Tag: Brooklyn Steel

New Audio: JOVM Mainstays Beacon Release a Driving New Meditation on Desire

Throughout this site’s 10 year history, I’ve managed to spill quite a bit of virtual ink covering New York-based electronic music duo and JOVM mainstays Beacon. Now,. as you may recall, the act’s third album, 2018’s Gravity Pairs found the duo — Thomas Mullarney III (vocals) and Jacob Gussett (production, keys, synths) — writing material that was a sonic left turn from their previously released work.

As they continued, they expanded upon some songs and pared others band. Much like the bending of light through a prism, the abstract, patient and almost painterly creative process of Gravity Pairs eventually turned the material they wrote into a space in which wildly different colors, tones and textures — in this case, minimalist ballads, elaborate pop spirituals and driving dance tunes — can coexist simultaneously and at different speeds. With each iteration, the duo discovered they could easily expand upon how they presented the material within a live setting: they could play the same material in a straightforward fashion — or they could play the same material in a different fashion that added or subtracted color and shading, depending on the circumstances, their moods and their desires. And while Gravity Pairs pushed the JOVM mainstays sound and songwriting approach in an adventurous new direction, the album’s material remained imbued with a vulnerability and aching yearning.

Since the release of Gravity Pairs, the members of Beacon have been extremely busy: Last year they opened for Nick Murphy. during his North America tour, which included a stop at Brooklyn Steel. They shared a series of stripped back, live studio sessions and they released a remix album, which featured edits by Elkka, Helios, and CRi. They began 2020 with a meditative, piano-led take on the Pixies‘ “Wave of Mutilation.” Inspired by the slower tempo and phrasing of the UK Surf B-side, which showcased the original’s mutability — and then they went off on a headlining European tour, which stopped in my second favorite city in the entire world, Amsterdam.

“Feel Something” is the first bit of new, original material from the JOVM mainstays since Gravity Pairs and the track finds the duo continuing to prioritize discovery and experimentation in their songwriting approach. Centered around blown out boom-bap beats, a sinuous bass line, atmospheric yet menacing electronics, jagged synth arpeggios, shimmering guitar lines, a motorik-like groove and Mullanary’s plaintive falsetto, the song’s lyrics paint a surrealistic and disturbing vision of desire and control. offering an almost lived-in perspective of a codependent and dysfunctional relationship.

Beacon have released an accompanying visual featuring a kaleidoscopic and undulating array of colors, moving along to the song’s motorik-like grooves. Without touring on the horizon as a result of the pandemic, Mullarney and Gussett teamed up with their friends at inlet.tv to create a 24/7 steaming channel featuring live visuals from the band’s extensive and lengthy touring history, which you can check out on their website — https://www.beaconband.tv. The channel is also syndicated on YouTube, where users can engage in an active chat.

Each week through the duration of the pandemic, the members of the JOVM mainstays will be releasing a new live visualizer from their archives to the channel and will utilize it going forward to broadcast studio sessions, Q&As and premiers, leading up to new music in 2021.

 

Although they’ve proudly boasted of their long-held reputation for crafting left of center pop and adhering to doing things in their own way, the Gothenburg, Sweden-based pop act Little Dragon, comprised of Yukimi Nagano (vocals), Hakan Wirenstarnd (keys), Fredrik Wallin (bass) and Erik Bodin (drums), have managed to achieve an enviable level of mainstream success and recognition: 2014’s full-length effort Nabuma Rubberband received a Grammy nomination and they’ve developed a reputation for being a highly sought-after collaborative unit, as they’ve worked with an impressive array of genre-defying, difficult to pigeon-hole artists and acts including BADBADNOTGOODGorillaz, SBTRKT, Flying Lotus, Kaytranada, Big Boi, De La Soul, DJ Shadow, Tinashe, Mac Miller, Future, Raphael Saadiq, Faith Evans and many more.

The acclaimed Swedish pop act can trace their origins back to when they would meet up after school to jam and play A Tribe Called Quest and Alice Coltrane records and reportedly the band’s forthcoming album New Me, Same Us finds the band going back to the basics and falling back in love with their instruments while crafting some of what may arguably be the most focused material of their growing catalog. Interestingly, the material thematically touches upon transitions, longing and saying goodbye. And as a result, it may also be among the most reflective and thoughtful of their careers. “We are all on our own personal journeys, full of chance, yet still we stand united with stories we believe in, that make us who are we are.”

The album which was entirely self-produced and recorded at the acclaimed Swedish pop act’s home-built Gothenburg-based studio “has been the most collaborative for us yet, which might sound weird considering we’ve been making music together for all these years, but we worked hard at being honest, finding the courage to let go of our egos and be pieces of something bigger,” the members of Little Dragon explain in press notes. Centered around shimming synth arpeggios, a sinuous bass line, propulsive polyrhythm  an infectious two-step inducing hook and Nagano’s soulful crooning, “Hold On,” Same Me, New Us‘ sultry first single manages to recall Fragile-era Cherrelle, with subtle house music flourishes.

The song as the band explains is a centered around a message about breaking away and moving on. It started out as a slick house track but transformed once Fred played the base through it and we all worked it together,” the band explains. “It became something raw and soulful. It’s a simple groove that makes us dance. We can’t wait to play it live because once we play it live it most certainly will change again.”

The acclaimed Swedish pop act will be embarking on a headlining international tour throughout the bulk of the Spring. The tour includes a two-night stand at Brooklyn Steel — April 17, 2020 and April 18, 2020. The April 18 show is already sold out. Check out the tour dates below.

2020 TOUR DATES
Mar 09 Stockholm, Sweden – Berns
Mar 10 Copenhagen, Denmark – VEGA *SOLD OUT
Mar 12 Berlin, Germany – Festsaal Kreuzberg
Mar 13 Warsaw, Poland – Niebo
Mar 15 Prague, Czech Republic – Roxy
Mar 16 Vienna, Austria – Flex
Mar 18 Zurich, Switzerland – Mascotte
Mar 19 Milan, Italy – Santeria Toscana 31
Mar 21 Brussels, Belgium – Botanique
Mar 23 Amsterdam, Netherlands – Melkweg
Mar 25 Paris, France – Gaîté Lyrique
Mar 26 London, UK – 02 Brixton Academy
Apr 15 Washington, DC – 9:30 Club
Apr 17 Brooklyn, NY – Brooklyn Steel
Apr 18 Brooklyn, NY – Brooklyn Steel *SOLD OUT
Apr 20 Philadelphia, PA – Union Transfer
Apr 21 New Haven, CT – College Street Music Hall
Apr 22 Boston, MA – Paradise Rock Club
Apr 24 Montreal, QC – Corona Theatre
Apr 25 Toronto, ON – Danforth Music Hall
Apr 27 Detroit, MI – Majestic Theater
Apr 28 Chicago, IL – The Vic Theatre
Apr 29 Minneapolis, MN – First Avenue
May 01 Denver, CO – Ogden Theatre
May 02 Salt Lake City, UT – The Complex
May 04 Seattle, WA – Showbox *SOLD OUT
May 05 Vancouver, BC – Commodore Ballroom
May 06 Portland, OR – Roseland Theatre
May 08 Oakland, CA – Fox Theater
May 09 Los Angeles, CA – Palladium
May 11 Santa Ana, CA – Observatory OC
May 12 San Diego, CA – House of Blues
May 16 Guadalajara, MX – Corona Capital Guadalajara

Live Footage: JOVM Mainstays Black Pumas Perform “Colors” on “The Ellen Show”

Throughout the course of last year, I wrote quite a bit about the Grammy Award-nominated Austin, TX-based soul act, Black Pumas. The act which is led by Grammy Award-winning producer, songwriter and guitarist Adrian Quesada and 27 year old singer/songwriter Eric Burton can trace its origins to when Burton, a popular street performer in his native Los Angeles busked his way across country to Austin, where he met Quesada.

Last year, the Austin-based JOVM mainstays released their critically applauded, commercially successful, full-length debut, and since its release, album single “Colors” saw breakthrough success when a live version of the song managed to amass over 4 million YouTube views — with the song at one point being one of the most added songs to Adult Album Alternative (AAA) Radio. That shouldn’t be surprising:  “Colors” is a decidedly old-school singer/songwriter soul track centered around a looping 12 bar blues guitar line, twinkling Rhodes, some gospel-like backing vocals and Burton’s incredibly soulful and expressive vocals, which manage to express hurt, yearning, pride and awe simultaneously. As Burton, Quesada and company explained to The Fader by email, “‘Colors’ was written while the sun was going down on a rooftop in New Mexico. Finding inspiration in the multicolored hues of the night sky. The song is a message of togetherness, but there’s awareness of mortality mixed in . . .”

The band has developed a reputation for a a relentless tour schedule that has brought their incredible live show across North America and the European Union. Last year  alone, the band made three separate stops in New York: The Knitting Factory, last May; Mercury Lounge, last July; and Brooklyn Bowl last September. Additionally, during that same period of time the band has made begun to make the rounds across the nationally televised talk show circuit, playing  Jimmy Kimmel Live. 

The members of Black Pumas have continued on the massive momentum of last year with an extensive bit of touring that started off last night. Their tour finds them bouncing back and forth between North America, the UK and the European Union and it includes an October 22, 2020 stop at Brooklyn Steel. Feel free to check out the tour dates below, and if they’re stopping at a venue near you, get a couple of tickets and bring a friend. But in the meantime, the band played “Colors,” which is quickly becoming their signature song on The Ellen Show. 

Live Footage: King Gizzard and the Lizard Wizard on Live on KEXP

The genre-defying Aussie psych rock act and JOVM mainstays King Gizzard and the Lizard Wizard released five albums in a wildly prolific burst in 2017 — with each album managing to be in a completely different genre and style. Naturally, such a feat helped to cement the band’s reputation for being restlessly prolific and experimental. So for a band known for being like clockwork when it comes to releasing new material, last year’s lack of new material sticks out as anomaly. However, in fairness to the members of the band, they spent part of last year on a busy world tour that featured a headlining set at Desert Daze and three-sold out nights at Brooklyn Steel, one of the larger venues they had played at the time in the States — until their Rumsey Playfield show with Stonefield and Orb back in August. 

This year finds the acclaimed and wildly prolific Aussie psych rock at speeding up the pace. Earlier this year, they released the boogie blues-tinged Fishing for Fishes and in August, they released their second album of the year and their 15th album overall, Infest the Rats’ Nest. Now, as you may recall, Infest the Rats Nest featured what may arguably be the most pared down lineup of their entire creative output: the band’s creative mastermind Stu McKenzie (vocals, guitar, bass), Joey Walker (guitar, bass), and Michael Cavanaugh (drums) with the band’s remaining members busy with prior commitments.  The reduced lineup allowed the band to focus on crafting together arrangements with a pummeling and feral ferocity inspired by McKenzie’s long-held love of thrash metal — in particular, Metallica, Black Sabbath, and Rammstein.

King Gizzard’s 15th album, sonically and thematically is a radical and unexpected departure from its most immediate predecessor: the album’s material may arguably be the darkest and bleakest efforts they’ve released to date, as the band seethes with disgust and contempt over the human race’s myopia, stupidity and greed. At its core, is the acknowledgement that we’re all blindly marching lockstep to our annihilation —  and maybe we deserve it. 

During the band’s last North American tour, they stopped by KEXP to record a live session, which featured material off Infest the Rats Nest that included the Black Sabbath-like “Mars for the Rich,” the pummeling Slayer-like “Venusian 1,” “Venusian 2,” and “Hell” and the Ride the Lighting-era Metallica-like “Perihelion.” The live footage is not just a taste of their amazing live show, it’s a reminder that King Gizzard may be one of the best indie bands in the world — their dexterous musicianship allows the band the versatility to play anything with a self-assuredness and pitch-perfect accuracy. 

New Video: JOVM Mainstays Allah-Las Releases a Gorgeous and Nostalgic Visual for “Prazer Em Te Conhecer”

I’ve written a bit about the acclaimed Los Angeles-based psych rock act and JOVM mainstays Allah-Las throughout the course of this site’s nine-plus-year history, and as you may recall, the Southern Californian band — Matthew Correia (drums), Spencer Dunham (bass), Miles Michaud (vocals, guitar) and Pedrum Siadatian (guitar) — formed back in 2008, and can trace their origins tow hen three of the band’s four members worked at famed, Los Angeles-based record store Amoeba Music. Since then, the band has released three full-length albums that have firmly established their sound, a sound that draws heavily from 60s psych rock, surfer rock and garage work — while thematically, their work is largely inspired by their hometown. 

The acclaimed psych rock band’s fourth album LAHS is slated for an October 11, 2019 release through Mexican Summer Records, and the album, which derives its name from a common misspelling of the band’s name reportedly finds the band crafting material that reveals their growth as songwriters, performers, arrangers and producers. Much of the album’s material focuses on Krautrock-like grooves — with album single “In The Air,” a shimmering and hook-driven track evoking a hazy and lingering lysergic fugue. “Polar Onion,” the album’s second track was centered around shimmering, acoustic guitar, gently padded drumming — and while evoking an aching longing, the song sounded as though it could have been released between 1966-1969. Interestingly, LAHS third and latest single “Prazer Em Te Conhecer” is the first single in the band’s growing catalog that’s written and sung exclusively in Portuguese. Much like its immediate predecessor, the track is centered around shimmering guitars — both acoustic and electric — plaintive vocals and harmonizing and a soaring hook. And while bearing an uncanny resemblance to Wish You Were Here-era Pink Floyd, the song manages to evoke an aching nostalgia that feels appropriate with yet another summer coming to a close. 

The recently released video by Matt Correia features Super 8 mm footage at California’s shore — young people hamming it up at the beach, as well as the members of the band flying around the coast in a small airplane. All if it is shot in declining sunlight, which helps emphasizes the wistful nostalgia at the heart of the song.

New Video: Acclaimed Psych Rock Act Allah-Las Release a Psychedelic, Animated Visual for Brooding “Polar Onion”

Over the past few years, I’ve written a bit about the acclaimed Los Angeles-based psych rock act Allah-Las, and as you may recall, the act — Matthew Correia (drums), Spencer Dunham (bass), Miles Michaud (vocals, guitar) and Pedrum Siadatian (guitar) — formed back in 2008, and can trace their origins to when three of the band’s four members worked at famed, local record store, Amoeba Music. Since their formation, the members of Allah-Las have released three albums that have helped to firmly establish their sound, which draws heavily from 60s psych rock, surfer rock and garage rock — while thematically inspired by their hometown. 

The acclaimed psych rock band’s fourth album LAHS is slated for an October 11, 2019 release through Mexican Summer Records, and the album, which derives its name from a common misspelling of the band’s name reportedly finds the band crafting material that reveals their growth as songwriters, performers, arrangers and producers. Much of the album’s material focuses on Krautrock-like grooves — with album single “In The Air,” a shimmering and hook-driven track evoking a hazy and lingering lysergic fugue.  LAHS’ latest single is the brooding “Polar Onion.” Centered around shimmering, acoustic guitar, gently padded drumming and plaintive vocals, the song evokes an aching longing while sounding as though it could have been released sometime between 1966-1969. 

The recently released video for “Polar Onion” features super 8 footage the band’s Miles Michaud sent to Mexican Summer designer Bailey Elder, who played around with and altered the textures to create a psychedelic feel. 

New Video: The Cinematic and Lonely Visuals for JOVM Mainstays Atmosphere’s “Earring”

Throughout the course of this site’s nine-plus-year history, I’ve written quite a bit about about the critically applauded and commercially successful Minneapolis, MN-based hip-hop act and JOVM mainstays Atmosphere.  The act formed over 20 years as at trio featuring Slug, Spawn D and Ant under the name Urban Atmosphere — and interestingly, whether as at rio or a duo, the JOVM mainstays have developed and maintained a long-held reputation for pushing the boundaries of what hip-hop should sound like and concern itself with thematically — especially as its members find themselves inching towards middle age. 

2016’s Fishing Blues continued a string of insightful, mature material reflecting men that have seen and experienced more than they could possibly put into words. And while settling down into the much-deserved and peaceful bliss of family and art seems ideal, the world we inhabit has fundamentally changed in a frightening and uncertain fashion.

Unsurprisingly, Atmosphere’s seventh album Mi Vida Local thematically finds the pair grappling with their own mortality, the anxiety and fear that comes from the painful acknowledgment that you’re completely powerless and can’t possibly protect yourself, let alone your loved ones from the dangers of the world. And while arguably, the most thematically sobering of their growing catalog, their seventh album much like the bulk of their creative output is largely centered around Slug’s and Ant’s deep and abiding friendship. 

The Minneapolis-based JOVM mainstays spent the bulk of the past year touring to support their seventh album, including a Brooklyn Steel stop last year with labelmates, collaborators and fellow Minnesotans The Lioness and deM atlaS. Continuing a lengthy run of touring, the duo will be headlining the Wild Waters Music Festival, an effort to save the Boundary Waters at Bayfront Festival Park in Duluth, MN. But just before that the duo released Mi Vida Local’s latest single, the pensive “Earring.” Centered around an eerie, Ennio Morricone-like production featuring looping and shimmering guitars, and soaring vocal sample that’s spacious enough for Slug and Musab to trade deeply reflective bars, focusing on their troubled relationships and their roles in their relationships. And as a result, the song is imbued with the weight of adults honestly looking at themselves and taking stock of themselves and their lives. 

Directed by Colin Floom, the recently released and gorgeously cinematic visual for “Earring” is set the snowcapped peaks of Colorado and shows the song’s two emcees taking a lonely and arduous trek across the frigid terrain — and in the midst of such loneliness and beauty, it seems only natural that they would be forced to reflect on their lives and their decisions.