Tag: alternative rock

New Video: Scotland’s Close Lobsters Release a Meditative Visual for Jangling “Godless”

Formed back in the mid 80s, the Paisley, Scotland, UK-based alt rock/indie rock act Close Lobsters— Andrew Burnett, Bob Burnett, Tom Donnelly, and Stewart McFayden — first came to prominence with “Firestation Towers,” a track that appeared on NME‘s C86 compilation.

Shortly, after the release of that compilation, the Scottish alt rock quartet signed to Fire Records, who released their debut single “Going To Heaven To See If It Rains” in October 1986. Their second single “Never Seen Before” was released in April 1987 and the single managed to establish the act as one of the region’s leading emerging indie bands at that time. Building upon a growing profile, the band went on to release two albums: 1987’s Foxheads Stalk This Land, which was released to praise from Rolling Stone, who wrote that the album was “first-rate guitar pop from a top-shelf band. Close Lobsters could have been just another jangle group, but they have a lot more going for them than just chiming Rickenbackers” — and 1989’s Headache Rhetoric. 

By 1989, the band’s popularity on US college radio led to an appearance at that year’s New Music Seminar and an extensive Stateside tour. After successful tours across the UK, Germany, the States and Canada, the band went on an extended hiatus. Fire Records released the Forever, Until Victory! singles retrospective in October 2009. (Interestingly, the retrospective’s title is derived from the reputed last sign-off in a letter Ernesto “Che” Guevara, who wrote to Fidel Castro, “¡Hasta la victoria siempre!”)

After a 23-year hiatus, the members of the Scottish indie rock act reunited to play 2012’s Madrid Popfest, Glasgow Popfest and Popfest Berlin, which they followed up with 2013’s NYC Popfest.  May 2014 saw the band playing Copenhagen Popfest, and the release of the first batch of new recorded material from the band in 25 years, that year’s Kunstwerk in Spacetime EP, which featured the attention grabbing lead single “Now Time.” After releasing one more single in 2015, the band went back on hiatus.

Released earlier this year through Last Night From Glasgow and Shelflife Records in the States, Close Lobsters’ John Rivers-produced Post Neo Anti is the first full-length album from the Scottish indie rock band in 31 years.  Recorded between 2014 and 2019, the Roberts-produced album finds them collaborating with the producer of their 1986 debut — and in some way the long-awaited album is a sort of return to form. “Godless,” Post Neo  Anti’s second and latest single is a slow-burning and jangling bit of guitar pop that brings Starfish-era The Church to mind — in particular, Hotel Womb.”  Interestingly, the song manages to capture the desperate, exhausting, infuriating and uncertain air of our moment, but with the hopes that we’ll able to tour our morally bankrupt world into a better, fairer place. 

The recently released video is part lyric video, and part stylish and brooding mediation and part live performance footage with an eerie quality. Throughout there’s this sense of absence and longing. 

New Video: Greg Dulli Pays Homage to Bob Fosse’s “All That Jazz” in Cinematically Shot Visual for “Pantomina”

Best known as the founding member, frontman and creative mastermind behind JOVM mainstays The Afghan Whigs and The Twilight Singers, Greg Dulli has a well-established reputation as a poet laureate of the bizarre whims and cruel tangents of desire and all things dark and brooding.

Although Dulli has been involved in a number of projects during his 30+ year recording career, his first solo full-length album under his own name Random Desire is slated for a February 21, 2020 release through Royal Cream/BMG. Random Desire can trace its origins to the aftermath of The Afghan Whigs’ most recent album, 2017’s critically applauded In Spades: Patrick Keeler was about to take a short sabbatical from the band to record and tour with his other band, The Raconteurs. Dulli’s longtime collaborator and bandmate John Curley went back to school. And the band’s longtime guitarist Dave Rosser tragically died after a battle with colon cancer.

So Dulli returned to his teenaged bedroom roots, finding inspiration through the model of legendary, one-man, multi-instrumentalist band visionaries like Prince and Todd Rundgren with the Hamilton, OH-born, Los Angeles-based singer/songwriter writing and playing almost every part of the album — from piano and bass lines to drums. Much like he’s always done throughout his career, the music came first and the lyrics completed later. Written and recorded in several different locations including Dulli’s Silver Lake home; Crestline, CA, in the mountains above San Bernardino; and New Orleans — with the bulk of the album being done at Christopher Thorne’s Joshua Tree, CA-based studio.  While Dulli handled most of the album’s instrumental duties, he managed to collaborate with an all-star cast of musicians including his Afghan Whigs bandmates Jon Skibic (guitar) and multi-instrumentalist Rick G. Nelson, his Twilight Singers bandmate Mathias Schneeberger, Dr. Stephen Patt (pedal steel and upright bass) and Queens of the Stone Age‘s and The Mars Volta‘s Jon Theodore (drums).

“Pantomina,” Random Desire‘s swaggering and self-assured first single is centered around layers of buzzing power chords, a handclap-led hook and lyrics that alternate between sardonic, desperately lonely, and triumphant — often within a turn of a phrase.  Much like his acclaimed work with The Afghan Whigs and The Twilight Singers, the new single delves into the psyche and emotions of a deeply fucked up, dysfunctional narrator with fucked up, dysfunctional relationships — but there’s also a hard fought, world-weary wisdom at its core.

Directed by longtime Afghan Whigs visual collaborator Philip Harder, who stars as Bob Fosse, along with dancers, Paula Vasquez Alzate, Desare Cox, Elayana Waxse, Maggie Zepp, LaTanya Cannaday, Karen Yang, Mia Bird and Reyona Elkins, the recently released and gorgeously shot video for “Pantomina” captures the life behind-the-scenes and on-stage with an intimacy and familiarity of  performer, before going to the frenetically shot performance and the collapse, then death of its hard-living, harder working choreographer protagonist. As Greg Dulli says in press notes. the video “is a homage to the movie All That Jazz. ‘Pantomina’ feels like a show tune to me.”

New Video: Two from Grunge Legends L7

Currently comprised of founding members Donita Sparks (vocals, guitar) and Suzi Gardner (guitar, vocals) along with Jennifer Finch (bass) and Demetra Plakas (drums), the acclaimed and pioneering, Los Angeles-based grunge act L7 can trace their origins back to 1985, a full year after Gardner had contributed backing vocals to Black Flag’s “Slip It In.”

Once Sparks and Gardner formed the band, they were added by Finch and Roy Koutsky (drums). Koutsky left shortly after and was briefly replaced by Anne Anderson (drums) in 1988. After Anderson left the band, Plakas became the band’s permanent drummer. Although they formed Rock for Choice, a pro-choice women’s rights group that was supported by the likes of Pearl Jam, Red Hot Chili Peppers, Nirvana, and Rage Against the Machine, they’re best known for their third album, 1992’s Butch Vig-produced Bricks Are Heavy, which featured their seminal track (and smash hit) “Pretend We’re Dead.” “Pretend We’re Dead” spent 13 weeks on the US Alternative Charts, peaking at #8 and reached #21 on the UK Singles Chart.

After the release of 1994’s Hungry for Stink, which was supported by that year’s Lollapalooza tour with Smashing Pumpkins and The Breeders, the band went through a number of lineup changes: Finch left the band during the recording of 1997’s The Beauty Process: Triple Platinum, an album that featured bass playing by Sparks and Greta Brinkman; however, Belly’s Gail Greenwood joined the band.

1999’s Slap-Happy didn’t chart on either side of the Atlantic, and sometime after the release of that album, the Los Angeles-based grunge band went through yet another lineup changes with Greenwood leaving the band to be replaced by Stone Fox’s Janis Tanaka, who later played bass in Pink’s and Bif Naked’s backing bands.

By 2001, the members of L7 weren’t touring and were on an indefinite hiatus. During that time Sparks formed a new band, Donita Sparks and The Stellar Moments while Finch was a member of punk rock act The Shocker. Simultaneously during that period, Sparks was working on a documentary on the band, which was rumored to have a 2014 release date. And interestingly enough, by the end of 2014 the band announced that they would reuniting featuring the lineup with which they achieved their biggest success — Sparks, Gardner, Finch and Plakas.

The reunited L7 toured Europe and North America with a number of stops across the international circuit in 2015 including Germany’s Rock am Ring, Riot Fest stops in Denver and Chicago, and Austin’s Fun Fun Fun Festival.  The Sarah Price-directed L7 documentary, L7: Pretend We’re Dead was released in 2016 while the band was on a busy tour schedule throughout both 2016 and 2017.

Building upon the growing buzz surrounding the reunited band, the members of the Los Angeles-based grunge outfit released “Dispatch from Mar-a-Lago,” their first new song in almost 18 years in September 2017. They followed that up with “I Came Back to Bitch,” which was released in February 2018. The band’s recently released seventh album Scatter the Rats is the first album from the Los Angeles-based grunge outfit in 20 years and from album singles “Burn Baby” and “Stadium West,” the new album is sort of a return to form: scuzzy and distorted power chords, thunderous drumming, snarled lyrics and rousingly anthemic hooks. And interestingly enough, both singles reveal that the members of L7 have had a massive influence on contemporary indie rock — you can hear L7’s influence in the work of JOVM mainstays The Coathangers, Sharkmuffin, Dream Wife and others. 

New Audio: Mudhoney Releases an Incisive and Furious Single from First Full-length Album in Over 5 Years

Currently comprised of founding members Mark Arm (vocals, rhythm guitar), Steve Turner (lead guitar) and Guy Maddison (bass), along with Dan Peters (drums), who joined the band in 1999, the Seattle, WA-based alt rock/grunge rock band Mudhoney officially formed back in 1988 although the band can trace its origins to the breakup of Green River, a proto-grunge band that at one point featured Alex Vincent (drums), Jeff Ament (bass), Steve Turner, and Stone Gossard (guitar). After releasing two EPs, and several lineup changes, Green River eventually split up with Bruce Fairweather, Gossard and Ament eventually joining Mother Love Bone. Now, if you know your grunge history, you’d know that after Mother Love Bone’s Andrew Wood died from an overdose, Gossard and Ament went on to form Pearl Jam while Arm and Turner reunited to form Mudhoney.

Mudhoney’s earliest releases through Sub Pop Records — namely “Touch Me I’m Sick” and the Superfuzz Bigmuff EP wound up becoming massively influential with the band being credited as being the godfathers of Seattle’s grunge rock sound, a sound that we all know is generally centered around scuzzy, distortion pedal heavy power chords. But despite their towering influence on alt rock, the band has never really seen much commercial success — although Nirvana covered Mudhoney during their legendary Unplugged, filmed and recorded a few weeks before Kurt Cobain’s suicide.

Slated for a September 28, 2018 through their longtime label home, the beloved Pacific Northwest-based grunge legends tenth full-length album Digital Garbage is reportedly, one of the band’s most sociopolitically incisive and blistering albums they’ve recorded; in fact, Digital Garbage’s first single “Paranoid Core” captures the distrust of experts and facts, the rampant fear-mongering and emotional exploitation and the very primal, lizard brained instinctual response that rules our current zeitgeist. And its all centered around boozy, old school punk rock guitar chords, a propulsive back beat and bass line. Western civilization and American democracy are about to collapse before our very eyes but goddamn it, there’s at least rock ‘n’ roll.

Earlier this month, I caught the Brooklyn-based alt rock duo Deaf Poets play on a bill featuring Chicago-based post-punk act Ganser and the Brooklyn-based New Wave act Winkie at Saint Vitus, and as you may recall, the up-and-coming rock duo, comprised of Miami Beach, FL-born, New York-based duo of Sean Wouters (vocals, guitar) and Nico Espinosa (vocals, percussion) can trace their origins to when they met in elementary school. During high school, Wouters and Espinosa went through a long process of musical experimentation, which ultimately led to their founding of Deaf Poets — and since their formation, the Miami Beach-born, New York-based duo have received attention for a sound that effortlessly meshes elements of 70s rock with 80s punk and 90s grunge.

While in their hometown, the duo cemented a place in South Florida’s indie scene, playing some of the area’s best known venues, including Churchill’sBardotGramps and Grand Central, ultimately being named “Best Band of Miami” in 2014 and one of the “20 Most Influential People of Miami” in 2015 by The Miami New Times. Adding to a growing profile, “Degenerate Mind” off their debut album 4150 was part of the Tony Hawk Pro Skater 5 video game soundtrack and was featured as part of Classic Rock Magazine‘s 2014 compilation CD. Along with that, the duo became a regular presence at iiiPoints Festival, where they played four consecutive years on bills that have included Mac DeMarco and Unknown Mortal Orchestra. Additionally, they’ve opened for Matt and Kim and shared stages with Andy RourkeThe EttesPujolJennie Vee, The Peach KingsThe Psychedelic FursThe Growlers, and Dorothy.

Like countless hungry bands before them, the members of Deaf Poets recently relocated to New York, and unsurprisingly, their soon-to-be released EP Change & Bloom is reportedly inspired by the events and personal experiences that have transpired before and during their move, arguably making it one of the more personal and honest efforts of their young and growing catalog — and while the EP will further cement their reputation for swaggering crafting hard-hitting, power chord-based, arena rock, the EP’s latest single “Cigarette,” features a moody and expansive alternating quiet, loud, quiet  song structure centered around effortless time signature changes, tribal-influenced drumming and some impressive and forceful guitar pyrotechnics, revealing an ambitious band experimenting with both their sound and songwriting.

 

 

Formed in Western Massachusetts back in 1982, The Sighs initially began with its founding members Robert LaRoche (lead vocals, guitar) and Tommy Pluta (bass, vocals), two lifelong musicians, who had bonded over their mutual love of The Beach Boys, Crosby, Stills and Nash and other acts that employed the use of multi-part harmonies — and the duo of LaRoche and Pluta quickly learned that they own voices blended together beautifully.  Tom Borawaski (drums) and Matt Cullen (lead vocals, guitar) were recruited to flesh out the band’s sound and to complete their lineup, and as a quartet the band quickly made a name for themselves as a must-see live act across the region. As Tommy Pluta explains in press notes “One luxury of living in Western Mass is that we played all the colleges and clubs for years and years. By the time things started happening for us, we were primed for it — we sounded really tight and everything was just spot on.”

As the story goes, the members of The Sighs crossed pants with John DeNicola, an Oscar Award-winning songwriter, who co-wrote “(I’ve Had) The Time of My Life” and producer, and his production partner Tommy Allen at the China Club, the band signed with Charisma/Virgin Records and released What Goes On to critical acclaim; in fact, the band built upon a growing profile with tours with Gin Blossoms, Dada and others.

The Sighs third full-length effort Wait On Another Day is the first release from the Western Massachusetts-based indie rock quartet in over 20 years, and the material on the album can trace its origins to a recently unearthed batch of demos recorded on analog tapes back in the 90s that the band’s Matt Cullen stumbled upon. Once Cullen had shared the demos with his bandmates and their longtime producer John DeNicola, the members of the band decided to reconvene at DeNicola’s Upstate New York-based studio and revise a handful of songs; however, as the band’s drummer Tom Borawaski explains “.  .  . it all came together so well, and we were having such a great time, we ended up making a whole album. It really just took on a life of its own.”

“All the years of playing together left a permanent mark on us. It wasn’t too difficult to tap into our musical and personal bond again,” LaRoche says of the album, which occurred over a spontaneous five-day recording session. As Borawski adds, “Everything had more of a spark to it than when we made What Goes On, where we put all the songs under a microscope and tried to get it all completely perfect.” And as a result, the material possesses an uncommon urgency and vitality — of the sort the most bands wish they could capture on wax; but interestingly enough, as Pluta notes, the material on the album focuses on many of the things they had written about in the past: girls, getting kickedd around, hopes and dreams and falling in love. And perhaps because of the band’s age and experience, the material possesses the wistful tone of one, who has accepted both the passing of time, and the strange sense that the more things change, the more they manage to remain completely the same. So what if you’ve traveled the world, read the great novels, seen and done all that’s needed to be seen? Heartache is heartache and everyone knows it at some point, and life is about knowing what to do once your heart is broken again and again and again and again . . .

The album’s latest single “It’s Real” is jangling guitar pop paired with gorgeous harmonies, impressive guitar work, and the sort of anthemic hooks reminiscent of The SmithereensStarfish, Gold Afternoon Fix and Forget Yourself-era The Church but with a swooning and urgent romanticism; after all, the song is about some of the classic rock ‘n’ roll tropes: wildly passionate love with that pretty young thing and the desperate excitement of it being real, for perhaps the first time and of finally achieving something that you’ve dreamt of for such a long time.

 

 

 

 

 

Comprised of Stefanie Drootin, best known for stints in The Good Life, Big Harp and in the backing bands of She & Him and Bright Eyes, and her Big Harp bandmate Chris Senseney, the Los Angeles, CA-based indie rock duo Umm specialize in a sound that features fuzzy power chords, plaintive and swooning pop-leaning harmonizing and anthemic hooks reminiscent of The Breeders, The Posies and others as you’ll hear on “I’m in Love,” the latest single off the duo’s forthcoming full-length debut Double Whisper. Certainly, as a child of the 80s, who started to come off age in the 90s, “I’m in Love” reminds me of making mixtapes, dubbing my friends tapes and making dubs for friends and spending countless hours in record stores.