Tag: 4AD Records

New Video: Introducing the 4AD Records-Inspired Shoegaze Sound of Los Angeles’ Tennis System

With the release of their latest effort PAIN earlier this year through Graveface Records,the up-and-coming Los Angeles, CA-based noise rock/shoegaze trio Tennis System has developed a reputation for a classic 4AD Records sound: squalling feedback-tinged power chords fed through delay and effect pedals, thundering drumming and ethereal melodies, centered around a rather sunny ambivalence, and a sense of profound loss — and for quickly establishing themselves as one of their hometown’s best, new live bands. In fact, the trio have played sets at Austin Psych Fest, Noise Pop Fest, Echo Park Rising and the Air & Style Festival, and have shared stages with The Flaming Lips, Ride, Dinosaur Jr., Kendrick Lamar and Diiv among others. 

“COMINGDOWN,” PAIN’s latest single will further cement the band’s reputation for crafting a familiar and beloved sound — in this case, recalling My Bloody Valentine, A Storm in Heaven-era The Verve, JOVM mainstays Dead Leaf Echo, My Vitriol and others but with an anxiety of wha the future could hold, after a horrible event that the song’s narrator knows they will regret. 

Directed by Logan Rice, the video follows  Niamh Hannigan as she distractedly goes through her day — and through a series of rapidly changing colors, grainy fade outs and fade ins, the video suggests that its protagonist is slowly coming down from the throes of hallucinogenic fugue. 

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Late last month, I wrote about Parrot Dream, an up-and-coming shoegaze duo comprised of the, Santiago, Chile-born, Brooklyn-based Christina Hansen Appel (vocals, keys) and Gonzalo Guererro (guitar) back in 2013, and as you may recall, after relocating to Brooklyn, the duo quickly began to develop a reputation for sprawling and shimmering soundscapes. which helped them amass more than 500,000 steams on Spotify.

Written and recorded over a two year period, the duo’s soon to be released full-length debut Light Goes is slated for release later this month through Good Eye Records, and the album’s material reportedly touches upon themes of connection, love, memory and clarity. Album single “Paradise & Prey” was a slow-burning and atmospheric track that managed to be elegiac yet uplifting, anthemic yet intimate — and while indebted to 4AD Records and the classic shoegaze sound, the Chilean-born, Brooklyn-based duo have a subtly modern take on it.”Cloudchaser,” Light Goes‘ latest single may arguably the most anthemic bit of shoegaze on the entire album as its centered around shimmering and arpeggiated synths, propulsive drumming, equally shimmering guitar chords and Hansen Appel’s ethereal vocals floating over the mix. And adding to the anthemic nature of the song, the duo in press notes admit that the song was written with playful metaphors in mind, reflecting the idea of being in a relationship with unpredictable, tumultuous patterns; and of feeling of seeking shelter and being energized by the storminess.”

Parrot Dream is an up-and-coming shoegaze duo formed by the Santiago, Chile-born, Brooklyn-based Christina Hansen Appel (vocals, keys) and Gonzalo Guererro (guitar) back in 2013. After relocating to Brooklyn, the duo have begun to develop a reputation for sprawling and shimmering soundscapes — and as a result, they quickly amassed more than half a million streams on Spotifty.

Written and recorded over a two year period, the duo’s forthcoming full-length debut Light Goes is slated for an August 24, 2018 release through Good Eye Records, and the album’s material reportedly touches upon themes of connection, love, memory and clarity. The album’s latest single “Paradise & Prey” is a slow-burning and atmospheric track that manages to be elegiac yet uplifting, anthemic yet intimate as the song is centered around Appel’s shimmering synths, Guerrero’s tightly controlled guitar pyrotechnics, a soaring hook and Appel’s ethereal vocals — and while clearly seeming indebted to 4AD Records and the classic shoegaze sound, the Chilean-born, Brooklyn-based duo have a subtly modern take on it.

 

 

 

 

 

 

 

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.

Over the past year, I’ve written a bit about the  Los Angeles, CA-based post-punk trio Second Still, and as you may recall the trio, comprised of founding members Ryan Walker (guitar) and Alex Hartman (bass) along with Suki San (vocals) can initially trace its origins to when its founding duo met in Los Angeles, back in 2007. By 2011 Walker and Hartman had relocated to New York, where they spent a great deal of time searching for a vocalist, who they felt could match their intensity and creative output, and as the story goes, when Walker and Hartman met Suki San, they felt an immediate connection and began working together.

Second Still’s first show was an infamous party at the now-condemned McKibbin Street Lofts that was shut down by the police during the band’s second song. Building upon the buzz of that incident, the band recorded their debut EP, Early Forms as a limited edition cassette, which quickly sold out. Making the most of their time, the members of the trio wrote and recorded the material that eventually comprised their 2017 self-titled, full-length debut — and from singles “Walls,” “Recover,” “You Two So Alike,” and “Strangers,” the album’s material thematically focused on decidedly post-modern subjects: depression, frustration, anxiety and alienation among a throbbing, seething mass of humanity, with a visceral and urgent emotionality, while sonically seeming to draw from Sixousie and the Banshees and the early catalog of renowned indie label 4AD Records.

Equals, the Los Angeles-based post punk trio’s much-anticipated follow-up EP finds the band expanding upon their sound, pushing it towards new directions — while retaining some of the early elements that first caught the attention of the blogosphere and elsewhere. You’ll see hear the chorus and delay pedal effected guitar, sinuous bass-driven grooves and industrial-like drum machine beats paired with ethereal vocals and infectious, razor sharp hooks; however, the members of the band have begun employing the use of a couple of analog synthesizers, which adds an atmospheric element to their sound. Additionally, roughly half of the EP’s material (the A side) reportedly finds he band exploring a decidedly pop-orientated, lighter sound while the other half (the B side) find site band hewing towards the melancholy and gloomy roots. The EP’s first single “Opening” was a decidedly melancholy post-punk track that to my ears will further their growing reputation for crafting a sound heavily indebted to early 80s post-punk with clean, modern production values, and unsurprisingly, the EP’s latest single “Automata” continues on a similar vein as its predecessor, bearing an uncanny resemblance to Sixousie and the Banshees’ “Israel,” and “Happy House” but with a subtle bit of moody atmospherics.

 

Comprised of Jason Corbett (vocals, guitar), Shannon Hemmett (synth, vocals), Jahmell Russell (bass, vocals) and Adam Fink (drums), the Vancouver, British Columbia, Canada-based post punk act ACTORS have developed a reputation for a decidedly modern take on the familiar post-punk sound, in a way that some critics have compared to The Soft Moon, Cold Cave and others.

Building upon a growing amount of buzz surrounding the band, their forthcoming full-length debut It Will Come To You, is slated for a March 9, 2018 through Artoffact Records, and from album singles “L’appel du Vide,” and “Slaves,” the band reveals an album featuring slickly, produced, hook-driven material that’s reminiscent from  4AD Records-era post-punk and New Wave with an urgent yet cinematic bent. The album’s third and latest “Face Comes To Glass” will further cement the band’s growing reputation for hook-driven, cinematic and moody post punk; however, the track finds the band employing atmospheric and shimmering synths along with angular bass and guitar chords, which makes the song subtly nod at John Carpenter soundtracks.

The Canadian post-punk act will be touring throughout their native Canada, the States and Europe throughout 2018. Check out tour dates below.

Feb 1 – Vancouver, BC @ Astoria
Mar 10 – Vancouver, BC @ Rickshaw (It Will Come to You album release show)
Mar 22 – Seattle, WA @ The Crocodile
Mar 23 – Boise, ID @ Vista Bar
Mar 28 – Sacramento, CA @ LowBrau
Mar 29 – Oakland, CA @ Golden Bull
Mar 30 – Los Angeles, CA @ La Cita (Part Time Punks)
Apr 2 – Eugene, OR @ Old Nicks
Apr 3 – Olympia, WA @ Crytatropa
Apr 4 – Everett, WA @ Obscurus
Apr 6 – Portland, OR @ Tonic Lounge (Out from the Shadows Festival)
Apr 12 – Vancouver, BC @ Astoria (Verboden Festival)
May 10 – Paris, FR @ Le Supersonic
May 11 – Lille, FR @ Le Bobble Cafe
May 17 – Stockholm, SE @ Debaser Strand
May 18 – Copenhagen, DK @ Stengade
May 19 – Hamburg, DE @ Gruner Jager
May 20 – Leipzig, DE @ Wave Gotik Treffen Festival

Comprised of Jason Corbett (vocals, guitar), Shannon Hemmett (synth, vocals), Jahmell Russell (bass, vocals) and Adam Fink (drums), the Vancouver, British Columbia, Canada-based post punk act ACTORS have developed a reputation for a modern take on the familiar post-punk sound, in a way that some critics have compared to The Soft Moon, Cold Cave and others.

Building upon a growing amount of buzz surrounding the band, their forthcoming full-length debut It Will Come To You, which is slated for a March 9, 2018 release through Artoffact Records, the album reportedly finds the band crafting slickly produced, hook-driven material. In fact, album single “L’appel du Vide,” features angular and razor sharp guitar chords played through gentle amounts of reverb, a motorik groove, shimmering arpeggiated synths paired with propulsive drumming and a rousingly anthemic hook — and while drawing from 4AD Records-era post-punk and New Wave, the single will further cement their growing reputation for crafting urgent yet cinematic material. The album’s second single “Slaves,” features a propulsive bass line, slashing guitar chords, soaring synths and industrial clang and clatter, and while as urgent as its predecessor, it also manages to be the most direct and anthemic track of the two from the new album.

The Canadian post-punk act will be touring throughout their native Canada, the States and Europe throughout 2018. Check out tour dates below. 

Feb 1 – Vancouver, BC @ Astoria
Mar 10 – Vancouver, BC @ Rickshaw (It Will Come to You album release show)
Mar 22 – Seattle, WA @ The Crocodile
Mar 23 – Boise, ID @ Vista Bar
Mar 28 – Sacramento, CA @ LowBrau
Mar 29 – Oakland, CA @ Golden Bull
Mar 30 – Los Angeles, CA @ La Cita (Part Time Punks)
Apr 2 – Eugene, OR @ Old Nicks
Apr 3 – Olympia, WA @ Crytatropa
Apr 4 – Everett, WA @ Obscurus
Apr 6 – Portland, OR @ Tonic Lounge (Out from the Shadows Festival)
Apr 12 – Vancouver, BC @ Astoria (Verboden Festival)
May 10 – Paris, FR @ Le Supersonic
May 11 – Lille, FR @ Le Bobble Cafe
May 17 – Stockholm, SE @ Debaser Strand
May 18 – Copenhagen, DK @ Stengade
May 19 – Hamburg, DE @ Gruner Jager
May 20 – Leipzig, DE @ Wave Gotik Treffen Festival

Currently comprised of founding trio Brandon Pierce, a founding member of prog rock act Ancestors, who has had stints with Buried at Sea, Deth Crux, Night Horse and Portland,OR’s Soft Kill; Brandon’s wife Rachael Pierce, an accomplished vocalist, who spent years demoing pop songs for major labels; and Cameron Carlin, who also is a member of Black Mare, the Los Angeles, CA-based post punk trio GLAARE initially formed back in 2012 and since their formation, the band has received attention for featuring some of Southern California’s most accomplished musicians, as well as for a sound that possesses elements of darkwave, dream pop and goth-rock while revealing a meticulous songwriting approach through the release of 2014’s The Universe Is Machine, which featured former member Jason Watkins (keys), a 2015 split 7 inch with electronic duo Intimachine and a self-titled cassette EP last year.
To Deaf and Day, the up-and-coming Los Angeles-based post-punk trio’s full-length debut was released earlier this year through Dune Altar/Funeral Party Records, and from the album’s latest single “Desiree,” the members of GLAARE will further cement their growing local and regional reputation for a sound that’s deeply indebted to 4AD Records heyday, The Cure, Sixousie and the Banshees and others but with a subtly modern sheen.

New Video: Introducing Kiev, Ukraine-based Post Punk Act On The Wane

With the release of their 2014 full-length debut Dry, the Kiev, Ukraine-based post-punk quartet On The Wane, currently comprised of Dari Maksimova (bass, vocals), Anna Lyashok (drums, vocals), Eugene Voitov (guitar, synth), and newest member, Eli Demyanenko (drums, drum machine), received attention across their native Ukraine and elsewhere for a sound that draws from shoegaze, goth, New Wave and noise rock — with the members of the band citing Sonic Youth, The Cure, Joy Division, Pixies, Bauhaus, My Bloody Valentine, Slowdive, Cocteau Twins and Ringo Deathstarr as influences on their work. 

Following a successful Ukrainian tour, the band, the quartet went into the studio and recorded a 6 track EP, Sick, which found the band’s sound drawing from the likes of Mudhoney, Fugazi and others with the effort being praised for a sound that drew from Sonic Youth, Gang of Four and The Damned among others; however, after the release of Sick, the band went through a lineup change with their newest member Demyanenko and with his addition, the Ukrainian-based post punk act added synthesizers and a drum machine to their sound. And as a result, the quartet’s sophomore effort Schism finds the band changing things up yet again — this time with the band taking on an increasingly goth-based, electronic rock sound that nods at 4AD Records, Garbage and Siouxsie and the Banshees, as you’ll hear on the album’s latest single “Sultry Song.” 

Directed by Mikhail Efimenko, the recently released video, was based on the band’s idea to create a non-complicated video showing the atmosphere of their rehearsal space/studio/workplace and to introduce the band to the world. 

Comprised of Odd Martin Skålnes, best known for his solo project O. Martin and as a member of Aurora’s backing band; Birgitta Alida Hole, a member of Lumkilde; Fredrik Vosberg, a member of The Megaphonic Thrift and Casiokids; and Even Kjelby, a member of Great News, the Norwegian shoegazer act Strange Hellos was started as a studio-based side project back in 2015. And interestingly enough since their formation, the band has received attention from the likes of NME, The Line of Best Fit and others for an anthemic, power pop take on shoegaze that will immediately bring to mind 4AD Records and 120 Minutes-era MTV, complete with enormous, rousing hooks, distortion-filled, jangling guitars and ethereal vocals; in fact, “Gold For The Golden,” the latest single off the Norwegian band’s recently released full-length debut, Chromatic will further cement their growing reputation for crafting anthemic and swooning shoegaze.