Tag: Berlin Germany

Micheal Lane is a German-born, Berlin-based singer/songwriter and guitarist, who was raised in the States. As the story goes, he began singing at a very young age, using music as an escape from the troubles he was going through at any point during his life. After spending six years in the Army with three tours in Iraq and Afghanistan, Lane realized that his life was going in a very different direction from the dreams he had. And in 2012, Lane left the States and returned to Germany, where his mother’s family still resides.

Lane participated in the second season of The Voice of Germany, eventually finishing third. His cover of Sarah McLachlan‘s “Angel” and his own original song “Mrs. Lawless” both placed in the Top 50 of the German Music Charts — and with a growing national profile, the Berlin-based singer/songwriter wound up playing at some of Germany’s largest, best known venues. Since then, Lane has released three albums and toured across Europe with his work amassing over 2 million Spotify streams and 1 million YouTube views to date.

 

Slated for release this fall, his self-produced, fourth album Traveling Son thematically finds Lane sharing intimate moments about both his childhood and his adulthood — while sonically, the material is subtly influenced by jazz. Traveling Son‘s latest single “Believe” is a carefully crated, beguiling pop song centered around Lane’s crystalline and plaintive vocals, strummed, acoustic guitar, blasts of shimmering electric guitar, and a huge, anthemic hook. And throughout, the song encourages and dares the listener to stop sitting on the sidelines and go for their dreams.

 

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Live Footage: JOVM Mainstay Alice Phoebe Lou Performs “Galaxies” at Berlin’s Zeiss Planetarium for Majestic Casual Sessions

Over the past year or so, I’ve written quite a bit about the  Cape Town, South Africa-born, Berlin, Germany-based singer/songwriter and multi-instrumentalist and JOVM mainstay  Alice Phoebe Lou. And as you may recall, Lou grew up in a very creative home — her parents were documentary filmmakers, who took a young Lou to piano lessons. As a teen, Lou taught herself guitar; but when she turned 16, she went on a life-altering trip to Paris to visit her aunt. While in Paris, armed with an acoustic guitar, the young artist met some of that cit’s buskers and street performers — eventually learning poi dancing from some of them.

After completing her studies, Lou returned to Europe, first landing in Amsterdam, where she made money as a poi dancer. She then relocated to Berlin, where she quickly developed a reputation as a well-regarded busker and for a fierce, punk rock-like DIY approach to her musical career. With the release of 2014’s self-released debut EP, the Cape Town-born, Berlin-based singer/songwriter and multi-instrumentalist began to receive national and international attention, which resulted in performances at a number of  TED events in London and Berlin during the following year.

Lou’s sophomore effort, 2016’s Orbit was nominated for Best Female Artist at that year’s German Critics’ Choice Awards. And building upon a rapidly growing profile both nationally and internationally, she played at the 27th Annual Conference for the Professional Business Women of California, which featured keynote speakers Venus Williams, Judy Smith, and Memory Banda and shared bills with Sixto Rodriguez, Boy & Bear, and Allen Stone before ending the year with three, sold-out multimedia events at the Berlin Planetarium. (The Berlin Planetarium shows were so popular and in such high demand that she had to add two additional shows there to her tour schedule in 2017.)

Additionally, the live version of “She” amassed over 4 million views on YouTube and was featured in the major motion picture Bombshell: The Heady Lamar Story — all before the studio version of the single was even recorded or released. But for most of 2018, Lou worked on her Noah Georgeson-produced sophomore effort Paper Castles, which was released earlier this year. And as Lou explains, the album is “about nostalgia, about growing into a woman, about the pain and beauty of the past, about feeling small and insignificant but finding that to be powerful and beautiful, about acknowledging that childhood is over but bringing some of it with you.”

“Something Holy,” the album’s first single was a slow-burning 70s AM rock meets 70s soul-like track centered around shimmering guitar line, hushed drumming, a sinuous hook, a psychedelic tinged bridge and Lou’s aching vocals with the song’s narrator taking a deeply introspective and unvarnished look into her complicated relationships with sex, love, men and ultimately, with herself. The song reflects, as Lou explained in press notes, “the moment that I managed to get over the main hurdle of my past traumas with sex, with men and with my own deeper understanding of intimacy and what it means to be intimate.” 

Paper Castles’ latest single is the gorgeous and expansive “Galaxies.” Beginning with a shimmering and spacey introduction and Lou’s plaintive wailing, before the song turns into a spacey 70s jazz funk number, centered by a sultry, reggae-like bass line and a mournful saxophone solo and then morphs back into a shimmering and spacey coda — and while the song seamlessly shifts back and forth in a fashion reminiscent of Heatwave’s “Boogie Nights,” the song is imbued with a cosmic sheen. 

Majestic Casual invited the JOVM mainstay for a live session of “Galaxies” that was fittingly shot at Berlin’s Zeiss Planetarium.  Game of Throes star Maisie Williams opens the live session with a spoken word piece musing on humanity’s place within the cosmos directly inspired by the song. 

New Video: Gemma Ray’s Creepy Visuals for Slow-Burning and Gothic “Death Tapes”

Earlier this year, I wrote about the Basildon, Essex, UK-born, Berlin, Germany-based singer/songwriter and guitarist Gemma Ray, and as you may recall, Ray has collaborated with the likes of SparksAlan Vega and members of Nick Cave and The Bad Seeds while releasing 8 full-length albums that have found the Basildon-born, Berlin-based singer/songwriter and guitarist meshing a number of disparate genres into what’s been described pop-noir, sideway blues and gothic folk.G

Bronze Rat Records, the Basildon-born, Berlin-based singer/songwriter’s longtime label home released her latest effort Psychogeology earlier this year, and the album which was recorded at Candybomber Studios and Ray’s Berlin-based studio found her expanding upon her sound and approach throughout the incorporation of elements of sci-fi synthscapes, girl group dramarama, gothic surf disco, blues cantatas, Melody Nelson-era Gainsbourg groove, and harmony-laden reverb-drenched folk-pop among other things. Album single “Blossom Crawls” was a Stevie Nicks meet Phil Spector Wall of Sound-era bit of girl pop that revealed some ambitious songwriting, centered around a careful attention to craft.

The Basildon-born, Berlin-based singer/songwriter and guitarist is gearing up for a 2 part evening of music that will feature two audio installations presented for the first time and for one night only — Psychotic Gemmation: A sonic tapestry process, progress, madness and form, which is a psychedelic and personal appendix to the new album and ‘The Gemmatron, an interactive instrument/choir generator. Musically,. the night will feature Ray and her backing band playing material from the new album as well. But in the meantime, Psychogeology‘s latest single is the Western gothic-tinged “Death Tapes.” The brooding track is centered around shimmering, reverb-drenched guitars, buzzing synths, Ray’s sultry delivery and some girl group harmonies — and while bearing a bit of a resemblance to PJ Harvey and The Black Angels, the song possesses a swooning, Edgar Allan Poe-like Romanticism.

Directed by Ziska Riemann, the recently released video is split between sequences of Ray wearing an elaborate headdress with her backing band performing the song in the studio and what appears to be a mass grave robbery among other weird goings-on.

Earlier this year, I wrote about the Amsterdam, The Netherlands-based singer/songwriter, multi-instrumentalist, producer and multi-disciplinary artist, Tessa Rose Jackson, who’s perhaps best known for her solo recording project Someone. Now, as you may recall, her debut EP Chain Reaction was an ambitious and creative undertaking that involved an accompanying short film. Unsurprisingly, the Amsterdam-based singer/songwriter, multi-instrumentalist, producer and multi-disciplinary artist’s forthcoming sophomore EP, Orbit may arguably be her most ambitious undertaking yet:  the material finds Jackson exploring the intensity with which art and music can be fused and how they can fully enhanced.

Thematically, the material incisively comments on our overstimulated digital age, suggesting that we spend so much time on our phones and on social media being exposed to external distractions that we’re essentially orbiting  around each other and our passions, rarely touching, resting or even focusing long enough to truly connect to anything or anyone.  Jackson also created an interactive augmented reality exhibition that combines her music with cutting edge technology and hypnotic art, which employs elements reminiscent of space and planets, with the exhibition being presented in gallery spaces in Amsterdam, London, Berlin, and Paris.

When viewed through a tablet or a smartphone, the artwork comes to life, and the song linked to that particular piece will be played through the viewer’s headphones. The artworks each react differently and react to the music, dynamically building as the songs progress. They will also react to touch from the viewer on their tablet screens, allowing full interaction and immersion. Trippy, huh?

Orbit‘s first single, the dreamy and ethereal “Get It Together” was centered by shimmering and arpeggiated synths, thumping beats, buzzing power chords and a soaring hook that in some way brought Tame Impala and Air to mind. Centered around an infectious groove, shimmering guitars, four-on-the-floor like beats, the EP’s latest single “I Can’t Remember How To Talk To You” will further Jackson’s growing reputation for crafting breezy and buoyant hooks.

Orbit EP will see a May 1, 2019 release through [PIAS] Recordings.

 

New Video: The KVB Releases Dreamy Visuals for Shimmering “Violet Noon”

Initially formed back in 2010 as a solo recording project of its founding member, singer/songwriter and multi-instrumentalist Nicholas Wood, the British shoegazer act The KVB stated off with a number of limited cassette and vinyl releases that included “The Black Sun,” which was released through FLA Records and the Into the Night EP, which was released through Downwards Records. Vocalist, keyboardist and visual artist Kay Day joined Wood the following year, and the newly constituted duo released their full-length debut Always Then through Clan Destine Records. 

2013 was a busy year for the duo, as that year saw the release of their sophomore effort, Immaterial Visions, which was released through Cititrax that February. Wood and Day followed that up with a remix EP featuring contributions from Regis and Silent Servant that May — and a reissue of 2011’s limited edition cassette release Minus One through The Brian Jonestown Massacre’s Anton Newcombe’s label, A Recordings.

The following year, Wood and Day went to Newcombe’s Berlin studio to track what would eventually become the Out of Body EP, which A Records released later that year. Interestingly, those sessions marked a couple of firsts for the duo — the first time that they worked outside of their home studio and the first time that they worked with Joe Dilworth, a dummer known for his work with Stereolab and Cavern of Anti-Matter. The more experimental material they recorded the year, would up comprising 2015’s Mirror Being, which was released through Invada Records. 

2016’s Of Desire found the duo’s sound moving in a more experimental, electronic-leaning direction, as they recorded with vintage synths from Invada Records head and  Portishead and Beak> mastermind Geoff Barrow’s collection. Continuing at a busy pace, the duo’s Fixation/White Walls EP was release in 2017 and they released a re-masted, fifth anniversary edition of Always Then. Interestingly, last year’s Only Now Forever finds the duo returning to their DIY roots, with the duo recording in their Berlin apartment over the course of 2017. 

The album’s atmospheric, “Violet Noon” will further cement the duo’s reputation for pairing reverb-drenched shoegaze, 60s pop inspired boy-girl harmonies and minimalist  electronic production — but within a swooning and achingly hazy dream-like song.  “Influenced by Lee Hazlewood and Nancy Sinatra, ‘Violet Noon’ is a dark love song set against the backdrop of the apocalypse. While the world falls apart, all you can think of is the person you want to spend those last moments with,” The KVB say of the song and its accompanying video. “We shot the video last October, on the last unseasonably warm day of the year on the Jurassic coast in Dorset on the south coast of England. For us, the dreaminess of the video perfectly reflects the otherworldliness of this song, it feels like a hazy memory, timeless and romantic.”

New Video: Sarah P. Returns with a Surreal and Symbolic Video for Disco-Influenced “Maenads”

Earlier this year, I wrote about the Athens, Greece-based artist and activist Sarah P. and as you may recall, although she’s perhaps best known as a former member of international acclaimed electronic music production and electronic music duo Keep Shelly in Athens, Sarah P has developed a reputation as a solo artist and collaborator who released her critically applauded full-length debut Who Am I back in 2017 — and she has worked with the likes of Sasha, Mmoths, The New Division, Plastic Flowers, Holly, Hiras, The Bilinda Butchers and a lengthy list of others. 

Sarah’s P’s much-anticipated follow-up to Who Am I, the Maenads EP is a collection of songs celebrating both feminine power (particularly its magic, strength and imperfect perfection) and the artist’s Greek heritage. “Lotus Eaters,” a moody and atmospheric track with four-on-the-floor drumming, shimmering synths, a propulsive and sinuous bass line and Sarah P’s ethereal crooning — and sonically speaking, the track immediately brought to mind Siouxsie and the Banshees, The Cure, Kate Bush and the early 80s 4AD Records roster while arguably being the most sensual song I’ve come across within the early part of this year.

Maenads’ latest single, title track “Maenads” is a propulsive, disco-influenced track built around shimmering and arpeggiated synths, a funky bass line and thumping beats — and unlike its predecessor, the song manages to remind me a bit of Niki & the Dove and several others. Interestingly, the song as Sarah P explains in press note is about nights that are empty of feelings. 

Shot in Berlin, the video is a surreal fever dream that stars Sarah P. and Sabina Smith-Moreland as a bird that meat to symbolize mental illness. The video shows the importance of coming to terms with own struggles while not letting them overtake one’s life. “I’ve been struggling with depression and anxiety for a long time, but I’m convinced that it’s possible to control one’s mental health, rather than living a life controlled by mental illness,” Sarah shares.

“Mental illness never truly goes away, but learning more about it can help understand what’s going on inside your body and mind and therefore, control it better.

“For the last part of the Maenads trilogy, I decided to film in Berlin – where it all started for me. This video is perhaps my least “ethereal” work-to-date – with “ethereal” being a word that’s often used to describe my work. Berlin isn’t ethereal – it’s boxy and well structured in its chaos. Berlin’s light is very different compared to the light in Athens; in Berlin, the light is moody and arrogant – especially during the winter, where it makes rare appearances. Maenads was filmed at Theaterhaus Berlin – a space that felt homely and brought me closer to my drama school years. I had the pleasure to work with photographer and visual artist Colette Pomerleau and dancer Sabina Smith-Moreland. For the coloring of the video, I worked once again with David Hofmann who previously colored the other two parts of the Maenadstrilogy. Although the concept and set are meant to symbolize my life in Berlin, my “Greek Maenads” (Clio “Lil Cli” Arvaniti, Dora Pantazopoulou, Rania Ainiti, Marianna Pagrakioti) make a special appearance on Maenads TV. The additional visuals were filmed & edited by George Geranios, on a rooftop in Athens – the concrete jungle. Lastly, Apostolia Gogara is responsible for the fantastic hair and makeup of the additional visuals.”

Over the past few years, I’ve written quite a bit about the London-based JOVM mainstays Ten Fe, and as you may recall the act, which was founded by primary songwriters Ben Moorhouse and Leo Duncan can trace their origins to when they met at a party, where they bonded over their experiences playing in a number of local bands in which they felt as though they was pressure to fit into a particular scene through a certain way of playing or looking — and they hated it immensely, feeling that it was unnatural and unnecessarily labored. Initially beginning as busking partners in the London Underground, the duo spent two years writing, revising and recording in each other’s bedrooms, including prolonged writing sessions at Duncan’s father’s house in Walsall, UK, relentless busking, hustling and saving, and an impossibly lengthy list of band members and producers before they signed a publishing deal and briefly relocated to Berlin, where they recorded their Ewan Pearson-produced full-length debut effort Hit the Light. “Its no coincidence that the name of this band means ‘have faith’” says Leo Duncan.

After spending 18 months touring to support their critically applauded full-length debut effort Hit the Light, the project officially expanded into a full-fledged band with the permanent additions of touring members Rob Shipley (bass) and Johnny Drain (keys), who are two of Duncan’s oldest friends from Walsall, and Alex Hammond (drums).As the story goes, the members of the band felt a renewed sense of confidence when it came to preparing to write and work on their follow up effort Future Perfect, Present Tense. They set up shop in a vacant driving license office in East London, where the majority of the writing was done, and as they were nearing the end, they went to Oslo, Norway where they tracked the material before returning to London to finish the album with producer Luke Smith, who has worked with FoalsDepeche ModePetite Noir, and Anna of the North— and mixed by Craig Silvey, who has worked with Arcade FireFlorence & The Machine and Amen Dunes. Thematically, the material reportedly is a mediation on everything that has brought them all to the point of their sophomore album, and everything they’ve willingly (and perhaps unwillingly) left behind in actually getting there.

The album’s second single “Won’t Happen” was centered around jangling guitars, a bouyant groove and a soaring, arena friendly hook while Duncan laments and repents for his past indiscretions — although it’s difficult to determine who he’s repenting to: is it a lover? or to himself? But one thing is certain, there’s a sobering sense of the passing of time and what it means to get older, even if it doesn’t necessarily mean getting wiser. “No Night Lasts Forever” the album’s third was an atmospheric track that hinted at New Order and Unforgettable Fire-era U2 but with a soaring hook; however, emotionally the track may arguably be the most ambivalent and uncertain they’ve ever written. As the band notes “There was a debate when we were writing the song as to whether that’s an optimistic or a pessimistic statement. But we decided we liked the ambiguity — that it didn’t have to be one or the other.” Future Perfect, Present Tense‘s fourth single “Echo Park” was a breezy yet mournful track that seemed indebted to 70s AM rock. Centered around a conversation between two old friends, in which the song’s narrator spends the song offering his lovelorn friend advice, the song can also be read to be about the members of the band, who finally made it to California, after years of busting their asses. And while everything is painfully lonely and surreal, the members of the band share a unique and profound bond, a bond rooted in its very oddness. “Coasting,Future Perfect, Present Tense‘s fifth single was an upbeat and sprawling track centered around jangling guitars, shimmering synths and a soaring hook and much like its immediate predecessor, the track draws from 70s AM rock — and a bit of Brit Pop; but with an airy simplicity unlike anything of they’ve released to date. As the members of the band say is a “celebration of new love.” They explain that “it’s a simple statement — ‘when i’m with you, I don’t need anything or anyone else. This feels easy, it feels like a fresh start: I’m coasting.’ Musically we kept it really simple too to reflect the sentiment. We wanted it to feel rootsy like The E Street Band and CCR and also channel a Britpop directness.”

The forthcoming sophomore album’s latest single “Here Again” continues a run of breezy, 70s AM rock-like singles, centered around jangling guitar chords, a soaring hook and a wistful yet introspective air — but interestingly, it’s a low-key yet sweet love song that suggests warmer and sunnier days are soon to come. The band will be embarking on a Stateside tour to support their highly-anticipated sophomore effort and it’ll begin with a March 19, 2019 stop at Bowery Ballroom. Check out the rest of the tour dates below.

Tour Dates

17-Mar, Washington, DC, Songbyrd

19-Mar, NY,NY, Bowery Ballroom

20-Mar, Allston, MA, Great Scott

21-Mar, Philadelphia, PA, Milkboy

23-Mar, Toronto, ON, The Drake Hotel

24-Mar, Ottowa, ON, 27 Club

25-Mar, Montreal, QC, Bar Le Ritz PBD

27-Mar, Detroit, MI, Magic Bag

28-Mar, Milwaukee, WI, Colectivo

30-Mar, Chicago, IL, Schubas

31-Mar, Minneapolis, MN, 7th Street Entry

02-Apr, Denver, CO, Globe Hall

05-Apr, Phoenix, AZ, Valley Bar

06-Apr, Las Vegas, NV, The Bunkhouse Saloon

07-Apr, San Diego, CA, The Casbah

09-Apr, Los Angeles, CA, Troubadour

11-Apr, San Fran, CA,The Independent

13-Apr, Portland, OR, Doug Fir Lounge

14-Apr, Vancouver, Biltmore Cabaret

15-Apr, Seattle, WA, Barboza

 

 

 

 

Tessa Rose Jackson is an Amsterdam, The Netherlands-based singer/songwriter, multi-instrumentalist, producer and multi-disciplinary artist, best known among indie circles as Someone. Her debut EP Chain Reaction was an ambitious creative undertaking that involved an accompanying short film. Jackson’s forthcoming EP Orbit finds Jackson exploring the intensity with which art and music can be fused, and how they can fully enhance themselves. And interestingly, the Amsterdam-based multi-instrumentalist, producer and multi-disciplinary artist crated an interactive augmented reality exhibition that combines her music with cutting edge technology and hypnotic art, which use elements reminiscent of space and planets. The exhibition will be presented in gallery spaces in Amsterdam, London, Berlin, and Paris.

When viewed through a tablet or smartphone, the artwork comes to life and the song linked to that particular piece will be played through the viewer’s headphones. The artworks each react differently and react to the music, dynamically building as the songs progress. They will also react to touch from the viewer on their tablet screens, allowing full interaction and immersion. Trippy, huh?

The EP’s material thematically comments on our overstimulated, digital age, suggesting that we spend so much time on our phones and on social media being constantly exposed to external distractions that we’re essentially orbiting around each other and our passions, rarely touching, resting or even focusing long enough to truly connect to anything or anyone.

Orbit‘s first and latest single is the dreamy and ethereal “Get It Together,” a track that’s centered by shimmering and arpeggiated synths, thumping hip hop-like drumming, buzzing power chords and a soaring hook. And while clearly being indebted to Tame Impala and Air, the track also nods at classic, bubblegum pop and 60s psych pop — but with a soaring and infectious hook.

 

 

 

 

 

 

 

Live Footage: Les Big Byrd Perform “A Little More Numb” at Tapetown Studios

Comprised of founding duo Jocke Åhlund and Frans Johansson along with Frans Johansson and Martin Ehrencrona, the Stockholm Sweden-based indie rock act Les Big Byrd features a collection of their hometown’s most accomplished indie musicians.  Åhlund co-founded cult Teddybears with his brother Klas in 1991. Åhlund went on to play guitar in Caesars — and formed Smile, with Peter, Björn and John’s Björn Yttling. And in that insanely busy period, Åhlund managed to find time to write for and produce the legendary Giorgio Moroder and renowned Swedish pop artist Robyn. Johansson, meanwhile, was a bassist in Swedish Grammy Award-winning act Fireside since the early nineties and worked as a touring bassist with The Soundtrack of Our Lives.

As the story goes, by 2011 Åhlund and Johansson had become increasingly disillusioned with their primary gigs and they began to collaborate with each other, frequently bouncing musical ideas off one another; the band’s founding duo quickly recruited two fellow grizzled scene vets, keyboardist Martin ‘Konie’ Ehrencrona and Caesars drummer Nino Keller to finalize the band’s lineup. 

The band’s debut, 2014’s Back to Bagarmossen EP was an atmospheric, guitar driven effort that found the quartet receiving attention from Swedish national TV. Interestingly, with a growing national profile. the members of Les Big Byrd ran into The Brian Jonestown Massacre’s Anton Newcombe at a local record store, and after hitting it off with him, the band headed to Newcombe’s Berlin-based studio to jam with him — and the end result was a handful of tracks which eventually appeared on their critically applauded Åhlund-produced full-length debut, They Worshipped Cats, an album that was a decided left turn into trippy space rock.

In the winter of 2015, 18 months after the release of They Worshipped Cats, Åhlund was looking forward to working on new material; however, unlike their debut, he was determined to bring in an outside producer to allow him to focus just on the songwriting and playing. With much of their material drawing heavily from psych rock and drone, while retaining a pop sensibility, the band recruited Spacemen 3‘s Sonic Boom (a.k.a.Pete Kember) to produce the album as the band loved his work on MGMT‘s 2010 sophomore album Congratulations.  The initial sessions with Kember quickly went awry; Kember clashed with Newcombe, who also headed to Sweden to work on some ideas for the record with the band — and Åhlund eventually found himself taking up the production role, he didn’t want and wasn’t seeking.

Burned out by the experience, the band shelved the second album for a while.  “I didn’t know it at the time, but I needed to get some distance from it,” Åhlund says in press notes. “It was only after a while that I was able to go back and realise that there was a really good album in there.” The members of Les Big Byrd spent the bulk of last year remaking and re-imaging the material in their own image — with Kember and Newcombe’s contributions being limited. Recorded between two Stockholm studios — Åhlund’s own and Ehrencrona’s Studio Cobra — the band’s sophomore album Iran Iraq IKEA derives its title from a slogan that Åhlund’s saw printed on a tie while in Berlin years earlier and wanted to use for years; in fact, Åhlund felt that it suited the album, “because it gave it all some kind of subtly poetic intrigue.” However, the album’s politics — if you really want to call it that — are rooted within the personal, As Åhlund says in press notes,  “It’s about classic topics like love and failure. And about being older and feeling like you’ve pissed your life away, It’s about regrets and wishing you’d done things another way,”

The band’s Åhlund takes up production duties again, but with the admission that maybe it was something he never really wanted to give up — and sonically speaking, the band reportedly have reinvented themselves and their sound but while retaining elements of the sound and approach that first won them national and international attention.  “I still love my krautrock, and space rock, and experimental, improvisational stuff” says Åhlund. “But I also have a strong love for psychedelic sixties pop music, and I love reverb-drenched guitar with a lot of tremolo on it. All of those things make it on to Iran Iraq IKEA, but the lines are blurred – there’s a lot of electronics, and you can’t always tell where each individual sound is coming from. Hopefully it’s suggestive, a little bit uncertain and unpredictable, at least that’s what I wanted.”

Now, if you’ve been frequenting this site over the past couple of years, you’d recall that Aarhus, Denmark-based recording studio Tapetown Studios in partnership with Sound of Aarhus have been inviting national, regional and internationally recognized touring bands to come into their studios for a live session, which they film and distribute through all of your favorite social media sites. So far they’ve inited British indie rockers Ulrika Spacek, Gothenburg, Sweden-based trio Pale Honey, the Bay Area-based JOVM mainstay Tim Cohen and his The Fresh & Onlys, renowned British psych rockers The Telescopes,  Malmo, Sweden-based punk rock act Sista Bossen, Copenhagen, Denmark-based indie rock quartet ONBC, and up-and-coming, Los Angeles-based post punk rock act Moaning.  Recently, the members of Les Big Byrd stopped by Tapetown Studios to perform the bittersweet lament “A Little More Numb.”