Tag: alt rock

Oakland-based singer/songwriter and multi-instrumentalist Jason Hendardy is the creative mastermind behind the post-punk/alternative rock/noise rock project Permanent Collection.  Since Hendardy started the project back in 2010, Permanent Collection has gone through a series of different iteration: the project’s debut EP, 2011’s Delirium was a collection of home solo recordings, which he supported with a number of solo shows and tours.

With the release of 2012’s full-length debut Newly Wed, Nearly Dead the project expanded into a full-fledged band with the addition of Megan Dabkowski (bass), Brendan Nerfa (guitar), Mike Stillman (drums), who were in the band for close to two years. By the end of 2013, the band’s lineup became more fluid as the band featured a rotation cast of collaborators that included Terry Malts and Business of Dreams‘ Corey Cunningham (guitar). The project’s 2013 EP No Void was written and recorded as a trio and after a series of touring to support it, Permanent Collection went on a hiatus with Hendardy focusing on writing music for other bands and several different creative projects, as well as work in video and sound design.

Late last night, Hendardy started to focus his efforts on writing new Permanent Collection material, and the end result is his soon-to-be-released and highly anticipated album Nothing Good Is Normal. All June digital sales of the new record, Nothing Good Is Normal, are going to the Anti Police Terror Project.

Clocking in at just under 2 minutes,  album single “Breakaway” is a mosh pit friendly ripper full of the scuzzy power chords, thunderous drumming, howled vocals and enormous hooks that brings JOVM mainstays A Place to Bury Strangers and The Jesus and Mary Chain to mind. Play loudly and mosh the fuck out. 

 

New Audio: Los Angeles’ The Know Covers The Jesus and Mary Chain

Los Angeles-based dream pop/shoegaze duo The Know, married couple and collaborators Daniel Knowles and Jennifer Farmer, can trace their origins to late 2018, when Knowles suggested to Farmer that instead of traveling home for the holidays — the UK and Texas respectively — that they stay put in Los Angeles and try to write music together, just the two of them. And the material they would write would be their gift to themselves.

Over a couple of weeks, they isolated themselves in their home studio with no real plan but they shared a mutual love of Beach House, Julee Cruise, ye ye, The Jesus and Mary Chain, 60s girl groups, Patsy Cline and The National. Interestingly, the first batch of material they wrote together, included their debut single “143.” Inspired by Tom Waits‘ “(Looking for) The Heart of Saturday Night,” “143” found the duo meshing the autobiographical with the fantastic: focusing on the hazy half-remembered recollections of a wild night out paired with an instrumental arrangement that seemed indebted to Beach House and 60s girl groups.

Their second single “Hold Me Like You Know Me,” a personal account of the intense feelings of loneliness and isolation that the band’s Farmer felt over the past year, received favorably comparisons to David Lynch’s Twin Peaks and Phil Spector‘s Wall of Sound production.

Both of those singles will be included on the duo’s forthcoming debut EP, wearetheknow. Slated for a May 18, 2020 release, the EP finds the duo fully embracing a DIY ethos: the EP was produced, mixed and mastered by the band’s Knowles with Farmer handling the band’s visual side, including their videos and visual content. And as a result, the duo ensure that they have complete creative control over what they do. Thematically, the EP delves into the duo’s personal lives with the material touching upon their relationship and their experiences  — paired with a kaleidoscopic soundscape. 

Now, as you may recall, last month, I wrote about “Someday Maybe,” a track that continued a run of material based on their personal experiences while sonically meshing Phil Spector’s Wall of Sound with The Stone Roses and others as it featured swooning boy-girl harmonies paired with layers of swirling and buzzing guitars and pedal effects.  Interestingly, the duo’s latest single, a cover of The Jesus and Mary Chain’s “Sometimes Always” was inspired by quarantine-induced boredom — and was initially just intended for their own amusement and ears. After completing the track, the duo liked the way it came out, so they sent it to their CLUB 143 fan club an exclusive listen and feedback. The feedback was so positive that the and decided to squeeze in another single before the release of their debut EP. 

The Know’s cover of “Sometimes Always” the first song in which Knowles takes on lead vocal duties — but the cover is a deceptive, sonic detour with the duo taking one of The Jesus and Mary Chain’s more pop-leaning songs and playing it in the style of the influential act’s psychedelic leaning material.  And yet, it still manages to hew closely to the spirit and overall vibe of the original. 

New Video: The Dream Syndicate’s Trippy and Meditative Visual for “Apropos of Nothing”

Over the better part of the past 12-15 months or so, I’ve managed to spill quite a bit of virtual ink writing about the acclaimed Los Angeles-based psych rock act and JOVM mainstays The Dream Syndicate. Tracing its origins back to the early 80s, the band which currently features founding members Steve Wynn (guitars, vocals), a critically applauded singer/songwriter and solo artist and Dennis Duck (drums), along with the band’s most recent members Mark Walton (bass) and Jason Victor (guitar), the members of the acclaimed psych rock act just released their third post-reunion and seventh full-length album The Universe Inside through Anti- Records. 

Arguably one of the most forward-thinking, mind-bending efforts they’ve yet to release, the album marks the first time in their storied history in which every song on the album was conceived and written as a collective group. And the result is an album that sounds unlike anything they’ve done together or individually. Musically, the material draws from each individual member’s eclectic interests and passions: Dennis Duck’s love and knowledge of European avant garde music, Jason Victor’s love of 70s prog rock, Mark Walton’s experience in Southern-friend music collectives, Chris Cacavas’ interest in sound manipulation and Wynn’s love of 70s jazz fusion. Interestingly, the album’s material comes from one completely improvised session in which the band created 80 continuous minutes of soundscapes. “All we added was air,” Wynn explains in press notes. So, aside from vocals, horns and a touch of percussion here and there, every instrument is recorded live as it happened.

So far I’ve written about the album’s first two single. The album’s the sprawling, Bitches Brew and Jack Johnson-era Miles Davis meets prog rock and psych rock-like first single, “The Regulator,” which features The Long Ryders‘ Stephen McCarthy on sitar and Butcher Brown‘s Marcus Tenney on sax. Adding to the lysergic and hazy vibe, Wynn’s vocals were fed through vocoder and ghostly effects — and then buried within the mix. The album’s second single was the brooding and atmospheric “The Longing,” an eerily prescient meditation on mortality and the passage of time that evokes the creeping realization of one’s own morality; the awareness of unfinished business and the gnawing lack of closure or even meaning; and the uneasy feeling of being adrift and alone in a frightening and uncertain world. 

The album’s third and latest single “Apropos of Nothing” continues the album’s lysergic vibes: The song opens with an expansive and trance-inducing introductory section centered around shimmering and reverb-drenched guitars and a motorik-groove and surrealistic and impressionistic lyrics that slowly builds up into the sort of ecstatic catharsis reminiscent of the Sufi whirling dervishes.

“The only verbal cue that came during the entire 80 minutes of improvisation that led to The Universe Inside happened as we started the section that became ‘Apropos of Nothing,’” Wynn explains. “We had been messing around in the key of E on the bits that led to ‘The Regulator’ and ‘The Longing’ and then Stephen McCarthy said ‘Let’s try something in G.’ He started playing the figure that starts the section and off we went. We were so locked in with each other and our antennae were poised for any clues that anyone in the band had to offer.

When I went back to Richmond to finish the record I knew I wanted to sing something on this section.  I went into the studio and quickly wrote the words—it took about 5 minutes—just so I’d have something to sing. I did one pass and said, ‘Give me another track so I can try out a harmony.’ I did that in one pass as well and that was that. It’s really a good sign—and definitely the pattern of things for this particular record—when things happen so easily and naturally.”

Directed by long-time visual collaborator David Dalglish, the recently released video is a cinematic meditation on the passage of time and our potential watery demise. And as the video suggests, what of our things and our world if we’re no longer here to give them meaning? 

New Video: The Dream Syndicate Releases a Haunting Meditation on Time and Mortality

Over the past year or so, I’ve managed to write quite a bit about the acclaimed Los Angeles-based psych rock act The Dream Syndicate. Tracing its origins back to the 80s, the band which currently features founding members Steve Wynn (guitars, vocals), a critically applauded singer/songwriter and solo artist and Dennis Duck (drums), along with the band’s most recent members Mark Walton (bass) and Jason Victor (guitar), the members of the acclaimed psych rock act will be releasing their latest effort, The Universe Inside through Anti- Records on April 10, 2020. 

Officially, their third reunion-era effort and their seventh overall, the forthcoming album will reportedly be one oft he most mind-bending and trippiest efforts they’ve released to date — and for the first time in their storied and lengthy history. every song on the album is a group songwriting effort. Musically, the material draws from each individual member’s eclectic interests and passions: Dennis Duck’s love and knowledge of European avant garde music, Jason Victor’s love of 70s prog rock, Mark Walton’s experience in Southern-friend music collectives, Chris Cacavas’ interest in sound manipulation and Wynn’s love of 70s jazz fusion. Recorded in one session, the band recorded 80 continuous minutes of soundscapes. “All we added was air,” Wynn explains in press notes. So, aside from vocals, horns and a touch of percussion here and there, every instrument is recorded live as it happened.

Last month, I wrote about the album’s sprawling and epic first single “The Regulator.” Now, as you may recall, the single clocked in at a little under 21 minutes and was sort of seamless synthesis of Bitches Brew and Jack Johnson-era Miles Davis, motorik groove-driven prog rock and 60s psych rock — thanks to droning electric sitar played by The Long Ryders‘ Stephen McCarthy, a sinuous bass line, soulful sax flourishes by Butcher Brown‘s Marcus Tenney. Adding to a lysergic vibes, Wynn’s vocals were fed through vocoder and ghostly effects and then buried within the trippy and funky mix.

“’The Regulator’ is a microcosm of the entire record,” Wynn explains in press notes. “It was just a formless, trippy mass as we all started playing together. There was an early 70’s drum machine—a Maestro Rhythm King, the same model used on There’s A Riot Goin’ On—with Dennis locking in and setting the pace. Stephen grabbed an electric sitar because it was the first thing he saw. Jason and I were kicking pedals on like lab monkeys in a laboratory and Mark was a lightning rod, uniting all of those elements into one tough groove. I collected a list of random, unconnected lyric ideas that I kept on my phone. I tried them all out in random order in my home studio just to see how they would feel and that one-take test run is the vocal you hear! There’s just so much lightning-in-a-jar, first take excitement on this record.”

The Universe Inside’s second and latest single is the brooding and atmospheric “The Longing.” Centered around shimmering and reverb-drenched guitars, a propulsive bass line, jazz-like drumming and Steve Wynn’s imitable vocals, “The Longing” is an eerily prescient meditation on morality and the passage of time that manages to capture and evoke things I’ve personally felt over the past year or two — and that many of us have felt recently: the creeping realization of one’s mortality; the sense that there will be some degree of unfinished business — both professionally and personally; the mournful and uneasy feeling of being adrift, alone and frightened in an uncertain world. 

“A friend of mine once said, ‘You ought to write a song about longing,’” the band’s Steve Wynn says of the song and its title. “This was a few years back but it stuck with me and when I was listening to minutes 20 through 28 of the improvisation that became The Universe Inside I knew that the suggestion had finally found its proper home. This section of music — that followed in real time the part that became “The Regulator” — felt so mournful and lost and adrift and confused, much like longing itself. You think you know where it’s at? The longing is stronger than that.”

Directed by the band’s longtime visual collaborator David Daglish, the recently released video for “The Longing” is a cryptic yet gorgeous meditation on yearning, memories and the inevitable (and unstoppable) passage of time. “Our resident visual interpreter David Dalglish picked up on that feeling for a video that connected hauntingly to that feeling of distance and memory. And now?  Suddenly it all feels very much of the moment. A chasm, sleepless for day and days, rootless, unsettled and alone.  All that’s left is the longing,” the band’s Steven Wynn explains in press notes. 

New Audio: JOVM Mainstay Mark Lanegan Releases a Brooding and Atmospheric New Single

I’ve spilled a fair share of virtual ink covering Mark Lanegan over the years on this site. And as you may recall, the Ellensburg, WA-born, Los Angeles, CA-based singer/songwriter and guitarist is known for being the frontman and founding member of Seattle-based grunge rock pioneers Screaming Trees and for a lengthy career as an acclaimed solo artist, who has collaborated with an eclectic array of artists and bands — including  Nirvana’s Kurt Cobain on an unreleased Lead Belly cover/tribute album recorded before the release of Nevermind; as a member of the renowned grunge All-Star supergroup/side project Mad Season with Alice in Chains‘ Layne Staley and Pearl Jam’s Mike McCready; as a member of  Queens of the Stone Age featured on five of the band’s albums — 2000’s Rated R, 2002’s Songs for the Deaf, 2005’s Lullabies to Paralyze, 2007’s Era Vulgaris and 2013’s . . . Like Clockwork; with The Afghan Whigs‘ Greg Dulli in The Gutter Twins; as well as former Belle and Sebastian vocalist Isobel Campbell on three albums. Additionally, Lanegan has contributed or guested on albums by Melisa Auf der Maur, Martina Topley-Bird, Creature with the Atom Brain, Moby, Bomb the Bass, Soulsavers, Greg Dulli’s The Twilight Singers, UNKLE and others.

Lanegan’s 11th full-length solo album Somebody’s Knocking continued an incredible run of critically applauded releases but the album’s material found the JOVM mainstay and grunge rock legend turning to some of his most formative musical influences and profound loves — electronic music.  “I’ve always been into electronic music since I was a kid,” Lanegan said in press notes at the time. “I think the reason those elements have become more obvious in my music is that my tastes have changed as I’ve grown older. The bulk of what I listen to now is electronic. Alain Johannes and I had actually written “Penthouse High” for Gargoyle but then it didn’t really fit on that record. I have been a huge fan of New Order and Depeche Mode forever and have wanted to do a song along those lines for a long time – a blatantly catchy, old-school dance-type song.”

2020 looks to be a momentous year for Lanegan: Lanegan’s memoir Sing Backwards and Weep will be published by Da Capo Press on April 28, 2020 — and his 12th solo album Straight Songs Of Sorrow will be released through Heavenly Recordings on May 8, 2020. Featuring guest appearances from his longtime  Greg Dulli, Warren Ellis, the legendary John Paul Jones, Ed Harcourt and countless others, Straight Songs Of Sorrow is inspired by his own life story, as documented in his memoir.

Reportedly, Sing Backwards and Weep is a brutal, nerve-shredding read, centered around Lanegan’s unsparing and unadulterated candor recounting his journey from troubled youth in Eastern Washington, through his days as a drug-fueled member of Seattle’s grunge rock scene to today with Lanegan finding peace and salvation within himself. While the book documents his lifelong struggle to find peace within himself, his forthcoming 12th album emphasizes the extent to which he realized that music is his life.

“Writing the book, I didn’t get catharsis,” he chuckles. “All I got was a Pandora’s box full of pain and misery. I went way in, and remembered shit I’d put away 20 years ago. But I started writing these songs the minute I was done, and I realized there was a depth of emotion because they were all linked to memories from this book. It was a relief to suddenly go back to music. Then I realized that was the gift of the book: these songs. I’m really proud of this record.”  In press notes, Lanegan affirms that each of Straight Songs Of Sorrow‘s 15 songs references a specific episode or person in the book — albeit, some more explicitly than others.

Whereas the previous two Mark Lanegan Band albums, 2017’s Gargoyle and the aforementioned Somebody’s Knocking found Lanegan pairing his lyrics to music written by collaborators, most of Straight Songs Of Sorrow was written by Lanegan — with the exception being the collaborations with Mark Morton. Two other songs have shared credits — and those two songs were cowritten by Lanegan’s wife Shelley Brien. And much like the book, the album ends with its hero overcoming adversity and struggle and turning, battered and beat up, but cleansed, towards a bright new day.

Last month, I wrote about Straight Songs of Sorrow’s first single, the slow-burning part bluesy lament, part tale of survival and redemption, “Skeleton Key.” Centered around Lanegan’s increasingly Howlin’ Wolf-like baritone, which manages to convey the aching despair, hard-fought and harder-won wisdom that comes from living a messy life, full of dissolution, sin, fucked up decisions and fucked up events. “Bleed All Over,” the album’s second and latest single is a bit more uptempo track featuring rapid fire beats, a looping acoustic guitar line, shimmering synth arpeggios and one of the more plaintive and vulnerable vocal performances from Lanegan in quite some time with a subtle Western tinge. A at its core are the inescapable and lingering ghosts of our lives, the weight of our decisions and actions upon ourselves and others — and the desire to escape it all. 

Marcelo Deiss is a Sao Paulo, Brazil-born, London-based artist whose music blurs the lines between indie rock, blues, folk and hard rock. Heavily influenced by visual artists like Steve Cutts and John Holcroft, Deiss’ work thematically touches upon social alienation, absurdity, despair and human greed — with an ironic, darkly humorous and satirical eye for the absurd in our every day lives. “Cutts and Holcroft’s work embodies a powerful and scary message about humankind which we can all really relate to as human beings. Their work really helped create a clear vision of what I was trying to achieve sonically,” the Sao Paulo-born, London-based artist says in press notes. Typically his work attempts to force audiences to see the obvious absurdities that frequently go unnoticed in our daily lives, by highlighting the news and situations that we all see but conveniently ignore, and the news we hear bu not really listen to, from our overuse and dependency on technology, to our shitty economic policies and our strange daily customs.

Deiss’ latest single, the 120 Minutes-era MTV-like “Horses Running” is centered around  his Bob Dylan-like delivery — half spoken, partially crooned and boozy vocals, fuzzy and distorted power chords, blasts of simmering synths, twinkling keys and rousingly anthemic hooks.  And while sonically recalling Odelay-era Beck, JOVM mainstays Sego and classic blues, the track is fueled by righteous indignation: thematically it focuses on the greed and social disaffection that could wind up killing all of us and destroying what’s left of the Earth. The song was directly inspired by Brexit, Donald Trump, the #MeToo and Black Lives Matter movements, and others that deal with the impact of oppression — and his own observation that the worlds of Brave New World1984 and The Year Of The Flood aren’t very far from our own.

“I think it’s important to discuss topics about our society and the current problems we face together in the modern world. This to me seems more relevant due to the current situation our society is facing right now.”

New Video: Yip Roc Returns with a Drug Addled and Frenetic Single and Visuals

Earlier this year, I wrote about the rapidly rising Amsterdam-based indie rock act Yip Roc —  Jorn ten Ham (guitar, vocals), Chrissie Quast (keys), Milan Hartsuiker (bass) and Kasper de Boer (drums) — and as you may recall, the quartet over the past couple of years have cut their teeth and honed their sound by playing over 100 shows in and around The Netherlands. They’ve released a string of singles that have been critically applauded by Dutch media outlets for their explosive energy and unique use of organ within their material. Building upon a growing profile in their homeland, the rapidly rising Dutch band are ambitiously setting their sights on a larger profile outside of their homeland with the release of their highly-anticipated debut EP 15 slated for release later this year.

“Zubra,” 15 EP’s first single was a furious and breakneck, mosh pit friendly ripper centered around angular power chords, arpeggiated organs and howled vocals that managed to be a tale of a frustrated, desperate lonely and sexually unfulfilled narrator, full of self-doubt, self-loathing and confusion. “K-Hole,” the EP’s second and latest single begins with a syrupy and sedated intro before quickly turning into a frenetic and tense track centered around angular guitars, punchily delivered vocals and wild organ arpeggios. And while continuing a run of mosh pit friendly rippers, the track finds the single finds the band comparing the effects of taking horse tranquilizers to the effects of a terrible and dysfunctional relationship — in other words, a surreal, mind-fuck in which you’re not quite sure if you’re recover. 

The recently released video continues an ongoing collaboration with production unit HACHE — and it’s a frenetic, quick cut, VHS-filmed, drug-addled mayhem that ends like all drug and boozed-fueled nights do: eating greasy and fatty food. 

 

Deena Lynch is a Brisbane, Australia-born and-based singer/songwriter, multi-instrumentalist multi-disciplinary artist and the mastermind behind three very different creative projects —  the rising music project Jaguar Jonze, the narrative illustration project Spectator Jonze and the photography project Dusky Jonze. “Everything I do stems from the need for dialogue – Jaguar being an internal dialogue with my subconscious, Spectator being an external dialogue with others on mental health and the mind and Dusky being a dialogue with the body,” Lynch explains in press notes.

Ultimately, all of her adjacent projects are powerful ways for Lynch to process and explore her most intimate vulnerabilities and dining the depths of her personality while empowering and encouraging others to do the same. “I can/t do anything without meaning,” Lynch says of her her Spectator Jonze project, which centers on bold and surreal pop-art that attempts to de-stigmatize mental-health issues through interviews and illustrated portraits of her subjects. Her 50th portrait, a year into the project, confronted her own PTSD stemming from an unstable, unsafe childhood. “I realized when I stepped out of hiding, I could actually move forward, feel less isolated. I want other people to unburden themselves from the wasted extra energy spent pretending and hiding,” the rising Aussie artist explains. 

Sometimes, she finds her subjects; other times, they find her. “There’s a girl in the States; she’s still one of my favorite drawings,” Lynch recalls. “She reached out to me, having come to terms with her psychosis, depression and anxiety. The level of awareness and openness she had really moved me because I was oblivious to the stigma I still held over the mental illnesses I hadn’t yet been exposed to. We still have this pen pal relationship with each other. We’ve never met in person, but I think she’s one of the biggest supports in my everyday life.”

Her photography project Dusky Jonze focuses on toxic masculinity with provocative photos. “We don’t talk about toxic masculinity enough. So I thought of it’d be funny to shoot male photographers,” Lynch explains. “And they ere open to it. They’d say ‘You know what? This makes me a better photographer.'” As a result, the photo project has become a more fluid effort to undo insecurities and taboos that surround the male and female body within the engendered eye of the photographer — and while the photos are dramatic, there’s a crass and playful sense of humor to them. You may see genitalia obscured with say — a banana. “I wanted it to be crass and crude. I like testing boundaries and making people question why they’re uncomfortable,” she says, laughing. 

Much of Lynch’s early success so far has stemmed from instinct and a healthy dash of serendipity: When she turned 19, she fell into music after a close friend died. While walking home one day, she passed a garage sale, where she purchased her first guitar on a whim. Without a single lesson, she was writing songs to help manage her grief.
“He was always in my ear about living life passionately—he could see that I was falling into this societal structure of doing what everyone expects you to,” says Lynch. 
“He left behind so much; amazing artwork, poetry and film. He was/is inspiring.” 

Her rising music project Jaguar Jonze can trace its origins back to a rather serendipitous moment: while playing an Iggy Pop tribute night in her native Brisbane, she witnessed an unhinged performance of an artist emulating Iggy that made her realize that she needed to up her game. “So, I cracked down two tequila shots,” she recalls. And then she became a roaring banshee. ““Everything I ever suppressed came spilling out. My shame and inhibitions broke down. I wasn’t afraid.” After that performance, everyone started calling her Jaguar Jonze. 

With her first  three original singles  –“Beijing Baby,” “You Got Left Behind” and her latest single “Rabbit Hole,” Lynch has quickly became a buzzworthy sensation in her native Australia: CoolAccidents named her an “Artist to Watch” after catching Lynch perform at BIGSOUND 2019. Since then she was named a Triple J Unearthed Feature Artist, which led to a collaborative cover of Nirvana‘s “Heart-Shaped Box” with labelmates Hermitude on the station’s ongoing Like a Version cover series. And she recently appeared on Eurovision Australia Decides 2020, where she performed such a frantic and energetic version of “Rabbit Hole” that she wound up dislocating her shoulder — in front of a national television audience of about 2 million people.

Lynch will be releasing her Jaguar Jonze debut EP through Nettwerk Music Group later this year — and building upon a rapidly growing profile, Lynch was about to embark on a Stateside tour that included appearances at New Colossus Festival, SXSW and a handful of West Coast dates. Unfortunately, because of the COVID 19 pandemic, many of the things we love and do on a regular basis are on an indefinite hiatus. Naturally, artists are currently anxiously screamingly and trying to figure out next steps — but in the meantime, the world feels like its grinding to a halt.

So I wound up chatting with the delightful and charming Deena Lynch during New Colossus Festival’s third day about a handful of topics including COVID 19, which was on everyone’s minds to the video concept for “Rabbit Hole,” her collaboration with Hermitude and more.

 

 

 

 

 

 

New Video: The Dream Syndicate Releases a Hallucinogenic Visual for Sprawling and Mind-Bending “The Regulator”

Throughout the course of last year, I wrote quite a bit about the Los Angeles-based psych rock act The Dream Syndicate. The act, which is currently comprised of founding members Steve Wynn (guitars, vocals), a critically applauded singer/songwriter and solo artist and Dennis Duck (drums), along with the band’s most recent members Mark Walton (bass) and Jason Victor (guitar) can trace its origins back to the early ’80s. At the time Wynn along with fellow Dream Syndicate founding member Kendra Smith and future True West members Russ Tolman and Gavin Blair founded and played in one of  Davis, CA’s first New Wave bands — The Suspects, Wynn also recorded a single with another band 15 Minutes, which featured members of Alternate Learning. 

After returning to his hometown,. Wynn spent a brief stint researching in another local upstart band, Goat Deity with future Wednesday Week members Kelly and Kristi Callan. And while with Goat Deity, Wynn met Karl Precoda, who had answered an ad seeking a bassist. The duo of Wynn and Precoda started a new band with Precoda switching to guitar.  Wynn’s college pal and former bandmate Smith, along with Duck, who was then a member of Pasadena-based act Human Hands joined the band, completing The Dream Syndicate’s first lineup. (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, with aggressively long, feedback-filled improvisations. In 1982, The Dream Syndicate 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. Building upon a growing profile. Rough Trade Records released Days of Wine and Roses’ 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. Shortly, after that Smith left the band and joined the David Roback (best known for his work in Mazzy Star) in Opal. Smith was released 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 first break up, Wynn along with 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 with 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 for the second time 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, who restlessly explored a variety of different styles and sounds while leading a number of disparate 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 an 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 together.

2017’s How Did I Find Myself Here was the band’s first reunion-era effort and the band’s fifth full-length album overall. Recorded at Montrose Studios, the album featured a lineup of Wynn. Walton, Duck, Victor and Chris Cacavas (keys) with Kendra Smith contributing lyrics and vocals to the album’s final track “Kendra’s Dream.” The band closed out that year with three songs, which landed on the 3 x 4 compilation, a collection of tracks that featured new material from their Paisley Underground counterparts — the aforementioned The Bangles, The Three O’Clock and Rain Parade with each of the four bands also covering songs by the other bands. 

Last year saw the release of the John Agnello and The Dream Syndicate co-produced These Times, the band’s second reunion-era effort and sixth overall. Interestingly, the album’s material is a noticeable sonic departure for the band.  “When I was writing the songs for the new album I was pretty obsessed with Donuts by J-Dilla,” the band’s 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 changed his process for writing lyrics. Instead of the song’s sound being dictated by previously written lyrics, he wrote all of the album’s lyrics after the band finished instrumental tracking, so that the lyrics were influenced by the sounds being played. 

Slated for an April 10, 2020 release through Anti- Records, The Dream Syndicate’s third reunion-era album and seventh overall The Universe Inside will reportedly be one of the most mind-bending efforts they’ve released to date — and for the first time in their lengthy history, every song on the album is a group songwriting effort. Musically, the material draws from each individual member’s eclectic interests and passions — Dennis Duck’s love and knowledge of European avant garde music, Jason Victor’s love of 70s prog rock, Mark Walton’s experience in Southern-friend music collectives, Chris Cacavas’ interest in sound manipulation and Wynn’s love of 70s jazz fusion. Recorded in one session, the band recorded 80 continuous minutes of soundscapes. “All we added was air,” Wynn explained. So, aside from vocals, horns and a touch of percussion here and there, every instrument is recorded live as it happened. 

Interestingly, the album’s first single is the sprawling and epic “The Regulator.” Clocking in at just under 21 minutes, the track sonically is a a sort of seamless synthesis of Bitches Brew and Jack Johnson-era Miles Davis, motorik groove-driven prog rock and 60s psych rock as the track features droning eclectic sitar played by The Long Ryders’ Stephen McCarthy, a sinuous bass line, soulful sax flourishes by Butcher Brown’s Marcus Tenney, Wynn’s vocals fed through vocoder and ghostly effects buried within the trippy and funky mix. 

“’The Regulator’ is a microcosm of the entire record,” Wynn explains in press notes. “It was just a formless, trippy mass as we all started playing together. There was an early 70’s drum machine—a Maestro Rhythm King, the same model used on There’s A Riot Goin’ On—with Dennis locking in and setting the pace. Stephen grabbed an electric sitar because it was the first thing he saw. Jason and I were kicking pedals on like lab monkeys in a laboratory and Mark was a lightning rod, uniting all of those elements into one tough groove. I collected a list of random, unconnected lyric ideas that I kept on my phone. I tried them all out in random order in my home studio just to see how they would feel and that one-take test run is the vocal you hear! There’s just so much lightning-in-a-jar, first take excitement on this record.”

Directed by David Daglish, the recently released video for “The Regulator” is a psychedelic journey through New York that’s equal parts panoramic, somnambulistic, political and hallucinogenic. Throughout, the video accurately captures the city’s frenetic and maddening energy, its lunatics and crackpots, its bold dreamers and hustlers, its sublime beauty and its gritty soul — it’s essentially a microcosm of our world.