Tag: 4AD Records

Single Review by William Ruben Helms

Last year, I wrote quite a bit about the Asheville, NC-based goth/post-punk act Secret Shame over the past year. The act, which is currently comprised of Lena (vocals), Nathan (drums), Matthew (bass) and Billie (guitar), formed in 2016, and can trace its origins to the desperate need that its members felt to create. “If I couldn’t sing or play music, I would tear my skin off.” the band’s front person Lena explains in press notes. Shortly after their formation, the band released their self-titled debut EP, which quickly established the band’s dark and atmospheric sound paired with lyrics that thematically touch upon issues of domestic abuse, mental health, political and social dissatisfaction and frustration. 

The band’s full-length debut Dark Synthetics was released last year to critical acclaim, while further establishing their sound an enormous, reverb heavy sound seemingly influenced by Siouxsie and the Banshees and 4AD Records. Building upon the growing momentum the band has received since the release of their full-length debut, the members of the band went on a short tour to support the album, which included an apt Friday the 13th stop at The Broadway and a Halloween set that featured Joy Division covers. Along with that, the rapidly rising post punk act recently announced a series of remixes of Dark Synthetics material they’ll be releasing while they return to the studio to record new music slated for release later this year.

Now, as you may recall I wrote about two of the singles in the growing remix series: XOR‘s icy, industrial take on the guitar-led “Calm,” which retained the song’s intensity, vulnerability and ache, along with Lena’s powerhouse vocals — and Skinquarter‘s early Depeche Mode-like remix of the Siouxsie and the Banshees-like “Haunter.”   The latest remix of the series finds None of Your Concern turning the aforementioned “Haunter” into a propulsive club-banger centered around layers of arpeggiated synths, tweeter and woofer rocking beats while retaining Lena’s vocals. Sonically, the remix — to my ears at least — reminds me a of a slickly produced synthesis of Kraftwerk, From Here to Eternity and From Here to Eternity . . . And Back-era Giorgio Moroder and of course, the aforementioned Siouxsie and the Banshees.

The members of Secret Shame will be hitting the road to support the vinyl release of Dark Synthetics. After a handful of North Carolina dates in February, Secret Shame will embark on an East Coast and Midwest run throughout March and April that will include an April 2, 2020 stop at Saint Vitus Bar. Check out the tour dates below.

 

Tour Dates
1/26 – Asheville, NC – The Lazy Diamond
2/07 – Winston-Salem, NC – Monstercade
2/08 – Chapel Hill, NC – Nightlight
2/09 – Wilmington, NC – Reggies
2/12 – Asheville, NC – Static Age
3/28 – Charlotte, NC – TBD
3/29 – Raleigh, NC – Slims
3/30 – Richmond, VA – TBD
4/01 – Philadelphia, PA – TBD
4/02 – Brooklyn, NY – St. Vitus %
4/03 – Saratoga Springs, NY – Skidmore College
4/04 – Boston, MA – Dark Spring Boston
4/06 – Pittsburgh, PA – TBD %
4/07 – Columbus, OH – TBD %
4/08 – Louisville, KY – TBD %

 

Single Review by William Ruben Helms

Austin-based shoegaze/dream pop act ThunderStars, comprised of longtime Margot & the Nuclear So and Sos multi-instrumentalist Erik Klang (vocals, guitar), Sven Bjorkman (drums) and Omar Richardson (bass) can trace their origins back to when Bjorkman posted a random thought about a creating a band named ThunderStars, a term coined by his toddler daughter, during a stress-fueled trip to the hospital. And while marking Klang’s return to music, the band has had a art-out-of-chaos theme hanging over them since their inception back in 2018.

After their second-ever live show, Omar Richardson was assault by a vagrant outside of the venue, which resulted in a severe concussion and a subsequent trip to the ER. The incident was covered extensively by Austin-bass news outlets — and as a result the band’s profile rose unexpectedly. Additionally, their early demos were well received publicly with the band receiving radio and podcast airplay, as well as show bookings with a number of national touring acts.

Building upon a growing profile, the Austin-based shoegazers’ latest effort Number Stations is slated for a Friday release through Mariel Recording Company. Interestingly, the album’s latest single is the slow-burning and shimmering “Not That Far.” Centered around Klang’s plaintive vocals, shimmering and reverb-drenched guitars, the track manages to recall 4AD-era shoegaze, as it possesses an ethereal and feverish quality.

 

Single Review by William Ruben Helms

Matthew Messore is an Orlando, FL-born and-based singer/songwriter and multi-instrumentalist. best known as the creative mastermind behind the rapidly rising bedroom recording project Cathedral Bells. Now, as you may recall since the release of last year’s breakthrough self-titled EP, an effort which received support from David Dean Burkhart and praise from The Line of Best Fit, Messore has released a handful of singles from his highly-anticipated Cathedral Bells full-length debut, Velvet Spirit, which will be released through Good Eye Records on March 6, 2020.

The album’s third and latest single “Ephemeral” continues a run of material centered around ethereal vocals., shimmering and reverb-drenched guitars, propulsive drum machine, a motorik-like groove and an infectious radio-friendly hook. And while clearly indebted to 4AD Records glorious heyday, The Cure, The Sisters of Mercy, Chain of Flowers and others, the song is a swooning and urgent fever dream.

 

 

 

Single Review by William Ruben Helms

I’ve written a bit about the Asheville, NC-based goth/post-punk act Secret Shame over the past year. And as you may recall, the act — Lena (vocals), Nathan (drums), Nikki (guitar), Matthew (bass) and Billie (guitar) — formed in 2016, and can trace its origins to the desperate need that its members felt to create. “If I couldn’t sing or play music, I would tear my skin off.” the band’s front person Lena explains in press notes. Shortly after their formation, the band released their self-titled debut EP, which quickly established the band’s dark and atmospheric sound paired with lyrics that thematically touch upon issues of domestic abuse, mental health, political and social dissatisfaction and frustration. 

The Asheville-based act released their full-length debut Dark Synthetics to critical acclaim earlier this year, while further establishing their sound — an enormous, reverb heavy sound seemingly influenced by Siouxsie and the Banshees and 4AD Records. Building upon the growing momentum the band has received since the release of their full-length debut, the members of the band went on a short tour to support the album, which included an apt Friday the 13th stop at The Broadway and a Halloween set that featured Joy Division covers. Along with that, the rapidly rising post punk act recently announced a series of remixes of Dark Synthetics material they’ll be releasing while they return to the studio to record new music slated for release next year.

The first remix of the series, found XOR turning the guitar-led “Calm” into an icy and industrial synth banger, centered around shimmering synth arpeggios, stuttering beats while retaining the song’s intensity, vulnerability and ache, and Lena’s powerhouse vocals. The second and latest remix finds the Richmond, VA-based producer and engineer Ricky Olson, who writes, records and performs as Skinquarter turning the Siouxsie and the Banshees-like “Haunter” into a icy synth-driven club banger that’s one part early Depeche Mode and one part moody house music.

 

 

Single Review by William Ruben Helms

Over the course of this past year, I’ve written a bit about the Asheville, NC-based goth/post-punk act Secret Shame. And as you may recall, the act — Lena (vocals), Nathan (drums), Nikki (guitar), Matthew (bass) and Billie (guitar) — formed back in 2016 and can trace their origins to the desperate need that all of its members felt to create. “If I couldn’t sing or play music, I would tear my skin off.” the band’s front person Lena explains in press notes. Shortly after their formation, the band released their self-titled debut EP, which quickly established the band’s dark and atmospheric sound paired with lyrics that thematically touch upon issues of domestic abuse, mental health, political and social dissatisfaction and frustration. 

Secret Shame’s highly-anticipated full-length debut Dark Synthetics was released earlier this year to critical acclaim — while further establishing an enormous, reverb-heavy sound that seemed to be influenced by  Siouxsie and the Banshees and 4AD Records. Interestingly, album single “Calm” was a perfect example of that sound, while featuring driving rhythms, razor sharp hooks and Lean’s vocals slashing through and cutting through the moody and hazy mix. And underpinning the song was an emotional urgency that came from lived-in, personal experience. “There’s not a single word I didn’t write from the pit of my stomach,” Lena says in press notes. “The entire record- even though the song dynamics change- has one solid emotion, which is the struggle of inner turmoil and being trapped inside yourself. It’s the feeling of holding a scream in the back of your throat.” She adds, “Some people avoid writing music that puts them in a vulnerable place, but that’s the place I’m trying to get into, That’s where you’re your most raw and hopefully people will be able to experience it through you. There’s nothing else like it.”

Building upon the growing momentum the band has received since the release of their full-length debut, the members of Secret Shame have toured to support the new album, which included an apt Friday the 13th stop at The Broadway and a Halloween set that featured Joy Division covers.  Along with that, Secret Shame recently announced a series of remixes of Dark Synthetic material that they’ll be releasing over the next few months, as they return to the studio to record new music slated for release next year. The first remix finds XOR turning the guitar-led “Calm” into an icy and industrial synth banger, centered around shimmering synth arpeggios, stuttering beats while retaining the song’s intensity, vulnerability and ache, and Lena’s powerhouse vocals.

Single Review by William Ruben Helms

 

Small Planets is a Los Angeles-based post punk act, comprised of founding trio Jeff Love (guitars), Josh Spincic (bass) and Phil Drazic (drums) with Jessica Hernandez (vocals) and Ryan Silo (guitar) that can trace its origins to when its founding trio caught Slowdive play a show at The Ace Theater back in 2015. After an exhaustive two year search, the band added Jessica Hernandez and Ryan Silo to complete their lineup — and with their lineup finalized, they developed a sound that has been described as Interpol meets Joy Division and The Cure.

Last year, the band went into the studio with Joshua Mazzachi to record their recently released self-titled full-length debut, an album that finds the band writing a love letter to the classic and beloved post-punk sound. “Tonight,” their self-titled debut’s single is a perfect example of the band’s sound: centered around shimmering and atmospheric synths, an angular, a propulsive bass line, dramatic drumming, Hernandez’s ethereal yet plaintive vocals. And while indebted to 4AD Records, the aforementioned The Cure and Joy Division and others, the track is imbued with a subtly modern and loving touch.

 

 

Single Review by William Ruben Helms

 

Bailey Crone is an Atlanta-based singer/songwriter and multi-instrumentalist, best known for playing bass in Atlanta-based pop rock act VYB (pronounced “vibe”). Interestingly, her solo recording project Bathe is a dream pop act is driven by her desire to create songs that you can “lay on the floor and stare at the ceiling to,” as she says in press notes.
Crone’s Bathe debut Last Looks is slated for release in 2020 and the album will reportedly feature songs relating to struggling with loss. “Not breakup songs, but concept of loss as a whole,” Crone explains in press notes. Interestingly, Last Looks‘ latest single, the Damon Moon-produced “The Silence” is centered around seemingly endless layers of shimmering guitars, stuttering drumming, a sinuous bass line, Crone’s ethereal vocals  and a soaring hook — and the song finds the Atlanta-based singer/songwriter and multi-instrumentalist crafting a gorgeous yet achingly lonely track that recalls both 4AD Records and Beach House among others.
“For the song The Silence, I would like for it to lyrically be able to fit any one person’s image of loss and loneliness and the quietness that always comes hand in hand with the concept of absence,” Crone says in press notes. “I relate to the lyric ‘Guess it took yourself a while to become the one that yo know you can count on’ in many different ways.  It could be talking about my past history with panic attacks where I struggle with anxieties of being alone, how I had to rely on myself to follow my passion with creating music, losing a loved one, or anything really.”
Single Review by William Ruben Helms

Last year, I wrote about the Orlando, FL-born and-based singer/songwriter and multi-instrumentalist Matthew Messore. And as you amy recall, after spending a period of time traveling across the country, Messore returned to his hometown to work on music with his solo, bedroom recording project Cathedral Bells.

Since the release of last year’s breakthrough self-titled EP, which received support from David Dean Burkhart and praise from the likes of The Line of Best Fit, who likened the project’s sound to “an exploration of the smudged reds of The Cure, hazy pinks of Chromatics and gluey browns of DIIV,” Messore has been busy releasing new material, including his latest single, the gauzy and swooning “Heavy Rain.” Centered around seemingly unending layers of shimmering guitars, propulsive drum machine-driven beats and Messore’s plaintive and ethereal vocals, the track sonically meshes the classic 4AD Records sound with shoegaze in a way that feels warmly familiar yet novel.

“Sometimes, loneliness can feel like it’s raining down on you and there’s such a storm of emotion, you wonder if anyone can understand,” Messore told FAULT Magazine.

 

 

 

 

 

 

Video by William Ruben Helms

New Video: Hull’s bdrmm Releases a Trippy Visual for Arena Rock-Friendly Single “Shame”

Last year, I wrote about the up-and-coming Hull, UK-based indie rock act bdrmm. And as you may recall, the act which initially started as the bedroom recording project of singer/songwriter and guitarist Ryan Smith during the end of 2016 quickly became a full-fledged band when Smith recruited his brother Jordan (bass), Joe Vickers (guitar), Daniel Hull (synth, backing vocals) and Luke Irvin (drums) to complete the band’s lineup. 

The band went on to cut their teeth playing shows across Northern England before releasing their first two singles “kare” and “the way i want,” which quickly caught the attention of MTV, Clash Magazine and DORK, as well as airplay from BBC Radio 1 and Amazing Radio. The Hull-based quintet has opened for Trudy & The Romance, Her’s, FEHM and Horsey — and as a result, they caught the attention of London-based indie label Permanent Creeps, who released the 4AD Records-like “C.U.” Since then, they’ve opened for JOVM mainstays pizzagirl and Amber Arcades, as well Gengahr. Additionally, they’ve played sets at a number of British festivals including Gold Sounds, Humber Street Sesh, and Live at Leeds, which have added to a rapidly growing national profile. 

Their highly-anticipated Alex Greaves-produced debut EP If Not When? is slated for an October 11, 2019 release through Sonic Cathedral Records — and the EP, which has seen physical pre-orders quickly sell out is largely influenced by the likes of DIIV, Slowdive and Beach House, as well as an up-and-coming crop of British post-punk acts including Squid, YOWL, Black Country and New Road. Interestingly, the EP’s first single “Shame” find the band retaining the shimmering post-punk tinged shoegazer sound of their previous releases — but with a forceful and propulsive groove and an ambitious arena rock-like feel, reminiscent of The Cure and others. 

“‘Shame’ is about the heartache of having to tell someone you can about the most that being together can’t work for whatever reason — having to be the person, who takes it upon themselves to do the right thing, even though it feels so wrong,” the band’s Ryan Smith explains in press notes. 

The recently released video by Jordan Smith is a dizzying visual that’s one part lyric video with some psychedelic imagery. 

Video by William Ruben Helms

New Video: Up-and-Coming Italian Shoegazers Solitude in Apathy Release a Surrealistic and Symbolic Visual for “The Other”

Naples, Italy-based indie act Solitude in Apathy — Santina Vasaturo (vocals, bass), Gennaro Cristiano (guitar) and Diego Niola (drums) — formed back in 2016, and since their formation the Italian act has quickly forged a reputation for crafting a sound that meshes elements of shoegaze, dark wave, alt rock and goth. They’ve also opened for internationally acclaimed, Italian shoegazers Stella Diana and Rome in Monochrome. 

Building upon a growing profile in their native Italy and elsewhere, the trio’s Giacomo Salzano-produced, self-titled EP is slated for release this Friday — and the EP’s lead single, the “The Other” will help further cement the up-and-coming Italian trio’s sound: towering layers of fuzzy and distorted guitars, propulsive bass lines, forceful and dramatic and forceful drumming and ethereal vocals drenched in reverb floating over the dreamy mix. In some way, the single strikes me as being like a seamless synthesis of Sixousie and the Banshees and 4AD Records heyday — and unsurprisingly, the song received praise from outlets across the European Union and States, as well as airplay on DKFM. 

Directed by Gaetano Massa, the recently released and incredibly cinematic video for “The Other” is a surrealistic fever dream featuring blindfolded characters walking through an abandoned and dilapidated house, full of rotting books, broken brick and chipped paint. We also see the band performing in another room while all of this is going on. 

Single Review by William Ruben Helms

New Audio: Nashville’s Twen Releases an Anthemic New Single

Earlier this year, I wrote about the Nashville-based indie rock act Twen.  The act, which is led by founding members Jane Fitzsimmons (vocals) and Ian Jones (guitar) can trace their origins to their involvement in Boston’s DIY scene, and as you may recall, the duo since their formation have been actively been redefining what a touring band should be and should be in the streaming age. Initially releasing only a live EP recorded from the band’s live debut in a Boston basement, the band has toured non-stop, honing and perfecting a live show that’s been described by critics and fans alike as raw and mesmerizing. 

Continuing to proudly ascribe to the DIY ethos that has influenced and sustained them, Twen’s core duo have run AirBNBs while touring, played in exchange for skydiving, screen printed self-designed merch items by hand and book their own tours. The duo emerged into the national scene with the release of their attention-grabbing single “Waste,” which received praise from the likes of NPR, Stereogum, Paste Magazine, BrooklynVegan, Uproxx, Under The Radar and others. Earlier this year, the duo opened for the acclaimed Louisville-based JOVM mainstays White Reaper — and they released the slow-burning and shoegazer-like “Holy River,” a track that to my ears would likely draw comparisons to classic 4AD Records, Cocteau Twins, Slowdive, A Storm in Heaven-era The Verve and Beach House — but with a yearning, dream-like quality that gives the ethereal track a subtle bit of emotional weight.

 Building upon a growing profile, the buzz-worthy, Nashville-based duo will be releasing their full-length debut Awestruck through Frenchkiss Records on September 20, 2019. I also wrote about the album’s first official single “Baptism,” an atmospheric and shoegazer-like track centered around shimmering guitars, propulsive drumming, Jane Fitzsimmons’ enormous, room-filling vocals singing impressionistic lyrics full of a yearning desire to be born, becoming and re-born. The album’s latest single “Make Hard” is centered around jangling, reverb-soaked guitars, propulsive drumming and rousingly anthemic hook — and while bearing a bit of a resemblance to Fleetwood Mac, the song is rooted in lived-in, personal experience that gives the song an emotional weight. 

“The song was rewritten and arranged very late in the recording process,” the band explained to DIY. “Another one of our earliest tunes, the second verse was a response to the growing pains we were going through at the time, transitioning from part-time rockers to full-time road warriors. The lyrics have come to symbolize the dynamics and relationships within a band as it grows, through the transformation of defined roles and how they change over time.”