With the release of their first three EPs, Gold, Better Off, and Broken Machine, and their full length debut Palace of Industrial Hope, the San Francisco, CA-based indie rock quintet The New Up — comprised of ES Pitcher (vocals, guitar), Noah Reid (guitar, vocals), Hawk West (automation), Nick Massaro (bass) and Art McConnell (drums) –developed a reputation for genre defying sound that possesses elements of garage rock and electro pop paired with lyrics that focus on philosophical concerns. And while the band has drawn comparisons to Yeah Yeah Yeahs and The Kills, their sound reminds me of Dirty Ghosts.
As the story goes, when it came time to start working on the material that would comprise the San Francisco-based quintet’s forthcoming, sophomore effort Tiny Mirrors, the members of the band launched an Indiegogo crowdfunding campaign to obtain the necessary funds to create and build their own recording studio, which the band felt was necessary to realize their creative vision for the album — with label or studio interference. Then they covered a secluded Mendocino County, CA barn into a state-of-the-art recording facility and enlisted Jack Frost who has worked with Antartica and BlackRock to produce the recording sessions and Sean Beresford, who has worked with Chuck Prophet, The Donnas and Vanessa Carlton to mix the album.
Now, if you had been frequenting this site towards the end of last year, you may recall that I wrote about album single “Black Swan,” a slinky and slickly produced track in which shimmering and atmospheric electronics, slashing and angular guitar chords and a sinuous bass line are paired with ES Pitcher’s sensual vocals — singing lyrics that reveal the narrator’s urgent, carnal need, the need (and desire) to lose one’s self, if even for a little bit, her increasing frustration with people and human relationships and empty, soulless hookups. But at the core of the song is the sort of loneliness and dissatisfaction that being in a large city frequently inspires within people. The album’s latest single “No Fly Zone” continues on a similar vein as its preceding single as shimmering synths and processed beats are paired with Pitcher’s cooing, shimmering guitar chords in a moody and sensual song that sonically and structurally reminds me of Antics-era Interpol.