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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.

New Audio: The Raveonettes Return with a Gorgeous and Bittersweet Addition to their Rave Sound of the Month Series

The previous Rave Sound of the Month single “Won’t You Leave Me Alone” was a bitter tell off from a jilted and exasperated lover, who’s sick of a partner, who just won’t get the hint that she’s had enough of their lover and their shit — and that it’s time for them to move on. Sonically, the song consisted of a towering and jagged soundscape of swirling and buzzing guitar chords, and thundering drumming that reminds me a little bit of The Jesus and Mary Chain; however, the series latest single “Where Are You Wild Horses” is a dreamy and atmospheric song that pairs with shimmering and subtly twangy guitar chords, breathily cooed vocals, a sinuous bass line, shuffling drumming and a dreamily forlorn melody. Lyrically, the song’s narrator has accepted the fact that their relationship is over, and that it’s time to move on and let it be part of the past and a result, it emphasizes a bittersweet reality of the majority of our relationships — that all too often, they end; but that they wind up being part of a intricate and messy life story.

Now, if you’ve been frequenting this site over the past couple of years, you might be somewhat familiar with Madrid, Spain-based indie rock/garage rock/psych rock trio The Parrots, who have received international acclaim for  a sound that draws from garage rock and psych rock with a wild, loose, almost boozy rowdiness that has been compared to the likes of Thee Oh Sees Black LipsRaccoon FighterHigh WaistedWhite Mystery and others; but since some of you will be new readers, or at least unfamiliar with the Spanish indie rock sensations, we’ll go through some backstory: Comprised of Diego Garcia (vocals, guitar), Alejandro de Lucas (bass) and Daniel “Larry” Balboa (drums), the members of The Parrots quickly became a DIY scene and underground scene sensation with a demo, which was released without much promotion and even less fanfare. However, the video for “I Did Something Wrong” initially received over 15,000 hits on YouTube and caught the attention of music bloggers both across the European Union and elsewhere.

For those of you who have been following for some time,  NME named the Spanish trio as one of SXSW‘s “buzziest bands” last year and since then the Spanish indie rock sensations have been extremely busy while building upon a rapidly growing international profile as the released a critically applauded EP, Weed for The Parrots, have conducted a relentless tour schedule, played 14 sets at this year’s SXSW and then signed to renowned indie label Heavenly Recordings. Adding to all of that, the members of the band released a single earlier this year, “Let’s Do It Again,” which was reportedly inspired by the members of the band drinking beers and Horchata, eating Moroccan delicacies and the feelings of deep friendship and loyalty. And as a result, that song possessed a shuffling, intoxicated sensation of being awed by adventure and being elated at being alive with your dearest, closest friends. Sonically, that particular single arguably cemented the Madrid-based trio’s reputation for raw and shaggy garage rock as Garcia’s passionate howls are paired with a shuffling and jangling garage rock chords, propulsive drumming and a throbbing bass line in a  song that evoke the sounds of 1962.

Interestingly, The Parrots’ highly-anticipated full-length debut, Los Ninos Sin Miedos is slated for an August 26, 2016 through Heavenly Recordings and the album’s latest single “Jame Gumb” has the Spanish trio leaning towards an punk rock sound as a propulsive bass line is paired wth shimmering and angular guitar chords played through reverb and effects pedals, industrial squeak and squawk and Garcia’s howled and cooed vocals; however, the song possesses an obvious studio polish,  which modernizes their sound without buffing away the grit, dirt and mayhem at the core of their sound; in fact, the song reminds me of a frenetic version of Iggy Pop’s “Wild One.”

Los Angeles, CA-based sibling duo Andrew Aged (lead vocals, guitar) and Daniel Aged (bass, production and vocals) write, record and perform as inc. no world — and with the critically applauded release of their 2013 debut effort, the duo quickly received a profile for an introspective songwriting approach, and for crafting songs that are not only thoughtful but draw from several different sources, including gospel, soul, experimental pop and others; but with a post-modern minimalism.

“Waters Of You,” the first single off the duo’s highly anticipated, forthcoming effort As Light As Light will likely further cement the Southern California-based duo’s burgeoning reputation for ethereal, soulful pop while subtly expanding upon it; in fact, in some way the song sounds as though it were inspired by Prince, Quiet Storm-era R&B and Oracular Spectacular-era MGMT as it manages to possess a sleek and sensual yet off-kilter funkiness and an aching tenderness as the song has the duo pairing gently strummed guitar  with shimmering synths, ethereal yet sensually cooed vocals and stuttering drum programming. In some way, the song evokes an urgent, carnal need and a vulnerability at its core.








With the release of two critically applauded EPs, We Are Sound and Everything You Imagine Is Real, the New York-based electro pop duo Corbu received praise from the likes of NYLONStereogumThe GuardianNME and others for a sound that’s heavily influenced by the Warp Records roster, sci-fi imagery,  psychedelia and their own dreams. Now, if you’ve been frequenting this site over the past couple of weeks you may recall that I wrote about the cinematic “Battles,” one of the first singles off the duo’s highly-anticipated, soon-to-be released, full-length debut effort Crayon Soul; a track that has the band pairing a soaring and anthemic hook with a shimmering and breezy melody and plaintive vocals in a way that’s reminiscent to Moonbabies and M83.

Crayon Soul‘s latest single “Better Better Off” is a lush and shimmering psych pop, psych rock track that has the duo pairing angular guitar chords fed through gentle reverb and delay pedals, layers upon layers of gorgeous harmonies, shimmering synth cascades,  a soaring and anthemic hook, and a propulsive rhythm section in a song that sounds indebted to trippy 60s psych rock as much as it does to the likes of In Ghost Colours-era Cut Copy and the dream pop of the aforementioned Moonbabies, Summer Heart – but with a palpable bittersweet wistfulness under the song’s breezy surface.



New Audio: Swedish Collective GOAT Return with a Hypnotic, Psych Folk-Leaning, New Single

Building on the attention they’ve received internationally, the mysterious Swedish collective will be releasing their highly-anticipated, third full-length effort on October 7, 2016 and the album’s “Try My Robe” continues on a similar vein as the singles they’ve released this year with the song the song manages to evoke a hushed, psych folk aesthetic. Sonically, the collective pairs chanted/shouted vocals with a 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. By far, it may be the trippiest song they’ve released to date, as the song evokes a mind-bending and mesmerizingly hypnotic quality.

Last month, I wrote about Adult Karate, the solo recording project of Radar Cult‘s KC Maloney. Sonically, Maloney’s solo project expands upon the sound that first captured the attention of the blogosphere with his primary gig  — by being much more minimalist, while still drawing from several styles of electronic music, including house, acid house, techno and ambient electronica. “So Low,” the first single off Maloney’s  forthcoming LXII EP was a collaboration with Toronto, ON-based vocalist Adaline that paired the up-and-coming Canadian singer/songwriter’s sultry and smoky vocals with a sleek and hyper-modern production consisting of gentle cascades of shimmering synths, stuttering drum programming, a Nile Rodgers funky guitar line, a wobbling bass line, swirling electronics and an anthemic hook in a breezily club-friendly and radio-friendly track.

LXII‘s latest single “Chased” is an intimate and eerily chilly track that pairs Maloney’s achingly plaintive vocals with an ambient, house music leaning production consisting of skittering drum programming, clattering snares fed through reverb, horror movie-like minor piano keys, tweeter and woofer rocking boom bap beats and subtle hints of other instrumentation to craft a song that’s full of lingering regret, self-flagellation and guilt; in some way, it feels like the sort of self-examination and recurrent doubt that seems to naturally come about after a particularly bitter and heartbreaking end of a relationship.






25-year-old producer and classically trained multi-instrumentalist Paul Dixon, best known as Fyfe, first caught the attention of the blogosphere with the release of “Solace,” a single that topped the Hype Machine charts and gained a number of renowned fans including Childish Gambino and London Grammar — all without the support of a label, manager or publicist. Building on the buzz that he’s received, he released his full-length debut, Closer, an album that thematically was about having a stronger sense of who you are and what you want.

“Better Man,” Dixon’s latest single is a collaboration that features Peter Greyson and The Iskra String Quartet is a mournful single that pairs sparse, electronic production featuring skittering percussion, shimmering synths paired with a gorgeous string arrangement and achingly plaintive vocals to craft a sound that sounds as though it were inspired by Bonobo’s The North Borders.








Perhaps best known as the keyboardist and guitarist of Twin Cabins, Los Angeles, CA-based multi-instrumentalist Drew Straus’s solo recording project Onsen recently released his full-length debut Earthquake Weather through Cosmic Dreamer Music. Straus’ solo project and debut effort was inspired by a major career change in which he went went from international police to music, a re-examination of sexuality and a relocation to another city — and as a result, the material captures an artist and a life in transition.

Straus’ latest single “My Own Advice” pairs shimmering and angular guitar chords, propulsive drumming and shimmering and ethereally atmospheric synths ad Straus’ plaintive falsetto in a song that Straus explains to the folks at Culture Collide is about “the end of first love. Written to myself from the perspective of the one I lost.” And as a result, the song possess a wistful “if I had known now what I had known then” vibe while the narrator also recognizes that the experience, despite the heartache, taught him something profound that he’ll take it on to his next relationship.


Initially began as a solo recording project of Cincinnati, OH-based singer/songwriter Michael Oliva, The Harlequins became a fully-fleshed out band when Oliva met and recruited bassist Alex Stenard in 2006 and drummer Rob Stamler in 2008. Since 2008, the trio have self-released five full-length albums that revealed a band that specialized in a garage rock/psych rock sound wth elements of punk rock, surfer rock and krautrock — and  as a result, the Cincinnati-based trio have played sets at SXSW, Bunbury Music Festival and Midpoint Music Festival, as well as receiving praise from a number of major websites including The Onion‘s AV ClubExclaim!Performer Magazine, Vice’s Noisey and others. Additionally, the band has developed a reputation for energetic live shows paired with light displays; in fact, after the release and tour to support 2013’s Sex Change EP, the trio signed with Dizzybird Records and spent the better part of 2015 writing, revising and then recording the material, which would comprise their recently released label debut, One With You.

One With You‘s latest single “Hear Me Out” will further cement the band’s reputation for crafting noisy, infectious and anthemic garage/surfer punk as scuzzy guitar chords are paired with a propulsive and driving rhythm section, an uncannily mischievous sense of melody and howled and sung vocals fed through effects pedals. Sonically, the song bears an uncanny resemblance to Crocodiles‘ Crimes of Passion as it does to Raccoon Fighter, as it possesses a wild, unabated passion that almost takes the song completely off the rails — but while still remaining breezy.