Category: Shoegaze

New Video: United Ghosts’ Trippy Visuals for Their Shimmering 4AD Records-Inspired New Single

The Los Angeles-based dream pop duo United Ghosts, comprised of Sha Sabi, who came to Southern California after stints in New York and San Francisco; and German-born Axel Ray, who spent a 12 year stint in London before relocating to the States — although on some level, it’s a bit of a misnomer, as they’ve received attention for a classic 4AD Records-like sound centered around boy-girl harmonizing and draws from dream pop, psych rock, shoegaze and krautrock.

The duo’s 2013 full-length, self-titled debut and its follow up, Dear Electric Sun EP received airplay from BBC’s Steve Lamacq and Lauren Laverne, KCSN’s Nic Harcourt, KLOS’ Mark Sovel and XFM’s John Kennedy and a number of others. And after three successful UK and European Union tours, a number of Stateside dates that included CMJ and SXSW, followed by an L.A. residency, the duo of Ray and Sabi returned to the studio to work on their Mark Rains and Axel Ray co-produced sophomore album, Saturn Days, an album that thematically and lyrically explores modern life, love and disconnect in a world that’s equally dystopian and beautiful, in which hope is laced with paranoia and where dreaming your way out might be the only chance to survive.

Saturn Days’ latest single “Waves,” will further cement the duo’s reputation for crafting material 4AD Records-era dream pop, the prerequisite shimmering guitar chords, motorik grooves, enormous power chord-based soloing and dreamy boy-girl harmonies — but with a subtly modern touch,.

The recently released video for “Saturn Days” is comprised of performance footage of the members of United Ghosts with their live band shot by Arian Soheili with superimposed drone footage by Steve Payne, underwater footage by Alex V. and images of Saturn courtesy of NASA and the Saturn Cassini mission.

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Currently cloaked in a bit of mystery, the reclusive members of the up-and-coming indie rock act ilu split their time writing, recording and residing in Tallinn, Estonia and rural Wales, and from their first official single “Graffiti Hen Ewrop,” the Estonian-Welsh band specialize in a sound that draws from krautrock and shoegaze as the song is centered around a motorik groove, swirling feedback, shimmering keys, ethereal vocals, angular bass chords and a soaring hook — but underneath the song’s anthemic nature, is an aching and wistful longing.

As the band notes, the song’s lyrics came in a rather organic fashion, as they were driving around a snowy Tallinn on Christmas Day, full of deep grief and sadness. “I had just lost my father a few months before moving to Tallinn and I was dealing with my grief and my own confusion that was crippling at the time. The album was written and recorded there in a small flat in Merivälja looking across the harbour over at the old medieval town, it is very much a journey back into the light”.

Comprised of Michael Young, Ryan Hayes, Ryan Cross, Glen Scheidt and Travis Girton, the Portland, OR-based indie rock quintet King Who will be releasing their Hutch Harris-produced sophomore full-length album Giant Eye through SELF Group on August 17, 2018 — and reportedly, the album finds the up-and-coming quintet expanding upon their sound as they increasingly incorporate elements of New Wave, post-punk and dream pop  while retaining the heavy bass of their full-length debut Us Lights. Interestingly, Giant Eye‘s first single, the slow-burning “Ice Cream” sonically finds the band drawing from shoegaze and dream pop as the song is centered around shimmering guitar chords, a propulsive rhythm section, a soaring hook and Micheal Young’s plaintive falsetto — and while the song draws from 120 Minutes-era all rock, it has a clean, modern production sheen that makes the song a bit anachronistic.

 

Over the course of this site’s eight year history, I’ve written quite a bit about the  Liverpool-based shoegaze quintet and JOVM mainstays The Vryll Society, and as you may recall, the band, which is comprised of Michael Ellis, Ryan Ellis, Lewis McGuinness, Lloyd Shearer, and Benjamin Robinson received attention from across the blogosphere with the release of an early collection of singles that drew from a diverse array of influences, including FunkadelicAphrodite’s Child, krautrock and classic shoegaze.

The Liverpool-based shoegazers’ long-awaited full-length debut Course Of The Satellite is slated for an August 10, 2018 and the album’s first single “Andrei Rublev,” which was inspired by  Andre Tarkovsky’s 1996  historical, arthouse film Andrei Rublev was a slow-burning and meditative song that found the band’s sound simultaneously nodding at shoegaze and 70s AM rock. Course of the Satellite‘s second and latest single “Light At The Edge Of The World” possesses a shimmering cosmic glow familiar to space rock and shoegaze with subtle prog rock leanings while centered around enormous hooks and some swirling and towering guitar work.

 

New Video: JOVM Mainstays The Vryll Society Release Trippy Yet Meditative Visuals for Album Single “Andrei Rublev”

Over the past handful of years, I’ve written quite a bit about the Liverpool-based shoegaze quintet and JOVM mainstays The Vryll Society, and as you may recall, the band, which is comprised of Michael Ellis, Ryan Ellis, Lewis McGuinness, Lloyd Shearer, and Benjamin Robinson have received attention from both this site and across the blogosphere with a series of singles that revealed a sound and songwriting approach that draws from a diverse array of influences, including Funkadelic, Aphrodite’s Child, krautrock and classic shoegaze.

The Liverpool-based shoegazers latest single “Andrei Rublev” is the first official single from the band’s long-awaited full-length debut, Course of the Satellite slated for an August 10, 2018 release, and interestingly enough, the song is inspired by Andre Tarkovsky’s 1996 arthouse film Andrei Rublev, a historical period piece and biographical film on the life of the 15th century Russian icon painter, during one of several incredibly turbulent periods of Russian history, which lead to the creation of the Tsardom of Russia. Thematically, the film concerned itself with several themes — artistic freedom, religion, political ambiguity and uncertainty, autodidacticism, and the creation of art under a cruel and repressive regime. And while the film’s characters lived over 400 years ago, there’s so much that should resonate with modern viewers. In any case, the understandably slow-burning and meditative song manages to nod at shoegaze and 70s AM rock in a way that brings another JOVM mainstay to mind, Chicago’s Secret Colours, but while hinting at an urgent ache for something far bigger and permanent than oneself. 

The recently released video features an alien like orb that floats in the distance that reflects and refracts the images so that they’re given a fish-eye effect, as the band walks through the British woods in a brooding fashion; throughout the song, the band’s individual members are shown with the very setting they’re walking superimposed behind them but upside down, which creates a meditative yet trippy effect. 

Now, if you had been frequenting this website over the past few years, you may have come across a couple of posts featuring the Brooklyn-based indie rock act Lazyeyes, and as some of you may recall, the band, which initially began as a trio and now currently consists of Jason Abrishami (guitar, vocals), Sam Maynard (guitar, vocals), Jeremy Sampson (drums) and Jermey Rose (bass, vocals) received quite a bit of attention after the release of their 2013 self-titled EP: The Deli Magazine named the band the “Best Psych Rock/Shoegaze band,” Purple Sneakers praised the EP as a “moody and anthemic record, equal parts shoegaze and dream pop,” Stereogum described their sound as a “a muscular, riff-happy brand of guitar based dream-pop” and they were a featured artist in the November 2014 issue of NME — and adding to a growing profile, tracks from the EP received airplay from BBC Radio, XM Radio and a number of FM stations across the globe.

2015’s self-released, sophomore EP New Year was eventually picked up and reissued by Burger Records‘ cassette imprint Weiner Records, and “Adaptation,” the EP’s first single received quite a bit of attention across the blogosphere, including this site. Some time has passed since I’ve last written about them — but their long awaited full-length debut Echoes is slated for a summer release through Egghunt Records and 2670 Records. Interestingly, Echoes first single, album title track “Echoes” is a brooding and seamless synthesis of 80s British post-punk and shoegaze as you’ll hear angular and propulsive bass chords, four-on-the-floor drumming and towering, pedal effected guitar pyrotechnics paired with rousingly anthemic hooks — and while the song may initially strike you as drawing influence from Heaven Up Here-era Echo and the Bunnymen, it reveals a band confidently expanding upon the sound that first captured attention.

 

 

 

 

Although currently comprised of founding member and primary songwriter Ripley Johnson (guitar, vocals), Dusty Jermier (trumpet, bass), Omar Ahsanuddin (drums) and Nash Whalen (organ), the renowned San Francisco, CA-based psych rock act Wooden Shjips can trace their origins back to 2003 when Johnson started the band with the intention of finding a group of non-musicians and creating music with them — with the underlying idea behind it being that untrained players would have a new outlook on what music is and how it’s played, and as a result bring something fresh to the table in a way that many of the garage punks of the early 60s and the Velvet Underground did. In fact one of the longest tenured members of the band, Jermier was originally recruited to play saxophone, an instrument he had never even picked up before while other members from their earliest iterations often had such a lack of interest in playing live for anyone that the band didn’t bother looking for gigs.

Eventually, the band settled to its current lineup — but this time, the intention was different: Johnson, a fan of seemingly impenetrable albums and arcane, small-press poetry books, was fascinated by the idea of books that went unread or became largely out of favor and/or of print that were rediscovered by collectors or some bored critic looking for something different, and praised for being lost and under-appreciated gems. And unsurprisingly, the band set about to make purposely obscure albums that Johnson envisioned leaving in libraries, thrift store bargain bins and on park benches. Eschewing a MySpace page, a Soundcloud account or a website with MP3 downloads, the band gave away a limited pressing of 300 copies of their debut 10 inch vinyl album, paying the shipping costs for out of town requests — and unexpectedly, the album received some rave reviews, including one from Rolling Stone, which raised the album’s cachet and the band’s profile, thanks in part to a sound that the band has described as “a minimal, droning kind of garage band-influenced psychedelia with a noticeable 60s Krautrock influence” with some comparing the band to Suicide, The Velvet Underground, The Doors, Soft Machine and Guru Guru.

Building upon the growing buzz surrounding them, the members of Wooden Shjips released 2006’s “Dance California”/”Clouds Over the Earthquake,” to mark the centennial of the 1906 San Francisco earthquake, which sold enough for the band to break even on their investment, and “Summer of Love 2007,” a single inspired by groups, who worked to make the world the kind of place they wanted to live in, like the Diggers, a local anarchist collective that founded the first Free Store and served free meals to Golden State Park to any and all comers with the proceeds from the single going to Food Not Bombs. Interestingly, their second real gig as a band was a single release show, opening for the psych rock legend Roky Erickson.
The band’s self-produced and self-recorded full-length debut was recorded in the band’s rehearsal space on an half-inch eight-track console that Jermier found, making the album an strictly analog affair aimed at getting high-quality and high-fidelity on an extremely low budget. Some tracks were layered up demos while others were live studio jams with drum parts added later, since they only had two tracks of the drums and no way to keep instruments from bleeding into each other noisily. But despite — or perhaps because of its DIY fashion, the album was released to critical applause that lead to the “Loose Lips”/”Start to Dreaming” 7 inch released by Sub Pop Records.Since then, the band has released three more full-length albums, 2009’s Dos, 2011’s West, 2013’s Back to Land and two compilations 2008’s Volume 1 and 2010’s Volume 2 — and they’ve managed this while the band’s Johnson has been busy with his side project Moon Duo, his acclaimed dup with Sanae Yamada that has released four full-length albums and one EP.  Interestingly, V, the Bay Area-based psych rock band’s fifth full-length album and first album in over five years, finds the band reportedly expanding upon their sound while lightening the overall vibes, with the material being decidedly laid back, almost summery jams.

 

Written last summer, Johnson viewed the material as a necessary antidote to the pervasive political anxiety and apocalyptic panic; in fact, as Johnson says in press notes,
“We had huge forest fires just outside of Portland and there was intense haze and layers of ash in the city. I was sitting on my porch every evening, watching ash fall down like snow, the sky looking like it was on fire. It was an apocalyptic feeling. Summer in Portland is usually really chill and beautiful, and we were working on a ‘summer record,’ but the outside world kept intruding on my headspace.” V., a graphic representation of the Peace sign, seemed apt to an album focused on the power of peace, beauty and resistance. The music is a balm against the noise and negativity.”
 Now, as you may recall V’s first single “Staring at the Sun” was an expansive and shimmering guitar pop sound with a steady groove that seemed as though it owed a big sonic debut to Buffalo Springfield‘s “For What It’s Worth” and Psychic Ills‘ Inner Journey Out; however, V‘s latest single “Red Line” is a bit of a return to form, with the band nodding at both classic psych rock and contemporary shoegaze as the track is centered around droning instrumentation and a propulsive and hypnotic, motorik like groove. But much like its predecessor, the band emphasizes slowing, down and pressing the reset button in a world gone absolutely mad.

The band is currently touring to support their forthcoming fifth album, and you can check out the tour dates below.

Tour Dates:

 

April 20 – Half Moon Bay, CA – Old Princeton Landing [tickets]

April 21 – Santa Cruz – Michael’s On Main [tickets]

April 29 – Austin, TX – Levitation Festival

May 25 – Portland, OR – Mississippi Studios [tickets]

May 26 – Seattle, WA – Crocodile [tickets]

June 1 – Nelsonville, OH – Nelsonville Music Festival

June 2 – Chicago, IL – Empty Bottle [tickets]

June 4 – Detroit, MI – Marble Bar [tickets]

June 5 – Toronto, ON – Horseshoe Tavern [tickets]

June 7 – Los Angeles, CA – The Lodge [tickets]

June 9 – Sonoma, CA – Huichica Music Festival

Over the past handful of years, I’ve written quite a bit about the Liverpool-based shoegaze quintet and JOVM mainstays The Vryll Society, and as you may recall, the band, which is comprised of Michael Ellis, Ryan Ellis, Lewis McGuinness, Lloyd Shearer, and Benjamin Robinson have received attention from both this site and across the blogosphere with a series of singles that revealed a sound and songwriting approach that draws from a diverse array of influences, including FunkadelicAphrodite’s Child, krautrock and classic shoegaze.

The Liverpool-based shoegazers latest single “Andrei Rublev” is the first official single from the band’s long-awaited full-length debut, slated for release sometime this summer, and interestingly enough, the song is inspired by Andre Tarkovsky’s 1996 arthouse film Andrei Rublev — and as a result, the deeply meditative song which is centered around boom bap-like drums, a sinuous bass line and some gorgeous guitar manages to nod at both classic shoegaze and 70s AM rock  — all while hinting at an urgent ache for something far bigger than oneself.

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