Late last year, I wrote about the Los Angeles-based indie rock act Yacht Punk, and as you may recall, the act which is comprised of founding member and primary songwriter Graham Brockmiller (vocals, guitar), Michael Pozzi (guitar), Tricky (drums) and Justin Ricard (bass) can trace their origins to when Brockmiller’s previous band Great White Buffalo broke up. As the story goes, at one point Brockmiller was laying on the floor of his unfinished Beachwood Canyon basement studio, unsure of what would or should come next. But he did realize that it was time to go off on his own, so she spent the next year holed up in his studio, contemplating life, writing, collecting nude calendars of Eastern European women suggestively holding large trophy carp and experimenting with the raw recording skills had taught himself. In time, he began exploring new sounds and textures outside the traditional rock and indie rock arrangements of guitar, drums, bass as a way to test his DIY recording chops, as well as a way to find a more interesting, moodier sound.
Brockmiller was tinkering with what would be eventually become early Yacht Punk demos, when he had a chance meeting with Michael Pozzi at Davey Wayne’s. Pozzi quickly joined the project after heading to Brockmiller’s studio to hear Brockmiller’s demo and liked the direction the music was going. Brockmiller’s roommate Tricky joined, followed by Justin Ricard, completing the band’s lineup. The then newly formed quartet took those demos to Matt Wignall‘s Tackyland studio, where they recorded “Hang Me Out to Dry” with Wignall assisting to push the band’s sound into new and stranger places. Along with some other Wignall-produced tracks, the band then had Will Brierre mix and engineer the tracks.
The attention-grabbing “Need a Reason” was featured on Spotify’s New Noise and Fresh Finds playlists. Building upon a growing profile, the glossy and hook-driven “New Wave Denier” further cemented the quartet’s growing reputation for crafting pop-inspired indie rock — although somewhat ironically, the song is fueled by disillusionment; in fact, as Brockmiller explained in press noted, the song “is about disillusionment and being over mainstream music. I wanted to capture the feeling of being young and disillusioned by life, by love, and by current and/or popular music. The sense of being unable to relate to your peers, the sense of searching for something more meaningful, and ultimately finding identity and belonging in the music from a past generation.” Interestingly, the Los Angeles-based indie quartet’s latest single, the shimmering and slow-burning “Indian Summer” was released along with the announcement that their forthcoming album Ghosts will be slated for an April 5, 2019 release. Sonically bearing a resemblance to Don Henley‘s “The Boys of Summer,” the song is centered jangling and shimmering power chords, an anthemic hook and wistful remembrances of youthful (and perhaps foolish) concerns — with an emphasis on time passing by quicker than you ever expected it to pass. Shot with what appears to be either Super 8 film or an Instagram-like filter, the recently released video further emphasizes the song’s wistful vibes in a way that feels classic yet contemporary.