Tag: A Place to Bury Strangers

Single Review by William Ruben Helms

Last month, I wrote about the Los Angeles, CA-based quartet Sextile. Comprised of Melissa Scaduto, Eddie Wuebben, Sammy Warren and Brady Keen, the band, whose sound draws from 70s punk, 80s New Wave, synthwave and early, industrial electronica, derives their name from the classic, astrological meaning of sextile, an astrological aspect that is made when two planets or other celestial bodies are 60 degrees apart in the sky.

Now, as you may recall, “One Of These,” off the band’s forthcoming sophomore effort, Albeit Living, managed to sound as though it were influenced by The Jesus and Mary Chain, A Place to Bury Strangers, Wire, Public Image, Ltd., early Ministry and early Nine Inch Nails as it featured the band pairing a propulsive stomp with scorching feedback, chilly synths, a dance floor-worthy hook with a feral intensity. However, the album’s latest single “Who Killed Six” features angular guitar chords, punchily delivered lyrics and industrial clang and clatter in what arguably may be the most punk rock and New Wave-inspired song they’ve released to date; in fact, the song reminds me of Pink Flag-era Wire and Joy Division, complete with a scuzzy and gritty feel.

 

 

 

 

Video by William Ruben Helms

New Video: Howl with a Dancing Werewolf in the New Visuals for Dion Lunadon’s “Howl”

Perhaps best known as a member of the internationally renowned, Brooklyn based indie rock trio and JOVM mainstays A Place to Bury Strangers, the New Zealand-born, Brooklyn-based bassist Dion Lunadon has had a lengthy music career that traces its origins back to when he was a member of New Zealand-based band, The D4. During a short break in APTBS’ touring schedule, Lunadon had a sudden rush of inspiration that resulted in what he has described as a neurotic impulse to write and record a bunch of songs right there and then — and the end result was his solo debut EP, Com/Broke, an effort, which reportedly drew from the bands that inspired him in his youth, including Toy Love, The Gun Club, Gestalt and Supercar.

Lunadon’s highly-anticipated, self-titled, full-length debut is slated for a June 9, 2017 through Agitated Records. And if you had been frequenting this site over the past few months, you may recall that I wrote about the album’s first single “Fire,” a primal and furiously roaring single that draws psych rock and garage rock, revealing that while its creator is approaching middle age, he’s refusing to go quietly into that good night. The album’s second and latest single “Howl,” continues in a similar vein, meshing punk rock, psych rock and garage punk with a feral howl reminiscent of The Stooges — i.e. “1969” “No Fun” and “I Wanna Be Your Dog” — complete with a forceful, Neanderthal stomp. Certainly in a day and age in which most contemporary music is somewhat safe and packaged for convenient consumption, Lunadon’s solo work is a powerful reminder that rock should be dangerous, rebellious, loud, primal; it should inspire your most base, animal instincts — to howl, stomp, fight, fuck and repeat.

Directed by Ladytron’s Reuben Wu, the recently released music video for “Howl” features Loren Palmer, as a hipster werewolf, expressively dancing to the song in the woods and while being hilariously goofy, the visuals manage to also be as primal and forceful as the song it accompanies.

Single Review by William Ruben Helms

Deriving their name from the classic astrological meaning of sextile, an astrological aspect that is made when two planets or other celestial bodies are 60 degrees apart in the sky, the Los Angeles, CA-based quartet Sextile (comprised of Melissa Scaduto, Eddie Wuebben, Sammy Warren and Brady Keehn) specializes in a sound that draws from 70s punk, 80s New Wave, and synthwave and early industrial electronica. In fact, “One of These,” the latest single from the Los Angeles-based quartet’s forthcoming sophomore album Albeit Living manages to sound as though the band were drawing influence from The Jesus and Mary Chain, A Place to Bury Strangers, Wire, Public Image, Ltd., early Ministry and early Nine Inch Nails as the band pairs a propulsive stomp with scorching feedback, chilly synths and an anthemic, fairly dance floor-friendly hook with an explosively feral intensity.

 

 

 

 

 

 

Video by William Ruben Helms

New Video: Denmark’s Shocking White Return with a Noise Rock-Leaning, New Single Paired with 120 Minute MTV-era Visuals

Late last month, I wrote about the Aarhus, Denmark-based indie rock/noise rock trio Shocking White. Currently comprised of founding member Jan Petersen (guitar, vocals), along with Rune Randlev (bass) and Marco Bøgehøj (drums), the Danish trio have released four albums in which they’ve experimented with their sound, writing energetic post punk, nihilistic No Wave and feral garage rock primarily rooted in noise rock. And although the band was initially founded back in 2009, the Danish trio has started to receive attention both across Denmark and elsewhere across Scandinavia as they’ve played at some of the region’s biggest festivals, including Recession Festival, Pop Revo, Mejlgade for Mangfoldighed and Spot Festival. Adding to a growing international presence, the band has toured Denmark with Norwegian space rock act Kal-El and Canadian avant-garde punk act Alpha Strategy, and 2016’s “Tweet Scientists” 7 inch, which Copenhagen-based label Tigermilk Records released. Along with that, the Danish trio will be included on a forthcoming compilation featuring internationally-based alt rock/indie rock bands.

Ghosting, Shocking White’s fourth studio album was released last month and the album continues their ongoing collaboration with producer Rasmus Bredvig, who along with the members of the band recorded the album in 3 days at Aarhus-based Tapetown Studio. Now, as you may recall, I wrote about the album’s first single, “Into The Sun,” a single that managed to sound as though it drew influence from 80s grunge rock — i.e., Pixies, Sonic Youth and Nirvana — as the Danish trio pairs power chords played through reverb and distortion pedals with a rousingly anthemic hook, a propulsive and chugging rhythm section and a playfully pop-leaning sense of melody while thematically focusing on a profound and palpable fear of death that gives the song an underlying sense of menace and unease. The album’s second and latest single “Far From Bloom,” continues in a similar vein; however, the single also manages to be reminiscent of The Jesus and Mary Chain, A Place to Bury Strangers, but with an anthemic hook.

Bearing an uncanny resemblance to the video for “Into The Sun,” the recently released video for the song features footage shot in color-treated film negatives which create an otherworldly, psychedelic feel to the proceedings while being reminiscent of the thousands of videos I’ve watched during 120 Minutes-era MTV.

Single Review by William Ruben Helms

 

Perhaps best known as a member of the internationally renowned, Brooklyn based indie rock trio and JOVM mainstays A Place to Bury Strangers, the New Zealand-born, Brooklyn-based bassist Dion Lunadon has had a lengthy music career that traces its origins back to when he was a member of New Zealand-based band, The D4. During a short break in APTBS’ touring schedule, Lunadon had a sudden rush of inspiration that resulted in what he has described as a neurotic impulse to write and record a bunch of songs right there and then — and the end result was his solo debut EP, Com/Broke, an effort, which reportedly drew from the bands that inspired him in his youth, including  Toy Love, The Gun Club, Gestalt and Supercar.

Lunadon’s highly-anticipated, self-titled, full-length debut is slated for a June 9, 2017 through Agitated Records. And if you had been frequenting this site over the past few months, you may recall that I wrote about the album’s first single “Fire,” a primal and furiously roaring single that draws psych rock and garage rock, revealing that while its creator is approaching middle age, he’s refusing to go quietly into that good night.  The album’s second and latest single “Howl,” continues in a similar vein, meshing punk rock, psych rock and garage punk with a feral howl reminiscent of The Stooges — i.e. “1969” “No Fun” and “I Wanna Be Your Dog” — complete with a forceful, Neanderthal stomp. Certainly in a day and age in which most contemporary music is somewhat safe and packaged for convenient consumption, Lunadon’s solo work is a powerful reminder that rock should be dangerous, rebellious, loud, primal; it should inspire your most base, animal instincts — to howl, stomp, fight, fuck and repeat.

 

 

 

 

Video by William Ruben Helms

New Video: The Surreal 120 Minutes-Inspired Visuals for Dead Leaf Echo’s Anthemic “Strawberry.Skin”

Now, if you’ve been frequenting this site throughout its almost seven years of existence, you’ve come across posts featuring the Brooklyn-based shoegazer rock and art collective Dead Leaf Echo. And over that same period of time, the members of the collective have seen a growing profile, as they’ve played at some of the country’s largest and best known festivals, have opened for a lengthy and impressive list of renowned, nationally touring bands including The Wedding Present, A Place to Bury Strangers, . . . And You Will Know Us By The Trail Of Dead, The Psychedelic Furs, Chapterhouse, Ulrich Schnauss, Weekend, Lorelei, The Ocean Blue, The Warlocks, Beach Fossils, and The Telescopes and have made appearances on KEXP‘s John in the Morning and on Nic Harcourt’s KCSN show.

With the release of 2013’s 4AD Records-inspired full-length debut effort Thought and Language and 2014’s true.deep.sleeper EP, the band quickly established themselves as one of the preeminent, contemporary shoegazer rock acts while being quite busy — last year, they quietly released a split EP with die you die, as well as a limited cassette run of the “Lemonheart”/”sparks.fly.from.a.kiss” 7 inch, which interestingly retained the well-known and beloved wall of sound and swooning urgency along the lines of RIDE, Swervedriver, The Verve and Slowdive while nodding at Primal Scream, The Jesus and Mary Chain and others.

Interestingly, the band’s latest effort Strawberry Skin was released last week through PaperCup Music and the EP found the band working with frequent collaborator and producer Monte Vallier, who has also worked with Weekend and Wax Idols — and along with Vallier, the album features contributions from Jorge Elbreht, who was a founding member of Violens and is currently working with No Joy and Ariel Pink’s backing band and Guy Fixsen, who has worked with My Bloody Valentine and Wire, among a lengthy and impressive list of artists. The EP’s latest single, EP title track “Strawberry Skin” will further cement the band’s reputation for crating shimmering and anthemic shoegaze with a swooning urgency; however, the song possesses a abrasive and muscular quality just underneath the surface — and it reveals a band subtly experimenting with their sound.

Directed by Emmanuella Zachariou, the recently released music video possesses a dream-like logic reminiscent of 120 Minutes-era MTV, complete with action going forward and in slow-motion as though the viewer is in a fever dream. The band is playing two shows to support the EP, so check out live dates below — and be on the lookout for the band’s long-anticipated sophomore effort, slated for release later this year.

Uncategorized by William Ruben Helms

New Video: ATPBS’ Bassist Releases a Noisily Psychedelic Visuals for New Solo Single “Fire”

Although he may be best known as a member of renowned Brooklyn-based trio and JOVM mainstays A Place to Bury Strangers, the New Zealand-born, Brooklyn-based bassist Dion Lunadon can trace the origins of his music career to when he cut his teeth in his homeland as a member of The D4. During a short break in touring with APTBS, Lunadon had a sudden rush of inspiration that resulted in what he has described as a neurotic implies to write and record a bunch of songs right there and then — and the result was his solo debut EP, Com/Broke, an effort which drew from the bands that inspired him in his youth, including Toy Love and The Gun Club, as well as New Zealand unknowns such as Gestalt and Supercar while defying what may typically expected of someone who’s approaching middle age.

Lunadon’s highly-anticipated and still untitled full-length debut is forthcoming and the album’s first single “Fire” reveals a man, who refuses to start the process of going quietly into the night, but instead maintains the primal, furious roar that many heard on Com/Broke while subtly drawing from psych and garage rock as soaring organs are paired with enormous power chords with blistering peals of feedback, a forceful and propulsive bass line, thundering drumming and Lunadon’s shouting and howling throughout the song. Interestingly, the song manages evoke a tense, anxious paranoia — the anxious, creeping paranoia that many of us likely feel during this weird political climate.

Directed by Ryan Ohm at Weird Life Films, the recently released video is a slickly edited, purposely schlocky, psychedelic collage of cult-favorite 70s and early 80s horror films, TV commercials, soap operas and post-punk and No Wave acts and other random, period specific ephemera.

Video by William Ruben Helms

New Video: Introducing the Trippy Visuals and The Jesus and Mary Chain-Inspired Sounds of Aarhus, Denmark’s Love Talk

Currently comprised of Casper Iskov (vocals), Mathias Risager (drums), Jens Hyldahl (bassist) and Andreas Frandsen (guitar), the Aarhus, Denmark-based  indie rock quartet Love Talk can trace their origins to when its co-founders Casper Iskov and […]

New Audio by William Ruben Helms

Although he may be best known as a member of renowned Brooklyn-based trio and JOVM mainstays A Place to Bury Strangers, the New Zealand-born, Brooklyn-based bassist Dion Lunadon can trace the origins of his music career to when he cut his teeth in his homeland as a member of The D4. During a short break in touring with APTBS, Lunadon had a sudden rush of inspiration that resulted in what he has described as a neurotic implies to write and record a bunch of songs right there and then — and the result was his solo debut EP, Com/Broke, an effort which drew from the bands that inspired him in his youth, including Toy Love and The Gun Club, as well as New Zealand unknowns such as Gestalt and Supercar while defying what may typically expected of someone who’s approaching middle age.

Lunadon’s highly-anticipated and still untitled full-length debut is forthcoming and the album’s first single “Fire” reveals a man, who refuses to start the process of going quietly into the night, but instead maintains the primal, furious roar that many heard on Com/Broke while subtly drawing from psych and garage rock as soaring organs are paired with enormous power chords with blistering peals of feedback, a forceful and propulsive bass line, thundering drumming and Lunadon’s shouting and howling throughout the song. Interestingly, the song manages evoke a tense, anxious paranoia  — the anxious, creeping paranoia that many of us likely feel during this weird political climate.

 

Single Review by William Ruben Helms

 

With the release of their self-titled full-length debut, the Welsh quintet Chain of Flowers have quickly established a growing national and international reputation for a dense, noisy and punishing shoegazer-like sound that’s been compared favorably to The Smiths, Joy Division, Eagulls, Iceage, Ceremony and The Cure — and as a result, the band has received extensive airplay on BBC Radio 6 and KEXP and have toured across the UK with The Fall, The Chameleons, Ceremony,  JOVM mainstays A Place to Bury Strangers, Nothing, Eagulls and others. Building upon 2016’s massive buzz, the members of the band will be releasing a 7″ through Blackest Ever Black Records sometime this month and next month, will be in Austin, TX playing a number of SXSW showcases celebrating and promoting both British and Welsh artists. In the meantime, “Crisis,” off their self-titled debut is a murky and pummeling shoegazer track in which thunderous and propulsive drumming is paired with towering layers of shimmering and swirling guitars fed through delay and reverb pedal and submerged, distorted vocals. Indeed, much like The Jesus and Mary Chain, the aforementioned A Place to Bury Strangers, Slowdive and even Grave Babies, the Welsh band’s sound is muscular yet enveloping, murky yet stunningly beautiful — and evokes a contemporary anxiousness and powerlessness.

 

 

 

Single Review by William Ruben Helms

Comprised of Brian Purington (guitar), Chris Hackstie (electric and pedal steel guitar), Earl Bowers (drums), James Alexander (viola), Kirk Latkas (keys) and Scott Telles (bass), the Austin TX-based prog rock sextet my education have four previously released albums — 5 Popes, Italian, Moody Dipper, Bad Vibrations, Sunrise, and A Drink for All My Friends with material off those albums being remixed by  members of Kinski, Pelican, Red Sparowes and Dalek — and the members of the band released a remastered editor of their full-length debut back in 2013. And adding to a growing profile, the band has played with a number of national and internationally recognized bands including A Place to Bury Strangers, Kinski, Bardo Pond, Dalek, The Black Angels, The Sea and Cake, Warpaint, Alexander Hacke and Algis Kizys, The Psychedelic Furs, The Soundtrack of Our Lives, This Will Destroy You, Sleepy Sun, White Denim, Radar Bros., Eluvium, Sian Alice Group, Don Caballero, Trans Am, Maserati and The Red Sparowes among others.

The Austin, TX-based septet’s forthcoming full-length effort Schiphol is reportedly influenced by the band’s relentless North American touring schedule, which they began back in 1999 and by a grueling tour across Europe in which they played 20 shows in 21 days. And as the band, along with producer Mike McCarthy, who’s best known for his work with Spoon, . . . And Know You Will Know Us By The Trail of Dead and Patty Griffin, began working on the material that would comprisgggge Schiphol, the band began recognizing that a series of themes would seem to repeatedly come up with their latest mat rial — expressing feelings of paranoia, longing, fear, the desperate desire to escape and an overwhelming sense of statelessness, of being on the road and forgetting where you were from or what home was like. Schiphol‘s latest single “Open Marriages” is a moody and cinematic track in which shimmering guitar chords, an angular and propulsive bass and an expansive sound structure familiar to Remember Remember,  Mogwai and others.

 

 

Single Review by William Ruben Helms

Featuring members of JEFF The Brotherhood and  Diarrhea Planet, Breast Massage is a Nashville, TN-based All-Star side project that specializes in a bruising, sludgy, power chord-based rock that has had the act headlining Third Man Records‘ Devil’s Night and playing with the likes of A Place to Bury Strangers, Colleen Green and others. “Bathing The Dog,” the first single off their soon-to-be released Cruisin’ For Filth, part of Infinity Cat Records‘ limited release cassette series, is a slow-burning, dirge-like power chord heavy song with thundering, heavy metal-liked drumming that sounds indebted to the Melvins and 90s alt rock.