Tag: Brian Wilson

The Fredrikstad, Norway-based indie pop act Remington Super 60 — currently founding member, primary songwriter and producer Christoffer Schou, Elisabeth Thorsen and longtime collaborator Magnus Abelsen — can trace its origins back to 1998 when the band’s founder started the project as a Casio synth pop band. Throughout the band’s 20 plus year history, its sound has bounced back and forth between Casio synth pop and 60s-inspired bubblegum pop drawing from Burt Bacharach, Brian Wilson, The Velvet Underground, Stereolab, The High Llamas, Cornelius, Yo La Tengo, Eggstone over the course of a handful of albums, EPs and appearances on compilations released through a number of labels across the world.

The band’s latest EP, the simply titled New EP was released last year through Christoffer Schou’s Cafe Superstar Recordings. The EP continues to showcase the band’s hook-driven take on pop. Interestingly, the EP’s latest single is the dreamy “I Don’t Want to Wait.” Centered around shimmering synth arpeggios, a sinuous bass line, Elisabeth Thorsen’s achingly plaintive vocals and an infectious hook, the Norwegian trio’s latest single may remind the listener of JOVM mainstays Still Corners, as well as Belle and Sebastian — but with a breezy yet autumnal wistfulness.




Remington Super 60 is a Fredrikstad, Norway-based indie pop act, currently comprised of founding member, primary songwriter and producer, Christoffer Schou, Elisabeth Thorsen and longtime collaborator Magnus Abelsen. The band can trace its origins back to 1998 when Schou founded it as a Casio synth pop band — and although the project’s sound has bounced back and forth between Casio synth pop and 60s-inspired bubblegum pop throughout their recorded output, which includes a handful of albums and EPs, the project has always been inspired by Burt Bacharach, Brian Wilson, The Velvet Underground, Stereolab, The High Llamas, Cornelius, Yo La Tengo, Eggstone and others.

The Norwegian pop act’s latest single, “The Highway Again” is centered around shimmering and arpeggiated keys, a sinuous and propulsive bass line and some gorgeous harmonizing — and while bearing an uncanny resemblance to Belle & Sebastian, the track reveals a deliberate attention to craft paired with a heartfelt earnestness.





Lyric Video: Minor Poet’s Breezy “Tropic of Cancer”

Andrew Carter is a Richmond, VA-born and-based singer/songwriter and multi-instrumentalist, who has spent the past few years writing and recording music by himself in various bedrooms and basements with his solo recording project Minor Poet. His full-length debut, 2017’s And How combined Carter’s love of carefully crafted pop with a loose, fun, off-the-cuff production that eventually received press from American Songwriter, Magnet, The Wild Honey Pie, Impose and others, while helping Carter develop a small but devoted fanbase. Naturally, this has allowed Minor Poet to grow from a labor of love into a nationally touring band.

Carter’s sophomore Minor Poet album The Good News is slated for a May 17, 2019 release through Sub Pop Records, and the album, which was recorded over the course of four days at Montrose Recording, reportedly finds Carter expanding the boundaries of the project’s sound over the course of six songs. While previous Minor Poet releases featured Carter playing all the instruments and handling production duties, the material on The Good News was written with the understanding that the Richmond, VA-born and -based singer/songwriter and multi-instrumentalist had to reach outside himself to do justice to the songs. “I couldn’t capture the sounds I heard in my head,” Carter explains. “I wanted something that was vast and expansive but that at the same time could hit you immediately in the gut.”

Paying homage to the classic “wall of sound: techniques made famous by Brian Wilson and Phil Spector, Carter and co-producer, Adrian Olsen overdubbed layer after layer of Carter playing an array of guitars, pianos, organs, synths, and percussion, as well as Carter singing harmonies. The members of the touring band were brought in to perform the core rhythm section parts with handpicked local musicians stopping by to add crucial flourishes to the material. Interestingly, at the center of the album’s material is Carter’s vocals, singing lyrics that mix allusions to religion, mythology, art and philosophy, as each song’s narrator questions himself, his place in the world around him, what he owes to his relationships, and in turn, what he needs to ask others to stay healthy.

“Tropic of Cancer,” The Good News‘ infectious latest single is centered by layers of shimmering and tropicalia-inspired arpeggiated synth lines, shuffling guitar lines, a soaring hook and a lysergic-tinged guitar solo. And while the deliberate crafted track bears a subtle resemblance to Elvis Costello‘s early work, the song manages to be deceptively breezy as the song’s narrator describes a constant and repetitive struggle with depression, delivered with an unvarnished emotional honesty and a tongue-in-cheek awareness.

New Video: JOVM Mainstays Pavo Pavo Return with Hazy and Dreamy Visuals for “No Mind”

If you’ve been frequenting this site over the past 12-18 months or so, you’ve likely come across a handful of posts featuring the Brooklyn-based experimental pop/psych pop act  Pavo Pavo. Deriving their name from the name of southern constellation Pavo, which is Latin for peacock, the members of the band Eliza Bagg (violin, synths, vocals), Oliver Hill (guitar, synths and vocals). Nolan Green (guitar, vocals), Austin Vaughn (drums) and Ian Romer (bass) can trace its origins to when the members of the quintet were studying at Yale University. And since their formation, individual members of the band  have collaborated with the likes of a number of renowned and accomplished bands including Here We Go Magic, John Zorn, Dave Longstreth, Porches, Olga Bell, Lucius, Roomful of Teeth and San Fermin among others. Now, as you may recall their “Ran Ran Run”/”Annie Hall” 7 inch was praised by a number of media outlets and blogs, including Stereogum, who praised their sound as being “weightless pop music that sounds like it was beamed down from a glimmering utopian future.” Although, I’d mention that while clearly nodding at 60s psych pop and 80s New Age, just underneath the glimmering surface, there’s a subtle hint at unease, anxiety, rot and dysfunction. 
The band’s full-length debut Young Narrator in the Breakers was released last year through Bella Union Records and according to the members of Pavo Pavo, the material thematically describes both the magic and panic of adult life, with the understanding that much like getting caught in a vicious breaker while swimming at the beach, you have to stop fighting and ride it out until you can get to shore safely. And unsurprisingly, the album was met with critical applause with Pitchfork describing the album as “a lovelorn alien reaching out from the farthest reaches of the galaxy” and The Guardian describing the album to “Brian Wilson running amok in the BBC radiophonic workshop.” 

“No Mind,” Young Narrator in the Breakers’ latest single is a deceptively straightforward track. Although it hews very close to hazy 60s psych pop, the song is a swooningly wistful and lovelorn song that seems much more bittersweet than their previous releases while retaining their incredibly crafted sound centered on Bagg’s and Hill’s gorgeous boy/girl harmonizing, soaring, vintage analog synths and sharp hooks. “No Mind” may arguably be the most human of their tracks, as there’s a real ache over 

Directed by the band’s longtime friend Jon Appel, the video started as a concept devised by the band’s Eliza Bagg. Bagg’s concept began as a take on the prototypical performance-based music video; but featuring an abstract narrative and dance choreography. Reportedly, she pictured a bleak, digital space with her own character being a sort of rebellious siren of truth, dancing and singing songs of real connection while the rest of her band grew increasingly complacent and robotic within the video’s highly artificial and colorful confines. Appel guided Bagg and her bandmates through the process of adapting and bringing her ideas to life — and as a result, the video builds off the characters of the other videos off Young Narrator, an amalgamation with Bagg returning to the sunshine on a white cloud chrysalis. And while being a hazy, almost lysergic-tinged dream, the video possesses a tender and surreal beauty.