Tag: Caveman

Live Footage: Denmark’s ONBC Performs the Gorgeous and Ethereal “Copenhagen” at Tapetown Studios

ONBC is a Copenhagen, Denmark-based indie rock quartet, comprised of some of Denmark’s most acclaimed musicians — and the band can trace its origins to the formation and breakup of its earliest iteration Oliver North Boy Choir, an electro pop-leaning act, which featured founding members Camilla Florentz (vocals, bass) and Mikkel Max Jorn (guitar), who were both members of indie band epo-555. After releasing a number of EPs and singles, as well as covers of The Jesus and Mary Chain and The Boo Radleys, the Oliver North Boy Choir split up. In 2014 the members of Oliver North Boy Choir reunited but with the recruitment of Tanja Forsberg Simonsen (vocals, synths), who was a member of influential Danish indie pop act superheroes and Private; Ivan Petersen (drums), the frontman of The Boombox Hearts, and a radical change in sonic direction, the band was renamed ONBC.

In their native Denmark, the quartet has received attention for a cinematic sound and songwriting approach that some have compared to Low, Chris Issak and Julee Cruise — although as soon as I heard the gorgeous, shoegazer-like “Copenhagen,” I immediately thought of Malmo, Sweden’s Fredrik, Coco Beware and Caveman-era Caveman and Beach House as the harmonies of Forsberg Simonsen and Florentz ethereally float over a delicate and sparse arrangement of shimmering guitar chords and dramatic drumming.

Now, if you’ve been frequenting this site over the past 15-18 months or so, you’d recall that Aarhus, Denmark-based recording studio Tapetown Studios and Sound of Aarhus have been inviting national. regional and even internationally recognized touring bands to come into their studios for a live session, which they film and release through the interwebs. During the live session’s run, a number of bands have participated and been featured including British indie rockers Ulrika Spacek, the Gothenburg, Sweden-based trio Pale Honey, the Bay Area-based JOVM mainstay Tim Cohen and his primary project The Fresh & Onlys, the renowned British psych rockers The Telescopes, and a growing list of others.

ONBC’s Tapetown Studio session, much like Sista Bossen’s session is presented by their label, Crunchy Frog Records and was filmed during Aarhus’ popular Danish and Scandinavian indie music festival, Spot Festival — and it may arguably be one of the most stunningly beautiful ones they’ve shot to date.

 

Advertisements

Over the past few months I’ve written a bit about the Swiss-born, New York-based singer/songwriter and guitarist Sam Himself, and as you may recall he first recieved attention with the 2017 release of his genre-defying EP Songs in D. Since then, the Swiss-born, New York-based singer/songwriter and guitarist has built upon the early buzz around him with the release of several singles off his forthcoming Nobody EP — the old-fashion, slow-burning“Out of Love,” featuring  denetia and sene’s denetia that struck me as nodding at Johnny Cash‘s and June Carter Cash‘s “If I Were a Carpenter” — but with a subtle twist, as the song according to the Swiss-born, New York-based artist “is a desperate promise to keep a lover from leaving.” Himself followed that up with with the synth and guitar-based “Nobody,” a song that brought Bruce Springsteen‘s “Born to Run” “Born in the USA,” and “Glory Days” and Caveman‘s self-titled album to mind, as the song featured rousingly anthemic, fist raising hooks.

Nobody EP‘s latest single “Heartphones” continues in a similar vein as its predecessor:  it’s centered around soaring synths, an anthemic hook and thumping drums but underneath the song’s rousing uplift is a a vulnerable narrator, who is plagued by nagging doubts as he’s chasing his dream, especially when things seem bleak and uncertain. If you’ve ever chased a dream and bet the farm on it, you know the moments of deep doubt that come with true commitment,” Sam explains. “I tried to capture that experience of losing faith in your own pursuit, where you cross-examine yourself like a lover in crisis: How much are you willing to pay for the thing you can’t live without? How much will it cost you? Heartphones is a love song about doing what you love.”

New Video: Swiss-born New York based Singer/Songwriter Sam Himself Releases Campy 80s Inspired Video for Anthemic New Single “Nobody”

Last year, the Swiss-born, New York-based singer/songwriter and guitarist Sam Himself received attention with the 2017 release of his genre-defying EP Songs in D, an effort that featured Americana-inspired torch songs centered around his bluesy, whiskey and cigarettes-tinged vocals.  Now, as you may recall, I wrote about “Out of Love,” an old-fashioned and slow-burning duet featuring denetia and sene‘s denetia that seemed to nod at Johnny Cash‘s and June Carter Cash‘s “If I Were a Carpenter” — but with a subtle twist, as the song according to the Swiss-born, New York-based artist “is a desperate promise to keep a lover from leaving.”

The Swiss-born, New York-based singer/songwriter’s latest single is an 80s synth and guitar-based track that nods at Bruce Springsteen‘s “Born to Run” “Born in the USA,” and “Glory Days” and Caveman‘s self-titled album, complete with rousingly anthemic, fist raising hooks; but interestingly, the song is centered around Sam Himself’s experience of arriving to New York and recognizing that “nobody has been waiting for you here. The apple is pretty big without you, and unless you come up with a pretty good reason, New York doesn’t care. ‘Nobody’ is about that crushing, eye-opening and ultimately liberating experience.”

Directed by Jonathan Frey and filmed at Strange Weather Studio in Brooklyn, the 80s inspired, mischievous and campy video for the song captures and embodies the sensation of being a man from far away, and eventually stumbling into a community of friends and associates, who accept you for who you really are — and in this sense, the video is an ode to the friends and associates he records and performs with, who have become his New York family.

As the Swiss-born, New York-based singer/songwriter and guitarist explains in press notes about the video treatment, “The song ‘Nobody’ is about finding your feet in a new community in a new place, so I tried to find the right visual metaphor for that. I had a rough idea – me trying to join a band; the band not having it – which the video’s director Jonathan Frey (who shot my video for ‘Out of Love’ as well) really helped me flesh out. Together we came up with this little story about the new kid in town who desperately tries to fit in until he realizes that he already has what it takes – all he has to do is own up to it.”

Last year, the Swiss-born, New York-based singer/songwriter and guitarist Sam Himself received attention with the 2017 release of his genre-defying EP Songs in D, an effort that featured Americana-inspired torch songs centered around his bluesy, whiskey and cigarettes-tinged vocals.  Now, as you may recall, I wrote about “Out of Love,” an old-fashioned and slow-burning duet featuring denetia and sene‘s denetia that seemed to nod at Johnny Cash‘s and June Carter Cash‘s “If I Were a Carpenter” — but with a subtle twist, as the song according to the Swiss-born, New York-based artist “is a desperate promise to keep a lover from leaving.”

The Swiss-born, New York-based singer/songwriter’s latest single is an 80s synth and guitar-based track that nods at Bruce Springsteen‘s “Born to Run” “Born in the USA,” and “Glory Days” and Caveman‘s self-titled album, complete with rousingly anthemic, fist raising hooks; but interestingly, the song is centered around Sam Himself’s experience of arriving to New York and recognizing that “nobody has been waiting for you here. The apple is pretty big without you, and unless you come up with a pretty good reason, New York doesn’t care. ‘Nobody’ is about that crushing, eye-opening and ultimately liberating experience.”

Sam Himself has a set tonight at Baby’s All Right.

 

 

Comprised of Troels Abrahamsen (vocals, synth), David Krough Andersen (guitar), Mark Lee (guitar, synth), Jens Skov Thomsen (bass, backing vocals) and Mads Hasager (drums), the Danish indie rock quintet VETO formed back in 2004 — and with the release of their 2005 debut EP, I Will Not Listen and their 2006 full-length debut, There’s A Beat In All Machines, the quintet quickly developed a reputation as one of Denmark’s hottest, up-and-coming acts; in fact, the the band won Best New Act and Best Danish Music Video at the 2007 Danish Music Awards. Interestingly, album track “You Are A Knife” was briefly featured on an episode of NCIS.

Building upon a growing profile, 2008’s Crushing Digits featured album single “Built to Fail,” which received heavy radio airplay on Danish radio station DR P3, and as a result, the band won the Danish Band of the Year at the 2009 Danish Music Awards.  The band released two more full-length albums, 2011’s Everything is Amplified and 2013’s Point Break, both of which were recored and released during an intense touring schedule that according to the members of the band had them constantly on the road over the course of a 3 year period. In fact, the Danish indie quintet initially began recording their fifth, full-length effort 16 Colors back in 2014, after taking a year off from touring. “We had to retrieve our drive, and creativity demanded both time and space in order to flourish once more. This saw us parting ways with our record label and business partners, and granted us with a calmer, freer approach to the creative process. We worked alongside producer Mikel Bolding over a two-year period, influencing our sound by introducing us to the world of analogue recording. ”

“A Pit,” the first single off 16 Colors is a gorgeous and moody track that balances being both cinematic and intimate as it features Abrahmsen’s soaring and operatic falsetto paired with of jangling guitar, propulsive drumming and a lush string arrangement, and while reminding me a bit of Coco Beware-era CavemanFlora-era Fredrik and Antony and the Johnsons, the song’s lyrics possess a novelist’s attention to detail. As the band explains “‘A Pit’ circles the psychological problem around one only having symbols available to understand – experiencing a sort of alienation against the world, as a result. There is a reality that we cannot reach which is outside of our language, our symbols. We can’t get a pure reprieve from the constant stream of news that floods us daily. Could it be that the stream alters to ‘fit’ us? Or do we involuntarily see all impressions through a prism that transforms to our symbols, languages and interpretations?”

 

 

 

 

New Video: The Swooning and Nostalgic Sounds and Visuals for Lake Jons’ “Call Me”

Now, if you’ve been frequenting this site over the past 5 or 6 months, you may recall that with the release of their first two EPs, Explore and Explode released in 2016, the up-and-coming Helsinki, Finland-based indie act Lake Jons quickly developed a reputation for  crating forward thinking material with a delicate and atmospheric sound, rooted around driving rhythms, delicate guitar progressions, lush vocals and incredibly hook driven songs that frequently found the act effortlessly blending elements of ambient electronica, lo-fi pop, psych pop, soul, and folk.

As the story goes, the Helsinki-based pop act retreated to a cabin deep in the Finnish forest to record their recently released self-titled debut album, and as a result the album’s material touches upon the introspection that comes about in severe isolation and a deep, quiet and almost mystical connection with the natural world, as well as existentialism and human relationships. Album singles such as  “Breathe Out The Fumes” reminded me of Caveman‘s Coco Beware, Fredrik‘s Flora with sleek, contemporary electro pop, while “Lake Family” was lush and percussive track that balanced a difficult tightrope of deliberate introspection and swooning euphoria, which gave the song a tense push and pull between nostalgia, regret, longing and devotion  — and those two singles further cemented their growing reputation for a sound that’s both warmly familiar and yet uniquely theirs.

“Call Me” manages to be even more euphoric as its immediate predecessor as it’s a swooning love song rooted around industrial clang and clatter, swirling electronics, jangling guitars, and a plaintive, aching melody — but as the recently released video, featuring old Super 8-styled film suggests, underneath the surface is bittersweet nostalgia over something that has long passed and the narrator can’t quite recapture in the same fashion.

With the release of their first two EPs, Explore and Explode released in 2016, the up-and-coming Helsinki, Finland-based indie act Lake Jons quickly developed a reputation for  crating forward thinking material with a delicate and atmospheric sound, rooted around driving rhythms, delicate guitar progressions and lush vocals and incredibly hook driven songs that frequently found the act effortlessly blending elements of ambient electronica, lo-fi pop, psych pop, soul, and folk.

As the story goes, the Helsinki-based pop act retreated to a cabin deep in the Finnish forest to record their soon-to-be released self-titled debut album, and as a result the album’s material touches upon the introspection that comes about in severe isolation, existentialism, human relationships and a quiet, deeply mystical connection with the natural world. Now, last November, I wrote about the moody and percussive album single “Breathe Out The Fumes,” a single that reminded me of Caveman‘s Coco Beware, Fredrik‘s Flora meshed with sleek, contemporary electro pop.

“Lake Family,” the up-and-coming Helsinki, Finland-based pop act’s latest single will further their growing reputation for crafting lush, forward-thinking and forward-looking pop that manages to be both familiar and downright alien and as a result, their sound and approach defies lazy categorization. The new single continues in a similar percussive vein as its immediate predecessor, thanks to handclap-led percussion and thumping beats, the song (to me, at least) balances the difficult tightrope of deliberate, introspection and swooning, euphoria — and as a result the song has a subtle yet noticeably tense, push and pull quality between nostalgia, regret, longing and devotion. After all, love ain’t easy; it’s confusing, ridiculous, fearful and nonsensical yet necessary, and it never makes sense.

 

Live Footage: Other Lives at Music Apartment

Currently comprised of Jesse Tabish (piano, guitar, vocals), Jonathon Mooney (piano, guitar, percussion, trumpet) and Josh Onstott (bass, keys, percussion, guitar and backing vocals), the Portland, OR-based indie rock trio Other Lives initially formed in Stillwater, OK back in 2004, recording and releasing an album under the name Kunek before changing their name, as they went through a decided change in sonic direction and approach that necessitated a rebranding. And if you’ve been frequenting this site over the course of its almost 8 year history, you may recall that the trio have received both national and international attention for a lushly orchestrated sound reminiscent of Nick Cave and the Bad Seeds, The National and Ocean Rain-era Echo and the Bunnymen while nodding at Joy Division ,The Darcys and Caveman. 

Much like JOVM mainstays Warhaus, the members of Other Lives were invited to perform an intimate and career spanning set of their gorgeous, genre defying yet accessible and emotionally immediate material for Music Apartment. 

The up-and-coming, Helsinki, Finland-based Lake Jons retreated to a cabin deep in the Finnish forest to record their full-length debut album, an album that finds the trio establishing a unique sound that effortlessly blends ambient, lo-fi pop, psych, soul and folk. And as you’ll hear on the percussive and moody album single “Breathe Out The Fumes,” the trio’s sound nods at the likes of Caveman‘s Coco Beware, Fredrik‘s Flora and sleek contemporary electro pop and electro soul.

Over the past couple of months on this site, I’ve written a bit about the  Oklahoma City, OK-based indie rock/psych rock quartet SPACE4LEASE — and as you may recall, the band, comprised of primary songwriter and founding member Grayson Hamm (keys, lead vocals), along with Walt Blythe (guitar),  Brandon Brewer (bass, vocals) and Wes Belk (drums), can trace their origins to when Hamm, Blythe, Brewer and Belk met while they were all attending the Academy of Contemporary Music at the University of Central Oklahoma.

Although each member comes from a vastly different musical background and influences, their sound manages to be a seamless convergence of their influences including Tame Impala, My Morning Jacket, Big Thief, Andy Shauf and others, while thematically their material focuses on lost love, heartbreak, the unknown and inevitable life experiences.

With the release of their debut EP Hiraeth, an effort that focused on the complicated process of self-discovery, the members of the Oklahoma City-based quartet toured extensively across the Midwest last year, eventually winning the praise of The Flaming Lips‘ Derek Brown, who described them as  “Fellow Okies that wonderfully mix the blissfulness and melancholy of the great wide open.” Building upon the buzz the members of Space4Lease have released a batch of singles off their forthcoming EP Drifting: Must Be Something” one of the first singles I wrote about, was a lush single reminiscent of  JOVM mainstays  Caveman, Los Angeles-based indie rock act Hands and others but bristling with a sense of endless possibility  that can only come from being on the road, and seeing the world open up before your eyes. “Lately,” struck me as drawing from classic, Quiet Storm-era R&B, blue-eyed soul and indie rock in a way that reminds me of Milagres’ exceptional first two albums Glowing Mouth and Violent Light — and much like the material off of those albums, there’s the push and pull of infatuation, lust, love and heartache at the core of a confusing relationship.

Drifting‘s latest single “I Tried Calling” is a slow-burning track that pairs Hamm’s plaintive vocals paired with a lush and haunting arrangement featuring twinkling keys, guitars fed through a series of atmospheric effects — and much like the preceding singles, it’s a deeply personal song that focuses on the frustrating yet necessary ups and downs of a maintaining a relationship and the lingering ghosts of the person you’re no longer with, and of the relationship that’s over.  But what makes the song interesting is that it comes from the perspective of someone, who has a lot more to say to a partner (or ex-partner in the case), who doesn’t seem all that interested in hearing it, and as a result, the song has an underlying bitterness — the bitterness that comes from having a relationship fail and not knowing how or why it happened.