Tag: Coldplay

New Video: Black Mountain Takes on 8-Bit Video Games in New Visuals for “Licensed to Drive”

Stephen McBean is a Vancouver, British Columbia, Canada-born, Los Angeles-based singer/songwriter and guitarist, who can trace the origins of his music career to when he became involved in the Victoria, British Columbia music scene, forming his first band Jerk Ward in 1981. In 1984, the band recorded a demo that was re-released in 2009 as Too Young to Thrash. Jerk Ward evolved into Mission of Christ (MOC), who recorded a split 7 inch in 1987 — but two years later, the band broke up and McBean relocated to Vancouver, where he started Gus, a band that released two singles, a split EP and a full-length album, 1995’s The Progressive Science Of Breeding Idiots For A Dumber Society, which lead to McBean’s first experience with extensive touring.

In 1996 McBean asked Radio Berlin’s Joshua Wells to join his new band Ex Dead Teenager. Much like his first band Jerk Ward, Ex Dead Teenager eventually morphed into Jerk With a Bomb. Signing with Scratch Records and Jagjaguwar Records. the band released three albums — 1999’s Death To False Metal, 2001’s The Old Noise and 2003’s Pyrokinesis, which featured Dream on Dreary’s Amber Webber contributing vocals.

While McBean and Wells were still writing, recording and performing as Jerk With a Bomb in 2003, McBean started to demo material that included “Black Mountain” and by the following year, the duo began working on demos under the name Black Mountain with contributions from Webber, Matt Camirand (bass) and Jeremy Schmidt (keys). Those early demos eventually led to their self-titled debut album and a split 7 inch with Destroyer that featured “Bicycle Man,” and was released by Scratch Records and Jagjaguwar Records.

Building upon a growing profile, Black Mountain toured across North America and Europe and by the following June, the band released the 12″ single “Druganuat”/”Buffalo Swan” in the US. In August 2005, the band opened for Coldplay during their Twisted Logic Tour.

2008 was a huge year for the band, their sophomore album In The Future was a finalist for the 2008 Polaris Music Prize, and the album received a Juno Award nomination for Best Alternative Album. Additionally, “Stay Free” was featured on the Spiderman 3 soundtrack.

By 2010, McBean relocated to Los Angeles, where they wrote and recorded their Randall Dunn and Dave Sardy-co-produced third album, 2011’s Wilderness Heart, an album that was long listed for that year’s Polaris Music Prize and appeared on !earshot’s Top 50 chart.

2016 saw the release of their fourth album, the aptly titled IV. Since then the band has gone through a series of lineup changes and now features McBean along with Arjan Miranda, Rachel Fannan, Adam Bulgasem and Jermey Schmidt. Interestingly, during that same period McBean got his first proper driver’s license — and for him, it was as though he essentially became a teenager again, discovering a new sense of personal independence and freedom.

Now, as you may recall, the band’s newest album Destroyer derives its name from the discontinued, single-run 1985 Dodge Destroyer muscle car, and reportedly the album is imbued with the wild freedom and newfound agency, anxiety and fear that comes from one’s first time behind the wheel. The serpentine, slow-burning, whiskey fueled, boogie strut “Boogie Lover” was meant to evoke cruising down the Sunset Strip late at night while drawing from space rock, doom metal and stoner rock simultaneously. Interestingly, the album’s latest single “Licensed to Drive” evokes a sense of wild freedom  — of speeding down the highway with the music blaring at eardrum shattering levels while sonically drawing from krautrock, space rock, Black Sabbath and Ted Nugent, as the track is centered around a motorik pulse, shimmering synths, buzzing power chords and a razor sharp hook. Get in your car, play this one loud, man.

Directed by Zev Deans, the recently released video for “Licensed to Drive” is an extended riff on classic 8-bit video games and Mad Max, complete with leather and ax-wielding barbarians, a tricked out 1976 GMC Spirit, a guy playing trash can drums, and an enormous, mutant bat. And of course, while McBean and his buddy are playing the “Licensed to Drive” game, a cord is yanked out or something and they wind up having to watch a hilarious take on the classic Maxell Cassette tape commercial. For those of you who came of age in the 80s or grew up in the 80s, this video will bring back a lot of memories. 

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New Audio: Black Mountain Releases a Motorik-Styled Ripper

Stephen McBean is a Vancouver, British Columbia, Canada-born, Los Angeles-based singer/songwriter and guitarist, who can trace the origins of his music career to when he became involved in the Victoria, British Columbia music scene, forming his first band Jerk Ward in 1981. In 1984, the band recorded a demo that was re-released in 2009 as Too Young to Thrash. Jerk Ward evolved into Mission of Christ (MOC), who recorded a split 7 inch in 1987 — but two years later, the band broke up and McBean relocated to Vancouver, where he started Gus, a band that released two singles, a split EP and a full-length album, 1995’s The Progressive Science Of Breeding Idiots For A Dumber Society, which lead to McBean’s first experience with extensive touring.

In 1996 McBean asked Radio Berlin’s Joshua Wells to join his new band Ex Dead Teenager. Much like his first band Jerk Ward, Ex Dead Teenager eventually morphed into Jerk With a Bomb. Signing with Scratch Records and Jagjaguwar, the band released three albums — 1999’s Death To False Metal, 2001’s The Old Noise and 2003’s Pyrokinesis, which featured Dream on Dreary’s Amber Webber contributing vocals.

While McBean and Wells were still writing, recording and performing as Jerk With a Bomb in 2003, McBean started to demo material that included “Black Mountain” and by the following year, the duo began working on demos under the name Black Mountain with contributions from Webber, Matt Camirand (bass) and Jeremy Schmidt (keys). Those early demos eventually led to their self-titled debut album and a split 7 inch with Destroyer that featured “Bicycle Man,” and was released by Scratch Records and Jagjaguwar Records.

Building upon a growing profile, Black Mountain toured across North America and Europe and by the following June, the band released the 12″ single “Druganuat”/”Buffalo Swan” in the US. In August 2005, the band opened for Coldplay during their Twisted Logic Tour.

2008 was a huge year for the band, their sophomore album In The Future was a finalist for the 2008 Polaris Music Prize, and the album received a Juno Award nomination for Best Alternative Album. Additionally, “Stay Free” was featured on the Spiderman 3 soundtrack.

By 2010, McBean relocated to Los Angeles, where they wrote and recorded their Randall Dunn and Dave Sardy-co-produced third album, 2011’s Wilderness Heart, anJ album that was long listed for that year’s Polaris Music Prize and appeared on !earshot’s Top 50 chart.

2016 saw the release of their fourth album, the aptly titled IV. Since then the band has gone through a series of lineup changes and now features McBean along with Arjan Miranda, Rachel Fannan, Adam Bulgasem and Jermey Schmidt. Interestingly, during that same period McBean got his first proper driver’s license — and for him, it was as though he essentially became a teenager again, discovering a new sense of personal independence and freedom.

Now, as you may recall, the band’s forthcoming album Destroyer derives its name from the discontinued, single-run 1985 Dodge Destroyer muscle car, and reportedly the album is imbued with the wild freedom and newfound agency, anxiety and fear that comes from one’s first time behind the wheel. The serpentine, slow-burning, whiskey fueled, boogie strut “Boogie Lover” was meant to evoke cruising down the Sunset Strip late at night while drawing from space rock, doom metal and stoner rock simultaneously. Interestingly, the album’s latest single “Licensed to Drive” evokes a sense of wild freedom  — of speeding down the highway with the music blaring at eardrum shattering levels while sonically drawing from krautrock, space rock, Black Sabbath and Ted Nugent, as the track is centered around a motorik pulse, shimmering synths, buzzing power chords and a razor sharp hook. Get in your car, play this one loud, man. 

 

Hannah Scott is an Ipswich, UK-born, London, UK-based singer/songwriter, whose work is heavily influenced by a year spent working on an olive press in rural Tuscany, Italy in her late teens.

Several years later, Scott met her collaborator, Italian-born multi-instrumentalist, composer and producer Stefano Della Casa when they were both in London, but interestingly enough, they both recognized that they may have encountered each other years earlier, when she used to regularly pass through the train station that Della Casa worked in. When the duo began collaborating, they quickly recognized that they had an incredible connection despite coming from vastly different backgrounds: Della Casa had a difficult upbringing and troubled early adulthood while Scott had been lucky to have a supportive family and happy childhood — although as an adult, Scott was diagnosed with a form of arthritis, which causes severe joint pain and fatigue.

Both artists firmly believe that their musical collaboration has provided an outlet to support each other through difficult times, and the duo have received quite a bit of buzz over the past couple of years: they’ve been featured in MOJO, Songwriting Magazine , Clash Magazine and in The Guardian as a “New Band of The Day.” They’ve also received airplay on  Bob Harris’ and Dermot O’Leary’BBC Radio 2 shows and have been on  BBC Introducing’s “Track of the Week” three times. They’ve opened for  Seth Lakeman and 10cc , and played at Mondo.NYC Festival a couple of years ago.

Last year’s  Pieces of the Night quickly established Scott as one of her country’s emerging singer/songwriters with the album pairing emotive and heartfelt songwriting with a warm and effortless production that meshed organic instrumentation — primarily acoustic guitar, cello and vocals — with atmospheric electronics. Building upon a rapidly growing profile, both Scott and her collaborator Della Casa have signed publishing deals with Ultra Music Publishing and Chelsea Music Publishing respectively.

Scott kicks off 2019 with the gorgeous, Parachutes and A Rush of Blood to the Head-era Coldplay-like “Walk a Wire.” Centered around Scott’s plaintive vocals, a soaring hook and spectral arrangement of acoustic guitar and atmospheric electronics, the song is inspired by a friend of Scott’s, who had a disability and out of fear of rejection and heartbreak, closed herself away. And as a result, the song is a plea to the listener to take a chance and open up to life and possibility.

 

 

 

 

New Video: Black Mountain’s Trippy Lo-Fi Visuals for Sultry “Boogie Lover”

Stephen McBean is a Vancouver, British Columbia, Canada-born, Los Angeles-based singer/songwriter and guitarist, who can trace the origins of his music career to when he became involved in the Victoria, British Columbia music scene, forming his first band Jerk Ward in 1981. In 1984, the band recorded a demo that was re-released in 2009 as Too Young to Thrash. Jerk Ward evolved into Mission of Christ (MOC), who recorded a split 7 inch in 1987 — but two years later, the band broke up and McBean relocated to Vancouver, where he started Gus, a band that released two singles, a split EP and a full-length album, 1995’s The Progressive Science Of Breeding Idiots For A Dumber Society, which lead to McBean’s first experience with extensive touring.

In 1996 McBean asked Radio Berlin’s Joshua Wells to join his new band Ex Dead Teenager. Much like his first band Jerk Ward, Ex Dead Teenager eventually morphed into Jerk With a Bomb. Signing with Scratch Records and Jagjaguwar, the band released three albums — 1999’s Death To False Metal, 2001’s The Old Noise and 2003’s Pyrokinesis, which featured Dream on Dreary’s Amber Webber contributing vocals.

While McBean and Wells were still writing, recording and performing as Jerk With a Bomb in 2003, McBean started to demo material that included “Black Mountain” and by the following year, the duo began working on demos under the name Black Mountain with contributions from Webber, Matt Camirand (bass) and Jeremy Schmidt (keys). Those early demos eventually led to their self-titled debut album and a split 7 inch with Destroyer that featured “Bicycle Man,” and was released by Scratch Records and Jagjaguwar Records.

Building upon a growing profile, Black Mountain toured across North America and Europe and by the following June, the band released the 12″ single “Druganuat”/”Buffalo Swan” in the US. In August 2005, the band opened for Coldplay during their Twisted Logic Tour.

2008 was a huge year for the band, their sophomore album In The Future was a finalist for the 2008 Polaris Music Prize, and the album received a Juno Award nomination for Best Alternative Album. Additionally, “Stay Free” was featured on the Spiderman 3 soundtrack.

By 2010, McBean relocated to Los Angeles, where they wrote and recorded their Randall Dunn and Dave Sardy-co-produced third album, 2011’s Wilderness Heart, an album that was long listed for that year’s Polaris Music Prize and appeared on !earshot’s Top 50 chart.

2016 saw the release of their fourth album, the aptly titled IV. Since then the band has gone through a series of lineup changes and now features McBean along with Arjan Miranda, Rachel Fannan, Adam Bulgasem and Jermey Schmidt. Interestingly, during that same period McBean got his first proper driver’s license — and for him, it was as though he essentially became a teenager again, discovering a new sense of personal independence and freedom.

In fact, the band’s forthcoming album, Destroyer, which derives its name from the discontinued single-run 1985 Dodge Destroyer muscle car, reportedly is imbued with the wild freedom and newfound agency, anxiety and fear that comes from one’s first time behind the wheel. Interestingly, the album’s latest single is the serpentine, slow-burning, whiskey fueled- boogie strut “Boogie Lover,” a track meant to evoke cruising down the Sunset Strip. Clocking in at a little over 6 minutes and centered by wah wah pedaled guitar, thumping drumming, sizzling synths, the track manages to draw from space rock, doom metal and stoner rock simultaneously — all while being incredibly sultry and apocalyptic.

Interview: A Q&A with VALLEY’s Michael Brandolino

The members up-and-coming, Toronto, Ontario, Canada-based indie rock/indie pop act VALLEY Rob Laska (vocals), Karah James (drums), Michael Brandolino (guitar) and Alex DiMauro (bass) played in a number of various bands, initially playing in high school bands covering some of their favorite artists before getting serious enough to write their own material.  Interestingly enough, the members of the up-and-coming Canadian act can trace their origins to when the members’ previous projects were accidentally (and perhaps serendipitously) had their recording sessions double-booked at a local recording studio. The studio encouraged the band to try playing together — and as the story goes, instead of looking a gift horse in the mouth, each individual person decided to work together, eventually developing their self-produced and acclaimed debut EP, 2016’s This Room Is White, that amassed 10 million streams, partially as a result of the EP’s smash hit track “Swim,” which received airplay internationally and garnered placements on a number of TV shows. 

Last year, the members of VALLEY released the Maybe Side A EP, which featured “There’s Still A Light In The House,” a track that amassed over 1 million Spotify streams and received airplay on US College Radio. Building upon a growing profile, the up-and-coming Toronto-based indie quartet will be releasing their full-length debut Maybe through Universal Music Group later this year, and the album’s Andy Seltzer co-written and co-produced first single “Closer To The Picture”  thematically deals with the vacillating and inherent cycle of anxiety and self-reflection in the deafening digital noise of 21st century living.

VALLEY’s latest single, “A Phone Call In Amsterdam is a slickly produced bit of anthemic, radio friendly pop featuring shimmering synths, a rousing hook and a tight groove that sonically reminds me Plain White T‘s “Hey There, Delilah” and St. Lucia — while thematically focusing on an experience that should be familiar to most of us — that moment when you realize that you have feelings for a dear friend, who you desperately want to tell; but you’re afraid of rejection and ruining a good relationship.

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The up-and-coming Canadian band is currently touring with up and coming singer/songwriter and fellow Canadian Lennon Stella to support their most recent EP and new single, and the tour includes a stop tomorrow night at Irving Plaza, arguably their biggest area show to date. I recently spoke with the band’s Michael Brandolino via email about their new single, their tour, their influences and more. Check out the tour dates below, and the interview below the jump.

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MON 25 MARCH
Theater of the Living Arts Philadelphia, PA, US
TUE 26 MARCH
Irving Plaza New York, NY, US
THU 28 MARCH
Metro Chicago, IL, US
FRI 29 MARCH
The Rave/Eagles Club Milwaukee, WI, US
SAT 30 MARCH
Fine Line Minneapolis, MN, US
MON 1 APRIL
Bluebird Theater Denver, CO, US
WED 3 APRIL
Fonda Theatre Hollywood, CA, US
THU 4 APRIL
Fonda Theatre Hollywood, CA, US
FRI 5 APRIL
August Hal lSan Francisco, CA, US
SUN 7 APRIL
Wonder Ballroom Portland, OR, US
MON 8 APRIL
Neptune Theatre Seattle, WA, US
WED 10 APRIL
Vogue Theatre Vancouver, BC, Canada
THU 11 APRIL
Vogue Theatre Vancouver, BC, Canada
TUE 16 APRIL
Top Cats Cincinnati Cincinnati, OH, US
WED 17 APRIL
The Auricle Canton, OH, US
THU 18 APRIL
Cobra Lounge Chicago, IL, US
FRI 19 APRIL
Fubar St Louis, MO, US
SAT 20 APRIL
The Kio House Memphis, TN, US
MON 22 APRIL
The End Nashville, TN, US
FRI 14 JUNE
– SAT 15 JUNE
Liquid Arts Festival 2019 Hamilton, ON, Canada

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WRH: As the story goes, the members of the band met when a recording studio accidentally double- booked sessions and encouraged y’all to play together. Curiously, how does your previous project(s) differ from Valley? And when did you recognize that you had a musical and creative chemistry that couldn’t and shouldn’t be denied?

Michael Brandolino: The projects we worked on before Valley were kind of the stepping stones we needed to find our sound I’d say. We spent the years before Valley covering our favourite bands in high school and collecting our favourite sounds for the future.

WRH: How would you describe your sound?

MB: I’d say it’s very much a combination of our parents records and records that we discovered in the most formative years of our life. We’re always thinking about the overall story and how to tell it in the most honest way. We believe a lot in honesty and a freeing dynamic, while blending a lot of different sonic textures. For example, on this record we did a lot of acoustic guitar panning that sit quiet and create pads that sit under blanket under the song, which is something we learned from Coldplay but then we contrast that with a ton of drum machine samples from the 80s and 90s that glue these two different worlds together. We’re always thinking about bringing stuff like that into one headspace. It’s really important to us when shaping a record.

WRH: Who are you influenced by?

MB: We definitely have a very diverse list of influences ranging anywhere from John Mayer to Coldplay to Bon Iver and Ariana Grande. All those artists have put out records that have marked really important periods of growth for us as a band and personally. Super thankful to be living in an age where they exist.

WRH: Who are you listening to now?

MB: Currently really into Lorde’s latest record, love Bon Iver, Still Woozy, Lennon Stella of course, The Japanese House record, Fleetwood Mac, Ariana Grande! We’re all over right now. So many great albums have been put out this year.

WRH: Is there anyone in the Toronto scene, who we haven’t heard about in the States that we all should be hearing about?

MB: Hands down this band called Babygirl. They’re good friends of ours and we look up to them so much. Incredible story tellers and songwriters. We have a feeling you’ll be hearing about them soon…

Recommended first listens: “Overbored,” “Soft,” “Wish I Never Met You.”

 

WRH: You’re currently on tour with Lennon Stella. How has the tour gone so far?

 MB: This tour has been absolutely incredible. We feel so lucky and fortunate to be on this run with Lennon. It’s our first major U.S run and we’ve been learning a ton. Watching Lennon every night and seriously has one of the most beautiful voices out there right now. Her songwriting is way beyond her years in so many ways and cannot wait to see her career unfold. So lucky to be a part of her humble beginnings.

WRH: Speaking of your tour, it includes a March 26 stop at Irving Plaza. Is it your first-time playing NYC? And what should NYC music fans expect from your set and from the show?

MB: We’ve played Rough Trade in Brooklyn before, but this is definitely our first time playing the Plaza right in the heart of the city. New York is so damn special to us. We wrote a lot of Maybein the city and lots of lyrical and production soundscapes take place throughout the album. It’s gonna be a special night, we can feel it.

WRH: Your self-produced, acclaimed EP, 2016’s This Room Is White amassed over 10 million streams – perhaps a result of “Swim,” receiving placements on radio and TV. Building upon rapidly growing buzz around you, your full-length debut is slated for release later this year. So far, the album’s first single “Closer to the Picture,” which was co-written and co-produced by the band and Andy Seltzer has received over a million streams and US College radio airplay. How does it feel to attain that kind of attention in such a relatively short period of time?

MB: It’s a pretty cool feeling, although we always feel like we could do better. We’ve been pleasantly surprised that every release does better than the last. Closer to the picture now one of the smaller songs on MAYBE according to Spotify analytics. Our most recent single “A Phone Call In Amsterdam” has performed the best, and we’re brainstorming ideas on how to exceed that number with our next single titled “Park Bench.” We feel blessed with any success we’ve had but always are looking to do better. There’s always room to grow!!

WRH: Your latest single “A Phone Call in Amsterdam” reminds me a bit of Plain White T’s and St. Lucia. What influenced the song? And what’s the song about? 

MB: “A Phone Call in Amsterdam” was one of the earliest songs that we wrote for Maybe. I remember the initial idea was conceived around July/August of 2017 around the same time we also wrote “There’s Still A Light In The House.”

“A Phone Call in Amsterdam” in terms of concept came later. This one we really wanted words and feelings to flow freely in its early conception. Subconsciously the meaning came out of nowhere which kinda made me go “oh that’s what I’m writing about I know exactly where this is coming from in my life.”

It’s very much a love story set in a time and place from the perspective of a dear friend of ours. Though it’s wrapped up in distance, both physically and emotionally. The paradox of wanting someone in your life and being scared to tell them how you really feel but also not wanting to ruin something that is already good the way it is, by saying the wrong thing.

Your most current tour has you on the road for the better part of the next month, before a big festival date. After you’ve completed the tour, what’s next?

We’re planned to release another single, two music videos, and then the second half of our record MAYBE. We’ll be doing another hometown album release show in Toronto, date to be announced! We have some festivals lined up but we are also very eager to start writing and demoing again so will probably run away for a month in the summer and write.

Born Elizabeth Lowell Boland, Lowell is Calgary, Alberta, Canada-born singer/songwriter and up-and-coming pop artist, who spent time living in Carcross, Yukon Territories, near a mountain that once offered passage to gold hunters — and was also once a preying haven for wolves; the up-and-coming pop artist has also spent time living in Massachusetts, Ottawa, Georgia and Calgary, before splitting her time between Toronto and London, UK.

Early within her career, she won the attention of Martin Terefe, who has worked with KT Tunstall, James Blunt and Jason Mraz; Sacha Skarbek, who has worked with Lana Del Rey, Adele and Miley Cyrus; James Bryan, who has worked with Nelly Furtado and The Philosopher Kings; and Paul Herman, who has worked with Dido.  The quartet of songwriters and producers invited them to London’s Kensaltown Studios to write with them; however, what they all worked on wasn’t in sync with Lowell’s vision, so they scrapped what they had and started over again with the end result being her I Killed Sara V. EP and her full-length debut, We Loved Her Dearly, which was released on renowned indie label Arts & Crafts Records. Both efforts received attention for songs, which openly focused on topics like sexual abuse, rape, abortion, women’s rights, the lack of LGBTQ rights, as well as our cultural ignorance about (and simultaneous) obsession with homosexuality.

Ultimately, Lowell’s first efforts were fueled by the need to empower her and her listeners to challenge gender conventions and inspire freedom from social limitations, rules and misogynists’ abuse of power, and to celebrate and uphold individuality — and while those are understandably heavy and urgent subjects, the up-and-coming pop artist pairs that with accessible, downright radio friendly melodies and upbeat vibes. Much like Fela Kuti and others, she’s used music as a weapon — suggesting as they did, you can challenge social norms and speak truth to power while dancing. Interestingly, Lowell remained friends with Terefe et. al. and it lead to her working with Terefe as a member of his band Apparatjik, and to her mini album If You Can Solve This Jumble. Following that, it lead to four days of writing and recording with A-ha’s Magne Furuholmen, Coldplay‘s Guy Berryman, Mew‘s Jonas Bjerre and Terefe, who she joined onstage at 2012’s Roskilde Festival.

After the release of her full-length debut, Lowell took up residency in her own studio space, where she began writing for other artists, including Icona Pop, Dragonette, Netsky, Grandtheft and Bulow, and where she also spent time working at writing, producing and practicing her craft, as well as guitar and piano (which she is classically trained), so that she could be ready for a self-financed UK tour, where she was backed by a drummer. Since then, she’s played showcases at Canadian Music Week, CMJ, Sled Island, and performed at David Lynch’s Club Silencio in Paris, headlined in Oslo and Copenhagen, opened for Chad Valley in Berlin, Padova and London; and opened for The Raveonettes in Barcelona, Bilbao and Madrid.

Lowell’s sophomore effort Lone Wolf was recently released on Friday, and the album’s material focus on the power an influence of youth — particular as a teenager, but from a more mature viewpoint; from someone, looking back on their own youth as an adult, who isn’t too far removed from it. And as a result, the album thematically focuses on self-discovery while retaining the upbeat, anthemic and dance floor friendly production that has won her attention.  In fact, the album’s first single “War Face” is an infectious and soulful track centered around an arrangement featuring bluesy guitar, handclaps, a propulsive battle rhythm and an infectious shout worthy hook that brings to mind The Black Keys and Alice Merton, among others.

 

 

 

 

 

 

If you’ve been frequenting this site throughout the course of this year, you’ve come across a couple of posts featuring the Los Angeles, CA-based indie rock/dream pop duo Alyeska, and as you may recall the duo, which is comprised of Montana-born, Los Angeles-based frontwoman Alaska Reid and Ben Spear derive their name from an archaic spelling of the state of Alaska — and of course, Reid’s first name.

With the release of “Tilt A Whirl,” the first single off their John Agnello-produced debut EP, Crush, the duo began to receive attention across the blogosphere — as well as this site — for a sound that draws equally from 80s post-punk and New Wave, as it did from contemporary indie rock. The EP’s second single “Motel State of Mind,” as a moody and dramatic song that while meant to be a “rip off “rip off The Replacements” as Reid explained in an interview with Billboardmanaged to remind me quite a bit of Concrete Blonde‘s “Joey,” complete with a swooning heartache at its core. “Sister Buckskin,” the EP’s third single continued in the 80s post-punk/New Wave/college radio vein, as it managed to remind me of The Pretenders; but underneath the shimmering guitar work and anthemic hooks was a bitter sense of nostalgia over what could have have been — and just didn’t happen.

Since the release of Crush, the duo have gone on to open for the likes of Middle Kids, Frankie Cosmos and Blitzen Trapper but interestingly, the band recently released the EP’s latest single “Stones,” the last bit of music recorded at The Magic Shop, where David Bowie, Arcade Fire, Sonic Youth, Norah Jones, Coldplay and the Foo Fighters once recorded albums. And while further cementing their reputation for crafting hook-laden, anthemic 80s-inspired rock, the “Stones” manages to make a subtle nod to Fever to Tell-era Yeah Yeah Yeahs, as the song features some of the most impressive guitar work on the EP while bristling with a feral sensuality.