Portrait and Matt Molnar-produced  sophomore effort, Twentytwo in Blue, which is slated for a March 23, 2018 release through Mom + Pop Records, which is both 22 months after the release of their full-length debut — and coincidentally, when each member turns 22.

Now, if you’ve been frequenting this site throughout 2017, you may have come across the trio’s single “I Was A Fool,” a single that you may recall found the trio closely hewing to the late 60s psych rock and 70s classic rock that has long inspired their sound and aesthetic, but while gently pushing their sound in the direction of Fleetwood Mac. and others.  As the band’s Nick Kivlen explained in press notes at the time, “‘I Was A Fool’ is one of those songs that seemingly crept up from nowhere and into our practice space. it was a special moment between the three of us, Julia and I both improvised the lyrics. It feels far longer but it’s been nearly two years since ‘we’ve put new music into the world. I think this song is a good example of how we’ve grown as a band, while still staying true to the band that first played together back in high school.”

Interestingly, “Crisis Fest,” Twentytwo in Blue‘s first official single from the album finds the band tackling much more sobering topics with song directly discussing the uncertainty and politically volatile period in which it was written. “While writing this album, we often reflected back on the people we met while on tour. We felt a strong kinship with the audiences that came to see us all over the country, and we wanted to write a song for them — something to capture the anxieties of an uncertain future. ‘Crisis Fest’ is less about politics and more about the power of us, the young people in this country.” And as a result, the song which sonically finds the band touching upon glam rock — in particular, to my ears, a bit of Bay City Rollers‘ “Saturday Night” mixed with Ace Frehley’sBack in the New York Groove” as it’s an rousingly anthemic stomper of song, that’s indirectly a call to action that suggests that now it’s the time for young people to start getting the world right — or we won’t have a chance.

The members of the band will be embarking on a lengthy tour to support the album that includes a February 13, 2018 stop at Brooklyn Steel. Check out the rest of the tour dates below.

Tour dates

1/26 – Philadelphia, PA @ Everybody Hits
1/31 – Chicago, IL @ Metro ^
2/01 – Nashville, TN @ The Basement East ^
2/03 – Austin, TX @ Mohawk ^
2/05 – San Antonio, TX @ Paper Tiger ^
2/06 – Dallas, TX @ Granada ^
2/07 – Houston, TX @ White Oak Music Hall (Inside Downstairs) ^
2/09 – New Orleans, LA @ Republic New Orleans ^
2/10 – Athens, GA  @ 40 Watt ^
2/11 – Raleigh, NC @ Lincoln Theatre ^

2/13 – Brooklyn, NY @ Brooklyn Steel ^
2/14 – Washington, DC @ 9:30 Club ^

2/22 – London, UK @ The Jazz Cafe @
3/01 – Los Angeles, CA @ Moroccan Lounge
3/02 – San Francisco, CA @  Rickshaw Stop

3/24 – Nottingham, UK @ Rescue Rooms

3/26 – Norwich, UK @ Open Norwich

3/27 – Birmingham, UK @ Hare and Hounds

3/28 – Newcastle upon Tyne, UK @ Riverside

3/29 – Leeds, UK @ Wardrobe

3/30 – Manchester, UK @ Gorilla

3/31 – Liverpool, UK @ The Magnet

4/01 – Glasgow, UK @ Stereo

4/03 – Bristol, UK @ Thekla

4/05 – Brighton, UK @ Concorde 2

4/06 – London, UK @ Koko

4/09 – Paris, FR @ Point Ephemere

4/10 – Antwerp, Belgium @ TRIX VZW

4/11 – Amsterdam, Netherlands @ Paradiso

4/12 – Hamburg, Germany @ Molotow

4/13 – Copenhagen, Denmark @ Loppen

4/14 – Berlin, Germany @ Rosis

4/15 – Vienna, Austria @ Chelsea Club

4/17 – Lausanne, Switzerland @ Le Romandie

4/18 – Zurich, Switzerland @ Bogen F

4/19 – Cologne, Germany @ Blue Shell

5/20 – Gulf Shores, AL @ The Hangout Music Festival
^ – w/ Sleigh Bells

@ – supporting Jessie Ware

New Video: Two from Boston-based Cinematic Psych Blues Act Matthew Stubbs and the Antiguas

Matthew Stubbs is a Boston, MA-based guitarist and songwriter/composer, who has been Charlie Musselwhite’s touring guitarist since 2007, and as a solo artist has released two solo instrumental record, drawing from the Memphis, TN soul/blues tradition, 2008’s Soulbender released through Vizztone Records and 2010’s Medford and Main released through Chicago, IL-based Blue Bella Records. In 2016, Stubbs, along with Just Lopes (organ), Chris Rivelli (drums) and Marc Hickox (bass) as an instrumental, psych rock-based project inspired by the desire of bringing back popular instrumental work along the lines Duane Eddy, Link Wray, Booker T and others, mixed with elements of garage rock, the blues, movie soundtracks and Afrobeat, — all while focusing on the vibe and energy of the live performance. 

The band’s self-tiled full-length debut is slated for a January 26, 2018 release and from “Death Grip” and ” Unwinder,” two singles off the soon-to-be released album, the material on the band’s self-titled debut manage to have a decidedly retro vibe, sounding as though they could have been part of the soundtracks to late 60s and early 70s B movies but with a tight groove; in fact, as Stubbs says of “Death Grip,” “The song was inspired by the wild scenes in those cult, car racing movies of the ’70s. I wrote it with that cinematic, yet frenetic approach in my mind.” “Unwinder,” on the other hand finds Stubbs and company, drawing from 60s psych rock and surfer rock and blues, complete with that soaring organ sequence — and they do so in a way that nods at The Castaways’ “Liar Liar” but with a subtle nod at shoegaze and dub. 

New Audio: Aussie Sibling Quartet Stonefield End 2017 with a Prog Rock-like New Single

Over the past few months, I’ve written about the Darraweit Guim, Australia-based sibling psych rock quartet Stonefield, comprised of Amy (drums, lead vocals), Hannah (guitar), Sarah (keys) and Holly Findlay (bass). And as you may recall, the siblings began playing together when they were all at a rather young age — with the youngest being seven and the oldest being 15. The band’s eldest member Amy recorded their first song “Foreign Lover” for a school project, and then reportedly she entered the song into Triple J’s national, unsigned band competition for youngsters Unearthed High as an afterthought; however, much to her and her sisters’ surprise, Stonefield wound up winning the contest. Within an incredibly short period of time, the Findlay sisters had two singles receiving regular airplay on Australian radio and an invitation to play at the Glastonbury Festival.

Since then, the members of the sibling quartet have released two EPs, their self-titled full-length debut and their sophomore effort As Above So Below, which was released earlier this year through Rebel Union Recordings/Mushroom Records. And adding to a growing profile, the Aussie, sibling quartet have opened for a variety of internationally renowned touring acts including Fleetwood Mac, Meat Puppets and a Stateside tour with countrymen and JOVM mainstays King Gizzard and the Lizard Wizard earlier this year. Interestingly, the Findlay sisters end 2017 by signing to Flightless Records, the label home of the aforementioned King Gizzard and the Lizard Wizard and The Babe Rainbow, and to celebrate that announcement, the band’s first release on their new label is “Delusion,” the follow-up to their sophomore effort. 
“Delusion” finds the Findlay sisters moving away from the heavy psych rock and psych pop of their earlier releases towards a dirge-like, 70s prog rock and metal sound as the song finds features some down-tuned power chords, dramatic, twisting and turning synths, tubular bells, some sinister mellotron and an enormous, arena rock-friendly hook within a sprawling and hypnotic song structure that features changes in key and mood. As the band explains in press notes, the song is inspired by the “overwhelming feeling of knowing you are a speck in the universe, getting lost in your mind.” 

New Video: The Psychedelic and Lynchian-like Visuals for Norma’s “S.A.D.”

Largely inspired by NEU! and Faust, as well as Spiritualized and Spacemen 3, the Stockholm, Sweden-based trio Norma, comprised Erik Vallin, Love Martinsen, and Petter Bendelin formed in a living room in 2007, watching David Lynch movies while experimenting with pedal steel guitars, vintage organs and synthesizers. As the story goes, after a while, the trio started rehearsing in a bomb shelter and eventually developed a bigger, heavier sound, which wound up on their debut effort Book of Norma. Several years later, the band followed that up with their 2013 sophomore effort, The Invisible Mother. Over the past few years, they’ve developed a reputation for being deliberate — and over a decade since their formation, the band will be releasing their third, full-length album sometime in 2018. 

“S.A.D,” the yet-untitled album’s first single features a prerequisite, chugging motorik groove paired with shimmering, pedal effected guitars and a soaring hook to create a song that reminds me quite a bit of Join the Dots-era TOY — but interestingly enough, the song is both about seasonal affective disorder and a character that the band has dubbed Neil, a figure that appears during the darkest season, and attempts to thwart you as you go about your daily life. As the band explains, “. . . We probably all have our personal devils, wherever we want them or not, it’s just about learning how to live with them. It may be quite difficult to get a daily life working as it is and it will not be easier to discuss economics, logistics or food when Neil creeps along your spine and says he’s going to shoot you in your leg.”

Edited by Frederick Stewart Holm and featuring photography by the band and Najda von Bahr with scenography, costumes and makeup by Emila Esping, the recently recently video for “S.A.D.” follows Neil, a vagabond-like character as he travels the countryside in a custom built jalopy to the kindergarten where he entertains kids as a clown/entertainer. Eventually, he disappears into a dream where he floats among planets, fishes and laser lights in a Lynchian and psychedelic nightmare.