Tag: 4AD Records

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.” 

Single Review by William Ruben Helms

Formed back in 2016, the Asheville, NC-based goth/post-punk act Secret Shame — Lena (vocals), Nathan (drums), Nikki (guitar), Matthew (bass) and Billie (guitar) — can trace their origins to all of its members feeling a desperate need 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 a dark and atmospheric sound paired with lyrics that thematically touch upon issues of domestic abuse, mental health, political and social dissatisfaction and frustration. 

Interestingly, their full-length debut, Dark Synthetics is slated for a September 6, 2019 release through Portrayal of Guilt Records, and as you may recall, earlier this month, I wrote about the enormous Siouxsie and the Banshees and 4AD Records-like album single “Calm.” Building upon the buzz Dark Synthetics has begun to amass, the album’s latest single “Gift” is breakneck gallop of a song that will further establish their early 80s post-punk sound — in particular, the aforementioned Siouxsie and the Banshees, but the new single also subtly nods at Crocodiles and Heaven Up Here-era Echo and the Bunnymen, as the song is centered around shimmering and reverb-drenched guitars, rapid-fire drumming, enormous hooks and Lena’s plaintive vocals desperately cutting through the brooding instrumentation.

The members of Secret Shame will be embarking on a short East Coast tour to support their full-length debut and it includes a September 13, 2019 stop at The Broadway. What could be better than listening to moody post-punk on Friday the 13th? Check out the tour dates below.

Tour Dates

 

9/07 – Raleigh, NC @ Hopscotch Music Festival
9/08 – Richmond, VA @ Hypercube
9/09 – Baltimore, MD @ Ottobar
9/11 – York, PA @ Skid Row Garage
9/13 – Brooklyn, NY @ The Broadway
9/15 – Greensboro, NC @ New York Pizza
9/16 – Asheville, NC @ The Mothlight
Single Review by William Ruben Helms

Formed back in 2016, the Asheville, NC-based goth/post-punk act Secret Shame — Lena (vocals), Nathan (drums), Nikki (guitar), Matthew (bass) and Billie (guitar) — can trace their origins to all of its members feeling a desperate need 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 a dark and atmospheric sound paired with lyrics that thematically touch upon issues of domestic abuse, mental health, political and social dissatisfaction and frustration. 

Interestingly, their full-length debut, Dark Synthetics is slated for a September 6, 2019 release through Portrayal of Guilt Records, and from the album’s latest single “Calm” the band will further establish their sound — an enormous reverb-heavy sound that draws from Siouxsie and the Banshees and 4AD Records: shimmering and angular guitars, a sinuous bass line, driving rhythms, razor sharp hooks paired with Lena’s voice slashing and cutting through the moody haze.  Underpinning it all is an emotional urgency — the sort that comes from lived-in experience.

“There’s not a single word I didn’t write from the pit of my stomach,” Lena says. “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.”

 

 

Single Review by William Ruben Helms

New Audio: Long Beard Releases a Slow-Burning Mazzy Star-like Single

Earlier this month, I wrote about Leslie Bear, a New Brunswick, NJ-born and-based singer/songwriter and multi-instrumentalist, who writes, records and performs as Long Beard. With the release of her full-length debut, 2015’s Sleepwalker, Bear received national attention for crafting shimmering and thoughtful dream pop, and for an album that thematically explored what constitutes home — particularly, how it can extend beyond the physical quality of its roof and four walls, to the comfort and familiarity of the people in it. And how all of that can influence one’s sense of self, stability and security. 

Four years have passed sine the release of Bear’s Long Beard debut. And that period marked a significant, transitional time for her: a career move lead her to return to her hometown, long after most of her friends and peers have moved away. And as a result, the feelings of stasis, nostalgia and confusion have deeply influenced the material on her forthcoming Craig Hendrix-produced sophomore album Means to Me. Slated for a September 13, 2019 release through Double Double Whammy Records, the album reportedly will mark both a major bit of artistic growth and maturation in her overall sound, aesthetic and approach with the material nodding at jangle pop, dream pop and shoegaze paired with her ethereal vocals.

“Sweetheart,” Means to Me’s lead single, was a shimmering bit of 4AD-era jangle pop paired with a soaring hook, delivered with a growing self-assuredness — but the song is underpinned by a wistful and bittersweet nostalgia over a lost relationship that lingers in your present. The album’s latest single, album title track “Means to Me” is a slow-burning and spectral track that’s one part Mazzy Star, one part 4AD-era jangle pop as the song is centered around shimmering guitars, a soaring hook and Bear’s achingly tender, ethereal vocals. And much like its immediate predecessor, the track continues a run of material that evokes the lingering ghosts of nostalgia and regret. 

Single Review by William Ruben Helms

New Audio: Nashville’s Twen Releases a Shimmering and Celestial New Single

The Nashville-based indie rock act Twen, led by founding members Jane Fitzsimmons (vocals) and Ian Jones (guitar) can trace their origins to when they formed while both were involved in Boston’s DIY scene. Since their formation several years ago, the band has been busy redefining what a touring band should do — and should be in the streaming age. Initially releasing nothing more than a live EP recorded fro 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 as raw and mesmerizing.

Continuing to proudly ascribe to the DIY ethos that influenced 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. Now, as you may recall, the duo quickly emerged into the national scene with the release of 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. “Baptism,” the album’s first official single is an atmospheric bit of shoegaze 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. Interestingly, Jones’ guitar lines actually is a revisited riff that he wrote as a teenager, that he reworked with a fresh perspective — essentially giving the song a trippy and anachronistic sensibility. 

Single Review by William Ruben Helms

New Audio: Long Beard Releases a Shimmering and Wistful New Single

Leslie Bear is a New Brunswick, NJ-born and-based singer/songwriter and multi-instrumentalist, who writes, records and performs as Long Beard.With the release of her full-length debut, 2015’s Sleepwalker, Bear emerged into the national scene for crafting thoughtful and shimmering dream pop — and for an album that thematically explored what constitutes a home: particularly how it can extended beyond the physical quality of its roof and four walls, to the comfort and familiarity of the people in it. And how all of that can influence one’s sense of self, stability and security. 

Four years have passed since the release of Bear’s Long Beard debut and that period marked a significant, transitional time for her: a career move lead her to return to her hometown, long after most of her friends and peers have moved away. And as a result, the feelings of stasis, nostalgia and confusion have deeply influenced the material on her forthcoming Craig Hendrix-produced sophomore album Means to Me. Slated for a September 13, 2019 release through Double Double Whammy Records, the album reportedly will mark both a major bit of artistic growth and maturation in her overall sound, aesthetic and approach with the material nodding at jangle pop, dream pop and shoegaze paired with her ethereal vocals. 

Means to Me’s latest single “Sweetheart” is a shimmering bit of 4AD-era jangle pop paired with a soaring hook, delivered with a growing self-assuredness — but the song is underpinned by a wistful and bittersweet nostalgia over a lost relationship that lingers in your present. “‘Sweetheart’ is a nostalgic song that shifts between the distant past and the present,” Bear explains in press notes. “It’s a letter to someone you’ve lost touch with from a long time ago, finding some small connection to their life with regards to yours- how the thought of them resurfaces every once in a while and how they may have shaped the person you’ve become while wondering if you’ve had a similar impact on them. It’s a jangly/indie pop song reminiscent of the 90s with a chimey lead guitar that weaves in and out. It’s written almost as a stream of consciousness with a heavy daydream mood.”

Single Review by William Ruben Helms
Still is an emerging Los Angeles-based post punk/dream pop act — comprised of Daniel McDonough, Adrian Johnson and Julian Johnson — whose sound some have said possesses elements of Wild Nothing and The Smiths. Interestingly, “Divinity,” the first single off the trio’s forthcoming EP is a shimmering bit of dream pop that — to my ears, at least — recalls early The Cure and 4AD Records, as the song is centered around plaintive vocals, four-on-the-floor drumming, an enormous hook and jangling guitar chords.
Video by William Ruben Helms

New Video: Introducing the Dark and Atmospheric Sounds and Visuals of Brooklyn’s Linda Gardens

Linda Gardens is an up-and-coming, Brooklyn-based singer/songwriter and indie electro pop artist, who has started to receive attention across the blogosphere for an ethereal sound that meshes elements of dream pop electronica, psych rock and goth rock. Garden’s forthcoming EP Real Time is slated for release this summer through Liquorice Tapes. The EP’s single “Tubular Steel” is centered around an atmospheric production featuring shimmering synths and industrial-like drum programming paired with an infectious, razor sharp hook and Gardens’ etheral vocals — and in some way, the single feels and sounds like an uncanny synthesis of classic 4AD Records-era dream pop, Depeche Mode, Peter Gabriel, and Kate Bush. 

Directed by Dan Foley, the recently released video for “Tubular Steel” is a moody yet feverish and lysergic dream that stars Gardens walking through a dark and smoke-filled room, lit in neon. At points, the visuals become kaleidoscopic with the visuals exploding into bursts of wild colors — while moving to the industrial-like beats.

Video by William Ruben Helms

New Video: JOVM Mainstays Beverly Kills Release an 80s Rom Com-Inspired Visual for Swooning and Anthemic “In This Dim Light”

Over the past year or so, I’ve written a bit about the Gothenburg, Sweden-based indie rock quartet Beverly Kills, and as you may recall with the release of singles like “Fourteen,” “Melodrama,” and “Dreamless” the band quickly received attention across the blogosphere and elsewhere for a shimmering, anthemic hook-based 4AD Records era take on dream pop. In fact, last year was a huge year for the rising Swedish dream pop quartet: they were named one of the Best Swedish Indie Debuts of 2018” by HYMN, received a Gaffa Awards nomination for Breakthrough of the Year, and played a Viva Sounds Festival showcase in their hometown.

Building upon a growing profile, the band played several by:Larm Festival sets opening for Agent bla, Moaning and Vasterbron earlier this year — and they signed to Australian indie label Hell Beach and Swedish label Welfare Sounds, both of whom released “Revellers” earlier this year. The Gothenburg-based dream pop quartet and JOVM mainstays have been rather busy this year as they promptly followed the release of “Revellers” with the limited edition double single vinyl “In This Dim Light”/”Melodrama,” which was released last month. “In This Dim Light” continues a run of shimmering and anthemic singles — but unlike their predecessors, the song conveys the tumultuous and desperately urgent quality of young love. 

Directed by Jakob Ekvall, the recently released video features the band playing at a high school prom in front of a rom full of young people, who are trying to navigate the turbulence of being a teenager — and that of being in a relationship. Most of the video focuses on a prototypical nervous and anxious nerd, who shoots his shot and eventually wins the attention of the prom queen. With the heavy use of pastels and some clearly 80s-like outfits, the video seems indebted to John Hughes films and other classic 80s films. 

Video by William Ruben Helms

New Video: Brisbane Australia’s Future Haunts Release a Nostalgic DIY Visual for “Weather Vane”

With the release of their debut EP Rubicon and “Make Time,” the up-and-coming Brisbane, Australia-based indie rock quartet Future Haunts quickly emerged into their homeland’s national scene, landing opening slots for Middle Kids and Horror My Friend, a well as a set at Hidden Lanes Festival. Interestingly, besides making a handful of live appearances last year, the members of the Brisbane-based act spent most of last year writing and self-recording new material — including their latest single “Weather Vane.”

Recorded at Plutonium Studios and mixed by Miro Mackie, the up-and-coming Aussie quartet’s latest single finds the band gently pushing the boundaries of their sound and songwriting in a new direction. Now, while the song will further cement the band’s growing reputation for crafting atmospheric 4AD Records and 120 Minutes-like jangling guitar pop, the track is centered by a rousingly anthemic hook that suggests that the relatively young band has grown more self-assured and ambitious in their songwriting and overall approach.  Lyrically, the song as the band’s Ben Speight explains in press notes, “discusses breaking through the endless amount of choices life throws your way and finding a sense of direction. It’s about learning to accept the things you can’t change, becoming comfortable with who you are and placing your energy on the things that you can.”

Shot by the members of the up-and-coming Aussie indie rock band on film and camcorder, the video follows the the band as they self-record the single at Plutonium Studios, play pool and watch Australian Rules Football at a local pub, shoot hoops, goof off and play a gig at a local club. While focusing on the immediate present, the video manages a subtly nostalgic tone — imbued with the recognition that youthful good times don’t last.