Tag: 2000s

indie rock by William Ruben Helms

New Video: The Dream Syndicate Release Lysergic Visuals for J-Dilla Inspired “Black Light”

Currently comprised of founding members Steve Wynn, an accomplished and critically applauded singer/songwriter, guitarist and solo artist and drummer Dennis Duck, along with bassist Mark Walton and guitarist Jason Victor, the Los Angeles-based psych rock act The Dream Syndicate can trace its origins back to the early 80s when Wynn along with fellow founding member Kendra Smith and future True West members Russ Tolman and Gavin Blair played in one of the area’s first new wave bands in the Davis, CA music scene, The Suspects. Wynn also recorded a single with another band, 15 Minutes, which included members of Alternate Learning. 

After returning to his hometown, Wynn spent a brief stint of time rehearsing in Goat Deity with future Wednesday Week members, Kelly and Kristi Callan — and while with Goat Deity, Wynn met Karl Karl Precoda, who had an answered an ad seeking a bassist. The two started a new band with Precoda switching to guitar. Wynn’s college pal and former bandmate Smith and Duck (Mehaffey), who was a member of Pasadena-based act Human Hands joining the band to complete The Dream Syndicate’s initial line up. (Interestingly, as the story goes Duck suggested the band’s name as a reference to Tony Conrad’s early 1960s New York-based experimental ensemble, best known as the Theatre of Eternal Music, which featured John Cale.) 

With the release of their Paul B. Cutler-produced debut EP, The Dream Syndicate received attention locally for a sound influenced by The Velvet Underground, Neil Young and Television, completely with aggressively long, feedback-filled improvisations. The members of the band signed to Slash Records subsidiary Ruby Records, who released the band’s 1982 full-length debut, the attention-grabbing and influential Days of Wine and Roses. Rough Trade Records released their debut’s lead single “Tell Me When It’s Over” as the A-side of a UK EP, which included a live cover of Neil Young’s “Mr. Soul” that was released in early 1983. Smith left the band and joined David Roback in Opal — and she was replaced by David Provost. 

Their Sandy Pearlman-produced sophomore effort Medicine Show was recorded and released through A&M Records in 1984 — and as a result of being on a major label, the band opened for R.E.M. and U2. Attempting to build on a growing profile, the members of the band released a five song EP This Is Not The New Dream Syndicate Album . . . Live!, which was noteworthy as it was the last recorded effort to feature Precoda, who left soon after to pursue a career in screenwriting — and it was the first to feature Mark Walton on bass. The EP’s commercial failure led to the band’s first breakup — although a temporary one. The band was then dropped by A&M Records after the label rejected the band’s demo for “Slide Away.”

During the band’s break up, Wynn and Green on Red’s Dan Stuart wrote and recorded 10 songs with Duck and a number of other musicians, which was released by A&M Records in 1985 as Danny and Dusty’s The Lost Weekend. After the release of Lost Weekend, Wynn, Duck and Walton teamed up Paul B. Cutler to form a then-newly reunited iteration of The Dream Syndicate that recorded two full-length studio albums — 1986’s Cutler-produced Out of the Grey and 1988’s Elliot Mazer-produced Ghost Stories. The band recorded a live album Live at Raji’s which was recorded in 1988 before the release of Ghost Stories but released afterward. 

The band broke up in 1989 — and a batch of previously unreleased material was released that included 3½ (The Lost Tapes: 1985-1988), a compilation of studio sessions and The Day Before Wine and Roses, a live KPFK radio session, recorded just before the release of the band’s applauded debut album were released.  After the breakup, Walton went on to play bass in the Continental Drifters while Wynn went on to become an acclaimed singer/songwriter and solo artist with a reputation or restlessly exploring a variety of different styles — and leading a number of different projects including Steve Wynn and The Miracle 3, The Baseball Project and others. 

Wynn led a reunited Dream Syndicate to celebrate the 30th anniversary of their full-length debut that featured Walton, Duck and Jason Victor, Wynn’s longtime Steve Wynn and The Miracle 3 guitarist at a festival appearance at 2012’s Festival BAM in Barcelona Spain. The reunited band went on to play a handful of other live sets, including two 2013 Paisley Underground reunion shows that included The Bangles, The Three O’Clock and Rain Parade. September 2014 saw the band playing a handful of shows in which they played their first two albums in their complete entirety — and those shows marked the band’s first shows in the Southeast in almost 30 years.  Between their first reunion show and 2017, the band played more than 50 shows. 

Anti-Records released the band’s fifth full-length album How Did I Find Myself Here in 2017. The album which featured a lineup of Wynn, Walton, Duck and Victor with keyboardist Chris Cacavas was recorded at Montrose Studios — and notably the album’s final track “Kendra’s Dream” featured vocals and lyrics from Kendra Smith.  Building upon the growing attention around the reunited band, the members of The Dream Syndicate recorded three songs, which were included on the 3 x 4 compilation. The compilation also featured new material from The Bangles, The Three O’Clock and Rain Parade with each of the four bands covering songs by the other bands. 

Slated for a May 3, 2019 release through Anti-Records, the John Agnello and The Dream Syndicate co-produced These Times will be the second full-length studio album since the band reunited to celebrate the 30th anniversary of their debut and the album’s material is reportedly a subtle yet noticeable departure for the band sonically. “When I was writing the songs for the new album I was pretty obsessed with Donuts by J-Dilla,” lead singer and songwriter Steve Wynn explained. “I loved the way that he approached record making as a DJ, a crate-digger, a music fan wanting to lay out all of his favorite music, twist and turn the results until he made them into his own. I was messing around with step sequencers, drum machines, loops—anything to take me out of my usual way of writing and try to feel as though I was working on a compilation rather than ‘more of the same’. You might not automatically put The Dream Syndicate and J-Dilla in the same sentence, but I hear that album when I hear our new one.” Additionally, Wynn also changed up his lyric writing process for the album — instead of the song’s sound being dictated by previously written lyrics, he wrote all the material’s lyrics after the band finished instrumental tracking, so that the lyrics were influenced by the sounds.  

The atmospheric and surrealistic dream Black Light,” is These Times’ first single and the track is built on a looped arpeggiated key and congo sequence, shimmering bursts of guitar, and a motorik groove centered around a propulsive and sinuous bass line and a backing vocal section that sings “aaah” while Wynn’s vocals sing surrealistic and symbolic lyrics about how the night exposes our darkest and deepest inhibitions and fears.  Directed by David Dalglish, the recently released video is an appropriately surrealistic and lysergic fever dream set during a desert night. 

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indie rock by William Ruben Helms

New Video: JOVM Mainstays Piroshka Releases Politically Charged Visuals for “What’s Next”

Over the past few months, I’ve written quite a bit about the indie rock All-Star act Piroshka. Deriving their name from the Hungarian version of Little Red Riding Hood, the band is comprised of Lush’s Miki Berenyi (vocals, guitar) and Moose’s KJ “Moose” McKillop (guitar), who are married, along with Modern English’s Mick Conroy (bass) and Elastica’s Justin Welch (drums) — and while each member may be known for their highly acclaimed projects, they’ve been long connected within a complex and knotted web: Berenyi and McKillop are considered shoegaze pioneers with a number of applauded and beloved releases before getting married and starting a family; with the release of their breakthrough, full-length debut, 1995’s self-titled debut, Elastica were rising Brit pop stars, and as  result, Berenyi and McKillop were familiar with Welch and his work; Conroy, was a member of Modern English and after that band broke up for a second time, he joined McKillop’s band Moose. Welch joined the reunited Lush in 2015 — and when they needed a bassist for what turned out to be their final show in Manchester, Conroy filled in. 

The Manchester show rehearsals are what laid the foundations for Piroshka — but I need to backtrack a bit: After Chris Acland’s suicide in 1997, his devastated and grieving Lush bandmates felt it was impossible to continue with the band, and the band broke up as a result. Berenyi was so devastated by Acland’s death that she quit music, spending the next 20 years as a working mother. Because of her personal and personal obligations, Berenyi didn’t agree to reunite Lush and tour again until 2015. I should add that Welch was a close friend of Acland’s, making him a logical choice to lovingly fill in.  Interestingly, as the story goes, Welch asked Berenyi if she’d up to doing something new after the final Manchester show. As Berenyi recalled in press notes, up until then she hadn’t made music outside of Lush and solo work never appealed to her. “I need someone else to motivate me, and in this case it was Justin. He sent drum tracks with guitar parts and odd words, so I wrote some vocals and lyrics, which became ‘This Must Be Bedlam’ and ‘Never Enough.’ When Mick added bass, it sounded great. When Moose added guitar and keyboards — I’d never written like that before, it was such good fun.”

“We sounded great!” Welch added in press notes. “Like a proper punk band. Mick brings a huge amount of enthusiasm and livens up the room, and I thought this is the kind of band I want to be in again.” Conroy agreed, adding “I’d seen Lush so many times, it was like playing with old friends. Miki agreed and it was good fun, too. And with Moose available, we thought, ‘let’s all have a bash, see what happens.’”

There are serial more layers to the entangled web of personal, professional and creative connections, Bella Union’s label head Simon Raymonde was among the first people to hear the band’s Brickbat demos and he quickly signed the band to the label. Raymonde’s former Cocteau Twins bandmate Robin Guthrie produced Lush’s debut album. Additionally, Raymonde’s current Lost Horizons bandmate Richie Thomas was a former member of Moose. In any case, Raymonde introduced Piroshka to Lanterns on the Lake‘s Paul Gregory, who mixed all but one track on the album — “What’s Next,” which was mixed by Alan Moulder. Lastly,  Fiona Brice, who was once a Bella Union recording artist, wrote string arrangements while The Higsons and Blockhead‘s Terry Edwards, who played on Lush’s final album played brass.

Now, as you may recall, Brickbat was released earlier this month, and while the album’s title is derived for a slang term for missile, it also manages to symbolically hit upon the fact that the material is a marked departure from each individual bandmembers’ known work — with the focus being on blue, forceful lyrics that tap into the fear, loathing, envy, spite and strife at the heart of our ongoing sociopolitical climate. Unsurprisingly, with some of the band’s members being parents, much of the material was written through the anxious prism of parenthood in a world gone completely mad. Brickbat’s first single “Everlastingly Yours” was centered by a devastating and profound fear — that you can’t possibly predict the evolving dangers of our world, and that you can’t completely protect your loved ones from them either. While built upon a shimmering and anthemic shoegazer-like arrangement featuring soaring synths, a propulsive, angular bass line, four-on-the-floor-like drumming and Berenyi’s aching and ethereal vocals, the song thematically as McKillop explains is “about school shootings and our reaction to almost being almost unable to take our eyes off twenty-four hour news and internet feeds.” As a result, the song taps into deeper sense of powerlessness and helplessness. 

Brickbat’s latest single “What’s Next” continues in its predecessor’s footsteps as it’s centered around the urgency of our sociopolitical moment — with the song’s narrator essentially saying “Wait, hold up. What the fuck, man? Shouldn’t we want better?” And throughout there are references to people hitting the streets to protest, out of fear, concern and outrage.  “‘What’s Next’ started life as a guitar-and-drums demo from Justin that he’d called ‘Protest’ – the drums being inspired by the idea of a protest march. It’s one of the very first songs Piroshka worked on together,” Berenyi explains in press notes. “The lyrics are inspired by the shock and fallout regarding current political upheavals – how this finger-pointing and rage and blame are so damaging, how we need to get back some kind of solidarity if we possibly can because the divisions between us are playing into certain people’s hands. Funnily enough, the song was called Time’s Up when it was first recorded, but that title then got taken so we thought we’d better change it!”

Designed and directed by Bunny Schendler, edited by Jonathan Hodgson and featuring animation by Bunny Schendler, Sofa Umarik and Jonathan Hodgson, the video captures the anxiousness and righteous outrage of our political climate as its centered around political demonstrations, protests and skirmishes in the streets — while stressing that in the Internet age, it’s easy to stir up hatred, infighting and finger pointing. 

New Audio by William Ruben Helms

New Audio: Indie Rock All-Star Act Filthy Friends Return with a Searing Indictment of Unchecked Capitalism

Initially comprised Sleater-Kinney’s and Heavens to Betsy’s Corin Tucker (vocals, guitar),  Fastbacks’ Kurt Bloch (guitar), The Fresh Young Fellows’ Scott McCaughey (bass), R.E.M.’s Peter Buck (guitar) and King Crimson’s Bill Rieflin (drums), Filthy Friends featured some of the most accomplished, influential and beloved musicians of the past 40 years or so in an indie rock/alt rock All-Star act that in some way was meant to be a side project of sorts and a free-flowing collaboration between likeminded, long-time friends and colleagues.

Since their formation, the act released their attention-grabbing, critically applauded, politically-charged debut Invitation and were included on an anti-Trump protest compilation 30 Songs in 30 Days. Unfortunately, as they were about to begin touring to support Invitation, Scott McCaughey suffered a stroke, which curtailed the band’s tour plans. While McCaughey was recovering, Tucker wrote and recorded an album with the reunited Sleater-Kinney, which they supported with a tour — and Peter Buck collaborated with acclaimed singer/songwriter Joseph Arthur in Arthur Buck. And the band has gone through a lineup change with Steve Wynn and the Miracle 3’s Linda Pitmon (drums) replacing Bill Rieflin.  

Slated for a May 3, 2019 release through Kill Rock Stars Records, the band’s long-awaited sophomore album Emerald Valley finds the band of accomplished musicians crafting material that rages about and mourns over the fate of our planet and the people who inhabit it. Reportedly, the album’s core idea came from a demo Buck shared with Tucker, a grinding blues that eventually turned into the album’s title track.  According to Tucker, as soon as she heard it, it sparked something within her: “I had this long poem growing in my brain,” she says. “It turned into a sort of manifesto about the kind of place we are at as a country but also as a region. Just taking stock of where we’re at and feeling like I can’t believe we let things get this bad.” Interestingly, Emerald Valley’s latest single, the blistering and anthemic, 90s alt rock-like “Last Chance County” is a searing indictment of unchecked capitalism, in which the desperate and powerless get crushed by the powerful, the greedy and super rich. And at its core, the song demands that we gotta change things now — and if we don’t, we’ll fuck up things so badly, that we won’t be able to save ourselves. 

indie rock by William Ruben Helms

New Video: Swervedriver Returns with the Wistful and Nostalgic “The Lonely Crowd Fades Into The Air”

Primarily centered around founding and core members Adam Franklin (vocals, guitar) and Jimmy Hartridge (guitar, vocals) and currently featuring Mikey Jones (drums, vibes) and revolving bassists Mick Quinn and Ben Ellis, the renowned Oxford, UK-based alt rock/shoegazer act Swervedriver formed back in 1989. And during their initial run between 1989 and 1998, the band released four full-length albums — 1991’s Raise, 1993’s Mezcal Head, 1995’s Ejector Seat Reservation and 1998’s 99th Dream — while going through a number of lineup changes, management changes and different labels.

Interestingly by 1993, the band’s lineup settled to include Franklin, Hartridge, Jez Hindmarsh (drums) and Steve George (bass), and with that lineup they developed a reputation for having a much heavier sound than their shoegazer contemporaries — although over the last five years of the band’s initial run, their sound eventually evolved to include elements of psychedelia, pop and indie rock. 

The members of Swervedriver’s longest tenured lineup went on a lengthy hiatus in 1998 in which the individual members went on to pursue a variety of professional and creative pursuits. Franklin embarked on a solo career that would rival Swervedriver’s creative output, first fronting he experimental electro pop/electro folk act Toshack Highway, whose releases ranged from sextet ensemble works to four-track bedroom recordings and then with the more traditionally guitar rock-driven Adam Franklin & Bolts of Melody. Hartridge founded a distribution company. Hindmarsh founded Badearth Management, eventually managing Scottish rock act Terra Diablo and others. Interestingly, in early 2005, Franklin, Hartridge, Hindmarsh and George reconvened to collaborate with Castle Music to choose songs on what would be a two disc anthology Juggernaut Rides ’89-’98, which featured 33 tracks remastered from the original DATs. Half of those tracks were non-album tracks  along with four previously unreleased tracks — Shake Appeal’s “Son of  Mustang Ford” demo and the remainder of Swervedriver’s recordings during 1998, which included “Just Sometimes” and “Neon Lights Glow.” The compilation was critically applauded and in some way, it helped to build up interest in the shoegaze pioneers’ work.

2006 was a busy year for the members of Swervedriver — Franklin began collaborating with Interpol‘s Sam Fogarino in Magnetic Morning. Hindmarsh went on to publish Rider, which chronicled his experiences and observations on the road touring with the band between 1992 and 1998. Somewhat inspired by the successful 2004 reunion of the Pixies, Franklin, Hartridge and Hindmarsh went on an international reunion tour in 2008, garnering the attention and acclaim that evaded them a decade earlier. 2015’s I Wasn’t Born To Lose You was the first album of original material from the band in 17 years — although they managed to remain consistent, as they went through another series of lineup changes between the reunion tour and Born.

Swervedriver’s sixth full-length album and second of their reunion, Future Ruins is slated for a January 25, 2019 release through Dangerbird Records. Having written and recorded  I Wasn’t Born To Lose You immediately after their

Australian tour, the band decided to repeat the process after a lengthy Stateside tour, playing Raise and Mezcal Head in their entirety. “That’s a good way to record,” Franklin says in press notes, “because you’ve literally just seen the whites of the audience’s eyes and you’re thinking, ‘If that audience from last night were here now…’ You can’t get too mellow. We came home with 30 different songs.” 10 more days of vocals and overdubs at Brighton UK‘s Seaside Studios with Grammy Award-winning engineer TJ Doherty quickly followed.

The album’s 10 tracks were mixed earlier this year, as the band was touring across Europe. And while the material finds the band retaining the escapist vibes that they’ve been long known for, the album’s material is centered around an uneasy tension, inspired by our current sociopolitical moment. Now, as you may recall, Future Ruins second single “Drone Lover,” actually predated the Future Ruins sessions. Although interestingly enough, as the band’s Adam Franklin explained in press notes, “I have no recollection of where this tune came from. It’s a song that’s been knocking around for a few years, but for some reason had never been presented to anyone until we were in the studio this time and I clicked play on the demo while searching for something else. TJ and Mikey both went “what’s this?” and then “so why aren’t we recording it?” – and so we recorded it. The lyric mentions love but it’s really about war – remote war and killing from a distance whilst chomping on last night’s leftover pizza or something.” Obviously, it’s an incisive commentary on the  depersonalized nature of 21st Century techno-warfare — including some hellish and fucked up imagery of bombs falling from the air, and neighborhoods in flames; but centered around buzzing power chords, a steady and propulsive backbeat and an infectious hook that brings an updated take on the beloved 120Minutes alt rock sound.

Future Ruins‘  latest single is the shimmering “The Lonely Crowd Fades In The Air,” a track that Franklin admits found the band thinking of The Clash, “even though it doesn’t sound anything like them, but it’s like a punch on the nose from a velvet glove.” Franklin goes on to say that “the title came from a misheard Supremes lyric and the words came out of that.” Centered around shimmering and fuzzy power chords, the track may arguably be the most nostalgic and wistful track on the album, with the song’s narrator thinking about all the directions his life may have taken, if he made a different decision at some key point in his life. Continuing the album’s overall vibe and feel, there are references to weapons — of one “choosing their weapons wisely” — and a begrudging acceptance of the world being fucked up and broken, it’s a heartbroken sigh. 

Dedicated to Buzzcocks‘ Pete Shelley, the recently released video is a mix of footage shot on glitchy VHS camera, and archival footage, which emphasizes the heartache at the core of the song. 

indie rock by William Ruben Helms

New Video: Renowned Shoegazers Swervedriver Release Trippy Visuals for One of Their Most Incisive Singles to Date

Primarily centered around founding and core members Adam Franklin (vocals, guitar) and Jimmy Hartridge (guitar, vocals) and currently featuring Mikey Jones (drums, vibes) and revolving bassists Mick Quinn and Ben Ellis, the renowned Oxford, UK-based alt rock/shoegazer act Swervedriver formed back in 1989. And during their initial run between 1989 and 1998, the band released four full-length albums — 1991’s Raise, 1993’s Mezcal Head, 1995’s Ejector Seat Reservation and 1998’s 99th Dream — while going through a number of lineup changes, management changes and different labels. Interestingly by 1993, the band’s lineup had settled to include Franklin, Hartridge, Jez Hindmarsh (drums) and Steve George (bass), and with that lineup they developed a reputation for a heavier rock sound than their shoegazer contemporaries; but over the last five years of their initial run, their sound evolved to include elements of psychedelia, pop and indie rock. 

The members of Swervedriver’s longest tenured lineup went on a lengthy hiatus in 1998 in which the individual members went on to pursue a variety of professional and creative pursuits. Franklin embarked on a solo career that would rival Swervedriver’s creative output, first fronting he experimental electro pop/electro folk act Toshack Highway, whose releases ranged from sextet ensemble works to four-track bedroom recordings and then with the more traditionally guitar rock-driven Adam Franklin & Bolts of Melody. Hartridge founded a distribution company. Hindmarsh founded Badearth Management, eventually managing Scottish rock act Terra Diablo and others. Interestingly, in early 2005, Franklin, Hartridge, Hindmarsh and George reconvened to collaborate with Castle Music to choose songs on what would be a two disc anthology Juggernaut Rides ’89-’98, which featured 33 tracks remastered from the original DATs. Half of those tracks were non-album tracks  along with four previously unreleased tracks — Shake Appeal’s “Son of  Mustang Ford: demo, the remainder of Swervedriver’s recordings during 1998, which included “Just Sometimes” and “Neon Lights Glow.” The compilation was critically applauded and in some way, it helped to build up interest in the shoegaze pioneers’ work. 

2006 was a busy year for the members of Swervedriver — Franklin began collaborating with Interpol’s Sam Fogarino in Magnetic Morning. Hindmarsh went on to publish Rider, which chronicled his experiences and observations on the road touring with the band between 1992 and 1998. Somewhat inspired by the successful 2004 reunion of the Pixies, Franklin, Hartridge and Hindmarsh went on an international reunion tour in 2008, garnering the attention and acclaim that evaded them a decade earlier. 2015’s I Wasn’t Born To Lose You was the first album of original material from the band in 17 years — although they managed to remain consistent, as they went through another series of lineup changes between the reunion tour and Born.

Swervedriver’s sixth full-length album and second of their reunion, Future Ruins is slated for a January 25, 2019 release through Dangerbird Records. Having written and recorded  I Wasn’t Born To Lose You immediately after Australian tour, the band decided to repeat the process after a lengthy Stateside tour, playing Raise and Mezcal Head in their entirety. “That’s a good way to record,” Franklin says in press notes, “because you’ve literally just seen the whites of the audience’s eyes and you’re thinking, ‘If that audience from last night were here now…’ You can’t get too mellow. We came home with 30 different songs.” 10 more days of vocals and overdubs at Brighton UK’s Seaside Studios with Grammy Award-winning engineer TJ Doherty quickly followed. 

The album’s 10 tracks were mixed earlier this year, as the band was touring across Europe. And while the material finds the band retaining the escapist vibes that they’ve been long known for, the album’s material is centered around an uneasy tension, inspired by our current sociopolitical moment. However, Future Ruins’ second and latest single “Drone Lover” actually predates the Born. As the band’s Adam Franklin explains in press notes. “I have no recollection of where this tune came from. It’s a song that’s been knocking around for a few years, but for some reason had never been presented to anyone until we were in the studio this time and I clicked play on the demo while searching for something else. TJ and Mikey both went “what’s this?” and then “so why aren’t we recording it?” – and so we recorded it. The lyric mentions love but it’s really about war – remote war and killing from a distance whilst chomping on last night’s leftover pizza or something.” Obviously, it’s an incisive commentary on the depersonalized nature of 21st Century techno-warfare — including some hellish and fucked up imagery of bombs falling from the air, and neighborhoods in flames; but centered around buzzing power chords, a steady and propulsive backbeat and an infectious hook that brings an updated take on the beloved 120 Minutes alt rock sound.  

The recently released video for “Drone Lover” is an appropriately psychedelic mashup of Ralph Bakshi’s 1973 film Heavy Traffic, Polaroids by Charlie Miller, grainy VHS footage of the band, footage of bombing raids and other detritus. It evokes, the very end of the world as we know it, and no one really giving a fuck because we’re busying looking at porn on our phones.