Tag: Amoeba Records

Los Angeles-based JOVM mainstays Allah-Las — Matthew Corriea (drums, vocals), Spencer Dunham (bass, guitar, vocals), Miles Michaud (guitar, organ, vocals) and Pedrum Siadatian (guitar, synth, vocals) can their origins to when its members first bonded over psych rock vinyl in the back room at Amoeba Records. And over the course of the past 15 years, the Los Angeles-based quartet have been busy: they’ve developed a reputation for alchemically blending surf rock with folk rock jangle and rock; they’ve built up their lauded music podcast Reverberation Radio; and their record label Calico Discos.

Naturally, a lot has changed throughout the years, and their forthcoming album Zuma 85 reportedly finds the quarter facing a new world with a wealth of new sounds.

The pandemic-induced downtime between 2020-2022 opened up space for the members of the band to focus on their own lives and interests, and the time to re-envision what their creative process could look like and be. When it was safe to reconvene, a sense of looseness proved to be pivotal. Instead of bringing finished songs to the studio, they arrived at Stinson Beach-based Panoramic House with sketches, ideas and riffs.

Working with co-producer Jeremy Harris, the band crafted and shaped the album’s material over the course of three sessions, which were then mixed in Los Angeles by frequent collaborator Jarvis Taveniere. It was clear to the band that the studio’s bucolic environment — observed through picture windows overlooking Stinson Beach and Bolinas Bay — would be conducive to creating Zuma 85‘s material. “We got in real late that first night of the first session,” Allah-Las’ Miles Michaud says. “It was around midnight. We had a quick intro and Jeremy had a bottle of wine. We had a little and he said, ‘You wanna start recording?’”

They wound up recording something. When the group reassembled the following morning to listen to what they recorded, they found the session’s first song “Right On Time” mostly finished. It managed to be unlike anything the band had ever recorded, but it felt entirely natural. “Everything just worked,” Michaud says. “That studio just pulls it out of you.”

Zuma 85 derives its title from a photo of an abandoned by California-based photographer John Divola. Selected by the band’s Matthew Correia, the band’s resident photography fan and graphic designer, the photo juxtaposes a visage of man-man chaos against the natural beauty of the West Coast. It served as a reference point for the album, a symbol for the band’s new era.

Sonically, Zuma 85 reportedly sees the band leaving the familiar territory of their previously released material and embracing newer influences like late-era Lou Reed and John Cale, Peter Ivers, early Brian Eno and Roxy Music, as well as textures borrowed from Japanese pop and loner-folk obscurities. Some of the album’s material touches on komische, others are antehmic and electronic boogie, and there are even prog rock inspired material.

Zuma 85‘s first single, album title track “Zuma 85” is a dreamy composition built around a glistening and looping guitar lines, twinkling percussion, a driving groove powered by relentless four-on-the-floor and atmospheric synth textures paired with an easy-going yet catchy groove. The end result is a trippy take on the komische sound.

The JOVM mainstays will be embarking on a lengthy international tour that features an August 4, 2023 stop at The Rockaway Hotel and a September 11, 2023 stop at Amsterdam’s Paradiso, one of the world’s great music venues. Check out the rest of the tour dates below.

Tour Dates

6/15 – 17 – PiP Fest – Oslo, NO 

6/16 – Bergenfest (Bergenhus Fortress & Castle) – Bergen, NO 

6/17 – Pumpehuset – Copenhagen, DK 

6/20 – Slaktkrykan – Stockholm, SE 

6/22 – Selección Sonora @ Centro Cultural Ágora – A Coruna, Galicia, ES 

6/23 – Dabadaba – Donosti, ES 

6/24 – Tomavistas – Madrid, ES 

6/25 – Wheels & Waves – Biarritz, FR 

6/28 – Zeltival @ Tollhaus – Karlsruhe, DE 

8/3 – Levitate – Boston, MA 

8/4 – The Rockaway Hotel – Queens, NY 

8/30 – Mascotte – Zurich, CH 

9/1 – Room 2 – Glasgow, UK 

9/2 – Psych Fest – Manchester, UK 

9/3 – End Of The Road Festival – Salisbury, UK 

9/4 – Marble Factory – Bristol, UK 

9/6 – KOKO – London, UK 

9/7 – Chalk – Brighton, UK 

9/9 – Le Trianon – Paris, FR 

9/10 – Cactus – Bruges, BE 

9/11 – Paradiso – Amsterdam, NL 

9/13 – Huxleys – Berlin, DE 

9/14 – Muffathalle – Munich, DE

9/16 – Technopolis – Athens, GR 

10/23 – Crescent Room – Phoenix, AZ 

10/24 – Launch Pad – Albuquerque, AZ 

10/26 – Ferris Wheelers Backyard – Dallas, TX 

10/29 – Belly Up – Aspen, CO 

10/31 – Metro Music Hall – Salt Lake City, UT 

11/1 – Treefort Music Hall, Boise, ID

11/2 – Rev Hall – Portland, OR 

11/3 – Freakout – Seattle, WA 

11/4 – Volcanic Theatre Pub – Bend, OR 

11/6 – Goldfield Trading Post – Sacramento, CA 

11/7 – Phoenix Theater – Petaluma, CA 

11/8 – SLO Brew – San Luis Obispo, CA 

11/15 – Lodge Room – Los Angeles, CA 

11/16 – Lodge Room – Los Angeles, CA 

11/18 – August Hall – San Francisco, C

New Video: JOVM Mainstays Holy Ghost! Release an Intimate Behind the Scenes Visual on the Making of a Vinyl Record

I’ve written quite a bit about the New York-based electro funk/neo-disco production and artist and longtime JOVM mainstays Holy Ghost! over the years, and as you may recall, l, with the release of the their first three full-length albums — 2011’s self-titled debut, 2013’s Dynamics and 2014’s remix album Work For Hire — the duo, which is comprised of Alex Frankel and Nicholas Millhiser received attention nationally and internationally. Building upon a growing profile, the duo have remixed the work of Katy Perry, LCD Soundsystem, Moby and a lengthy list of others; made national TV appearances on Jimmy Kimmel Live! and The Late Show with David Letterman; toured with the legendary New Order; and played sets at some of this country’s and the world’s biggest festivals including Coachella, Outside Lands, Primavera Sound and Bonnaroo.

Work, the duo’s first batch of new, original material in over five years reportedly finds Frankel and Millhiser attempting to revisit the freedom of expectations that was suffered through their earliest recorded output — and interestingly, the proverbial return to form partially stemmed from circumstances: the duo dismantled their basement Brooklyn studio and relocated to a small room that a few musician friends of theirs were renting about a doctor’s office (coincidentally, the same address where they mixed their full-length debut). Because of the room’s limited space, they pared their extensive gear collection down to two synths — a Yamaha CS-80 and a Mini Moog. “Not necessarily the bare necessities, but what would make for the most interesting limited palette,” says Millhiser. “David Bowiedidn’t have every fucking synthesizer on earth to make Low. He had two. And that’s one of my favorite synth records of all time.”

Slated for a Friday release through West End Records, the forthcoming album’s material will continue the duo’s long-held reputation for crafting each sound from scratch with an unapologetic, exacting precision — and it’s their analog approach to electronic music that heavily informs the songwriting, production and sound of the album. Interestingly, album single “Escape From Los Angeles” was centered by shimmering and arpeggiated synths, a motorik groove, ethereal crooning, thumping beats and a sinuous yet infectious hook — while seemingly indebted to From Here to Eternity . . . And Back-era Giorgio Moroder and Kraftwerk. Interestingly, Work‘s latest single “Do This” is another straightforward club banger that meshes early hip-hop, house music and disco in a way that recalls Sugarhill Gang, Nile Rodgers and Pet Shop Boys— thanks in part to arpeggiated synths, a sinuous bass line, a two-step inducing hook and plaintive vocals.

Directed by the duo, the recently released video for “Do This” was shot on 16mm film by Jesse Cain and follows the entire process of recording and making a vinyl album, from the recording sessions at James Murphy’s Plantain Studios, to mastering at Heba Kadry’s Brooklyn-based mastering suite, to cutting the master disk with Bob Weston in Chicago, to pressing and packaging at RTI Pressing and finally to Amoeba Records in Los Angeles. It’s a behind the scenes look at the entire process revealing the professionalism and dedication of dozens of hard-working people that’s actually inspired by the famous Sesame Street “Making Crayons” segment. Originally aired in the early 80s, the clip made a deep impression on the members of Holy Ghost! “We wanted to document the ancient and very special process of making vinyl, from recording and mixing all the way to packaging and store delivery,” Frankel explains.