Tag: Deerhunter

New Video: JOVM Mainstays Penelope Isles Releases a Lysergic and Technicolor Visual for “Round”

Throughout the course of this year, I’ve written a bit about the rising  Brighton, UK-based indie rock quartet Penelope Isles. Led by its Devon, UK-born, Isle of Man-raised sibling songwriting duo Jack Wolter and Lilly Wolter, the band also features Jack Sowton and Becky Redford. Unsurprisingly, the band is centered by the bond between the Wolters, a band that was ironically strengthened when Jack, who’s six years older, moved out of the family home at 19 to study art.  “By the time I moved home, Lil was not so much of an annoying younger sister anymore and had grown up and started playing in bands and writing songs. We soon become very close. I had written some songs, so we started a band called Your Gold Teeth. We toured a bit and then Lily left for Brighton to study songwriting.”

While Lily Wolter studied in Brighton, she met Jack Sowton and Becky Redford, with whom she formed a band. As the story goes, when Lily Wolter returned home for the holidays, the idea of a forming a new band rapidly developed. Though Jack and Lily have long written separately, they chucked their disparate songs into a shared song pot, their new band was fueled by a passion for DIY alt rock/indie rock — and are influenced by the likes of Deerhunter, Pixies, Tame Impala, Radiohead and The Thrills among others.

So far, this year has been a big year for the Brighton-based act. They signed a record deal with Bella Union Records, who released their full-length debut Until the Tide Creeps In earlier this year. Thematically, the album is informed by the Wolters’ shared experience — in particular, leaving home to start your life and the various transitions you’ll experience in your life as you begin to experience adulthood. “We are six years apart, so we had a different experience of some of this, but we share a similar inspiration when writing writing music. Family, leaving home, disconnection and connection all ring bells!”

“Chlorine,” Until the Tide Creeps In’s Sleepy Sun-like album opener was centered around an arrangement that subtly bridges shimmering dream pop, shoegaze and fuzz pop — and while buoyant and seemingly ethereal, the song possessed a bracing quality, much like stepping into a cold shower. Interestingly, the song has an underlying emotional push and pull; the sort of complexity brought about by obligation and duty and the need to go out on your own. The album’s latest single is the woozy “Round,” a track that sonically seems to mesh 70s AM rock with shoegaze as the track is centered by a looping and shimmering guitar line and a soaring hook. And much like its predecessor, the new single will further establish the band’s bracingly wistful take on a familiar and beloved sound — all while evoking the ebb and flow of complicated and ambivalent emotions.

The recently released released video for “Round” is a lysergic and technicolor fever dream that features a person walking  and dancing around a very British-looking town in an inflatable, round suit in bright colors with floating images of the band performing the song in the background. “‘Round’ was the first song I wrote when I moved to Brighton a few years ago. I wrote it on a dan electro 12 string, which I had to sell to pay the rent,” the band’s Jack Wolters says in press notes. “We played the song constantly when we first started gigging and ended up leaving it out of the set for a while. We revisited it, as it felt weird to not include it on this record. We made the video in Brighton on one of the hottest days of the year. It consists of footage of Lily, dressed in a large round blow-up suit that pulsates with bright psychedelic colors and floating images of the band. We had a laugh making this one!”

Advertisements

New Audio: Up-and-Coming British Indie Rock Act Penelope Isles Release a Sludgy and Slow-Burning New Single

Throughout the course of this year, I’ve written a bit about the Brighton, UK-based indie rock quartet Penelope Isles. And as you may recall, the act, which is comprised of Devon, UK-born, Brighton-based sibling songwriting duo Jack Wolter and Lily Wolter, along with Jack Sowton and Becky Redford is centered by the bond between the Wolters, a bond that ironically was strengthened when Jack, who’s six years older moved out of the family home to study art when he was 19. “By the time I moved home, Lil was not so much of an annoying younger sister anymore and had grown up and started playing in bands and writing songs. We soon become very close. I had written some songs, so we started a band called Your Gold Teeth. We toured a bit and then Lily left for Brighton to study songwriting.”

When Lily Wolter studied in Brighton, she met Jack Sowton and Becky Redford, with whom she formed a band. And as the story goes, when Lily Wolter returned home to the Isle of Man for the holidays, the idea of forming a new band rapidly developed. Although Jack and Lily have long written separately, they chucked their disparate songs into a shared song pot, their new band was fueled by a passion for DIY alt rock/indie rock — and are influenced by the likes of Deerhunter, Pixies, Tame Impala, Radioheadand The Thrills among others.

The up-and-coming Brighton-based indie rock act’s highly-anticipated full-length debut Until the Tide Creeps In will officially drop on Friday through renowned indie label Bella Union Records, and the album thematically is informed by the Wolters’ shared experience — in particular leaving home, moving away, dealing with the various transitions in life and growing up. “We are six years apart, so we had a different experience of some of this, but we share a similar inspiration when writing writing music. Family, leaving home, disconnection and connection all ring bells!”  The Wolters explain in press notes. 

“Chlorine,” Until the Tide Creeps In’s Sleepy Sun-like album opener was centered around an arrangement that subtly bridges shimmering dream pop, shoegaze and fuzz pop — and while buoyant and seemingly ethereal, the song possessed a bracing quality, much like stepping into a cold shower. Interestingly, the song has an underlying emotional push and pull; the sort of complexity brought about by obligation and duty and the need to go out on your own. “Round,” the album’s second single found the band meshing 70s AM rock with shoegaze while evoking the ebb and flow of the complicated and ambivalent emotions of adulthood.”

Centered around a quiet-loud-quiet song structure, complete with a slow-burning and sludgy groove, shuffling drumming and an anthemic hook, the album’s fourth and latest single “Cut Your Hair” manages to subtly recall 120 Minutes-era alt rock. “One of my favourite songs to play live. The slow sludgy groove always feels like a refreshing moment in the set. I wrote it in our old garage on the Isle of Man whilst in uncertainty of whether or not to move away to pursue a career in music or not,” the band’s Jack Wolters says of the album’s latest single. “I had a small studio set up and it started with the drum groove and the rest happened really quickly. I guess it’s a fixtinal tale and concept of what could have been me if I didn’t have a go at doing ‘the band thing’. A don’t give up on your dreams kinda thing.”

Comprised of Titus Brown, Matt Lambert and Jim Crook, the Atlanta, GA-based indie rock All The Saints can trace their origins back to Alabama, where they were raised on a diet of Crimson Tide/SEC football and loud “college rock.” In the early aughts, Brown, Lambert and Crook relocated to Atlanta, where they were signed by Touch & Go Records; in fact, they have the distinction of being the last band signed to the label before it shut down daily operations.

Over the next decade, the members of All The Saints honed their craft while developing an expansive, explosive sound, which made their live show a must-see; however, over the past few years, live gigs became infrequent. Interestingly, the folks at Chunklet Industries contacted the Atlanta-based act and suggested that the band should work on a full-length album with Jason Kingsland, an acclaimed producer, who has worked with Deerhunter, Band of Horses and others.

Slated for release next month, the Atlanta-based indie rock trio’s long-awaited third full-length album Look Like You’re Going Somewhere was recorded over the course of three days at Maze Studios, and the album reportedly at parts finds the band sounding like Spacemen 3, The Jesus Lizard, Sonic Youth and Sleep simultaneously — all while capturing their live sound.

“Creak,” Look Like You’re Going Somewhere‘s expansive and thunderous lead single is a smoldering and murky track centered by a a serpentine bass line, a slow, driving rhythm and shimmering guitars, snarled and howled vocals before ending in scorching feedback reminiscent of Nirvana’s “Radio Friendly Unit Shifter” — but at its core is a uneasy, sinister vibe.

 

New Audio: Penelope Isles Returns with a Woozy New Single

Earlier this week, I wrote about the up-and-coming Brighton, UK-based indie rock quartet Penelope Isles, and as you may recall, the act which is comprised of Devon, UK-born, Isle of Man-raised sibling songwriting duo Jack Wolter and Lily Wolter, along with Jack Sowton and Becky Redford is centered by the bond between Wolters, a bond that ironically was strengthened when Jack, who’s six years older moved out of the family home to study art when he was 19. “By the time I moved home, Lil was not so much of an annoying younger sister anymore and had grown up and started playing in bands and writing songs. We soon become very close. I had written some songs, so we started a band called Your Gold Teeth. We toured a bit and then Lily left for Brighton to study songwriting.”

While Lily Wolter studied in Brighton, she met Jack Sowton and Becky Redford, with whom she formed a band. As the story goes, when Lily Wolter returned home for the holidays, the idea of a forming a new band rapidly developed. Though Jack and Lily have long written separately, they chucked their disparate songs into a shared song pot, their new band was fueled by a passion for DIY alt rock/indie rock — and are influenced by the likes of Deerhunter, Pixies, Tame Impala, Radiohead and The Thrills among others.

The up-and-coming Brighton-based indie rock act recently signed to renowned indie label Bella Union Records, who will be releasing the British act’s full-length debut Until the Tide Creeps In. Slated for a July 12, 2019 release, Penelope Isles’ debut thematically is informed by the Wolters’ shared experience — in particular leaving home, moving away, dealing with the various transitions in life and growing up. “We are six years apart, so we had a different experience of some of this, but we share a similar inspiration when writing writing music. Family, leaving home, disconnection and connection all ring bells!”

“Chlorine,” Until the Tide Creeps In’s Sleepy Sun-like album opener was centered around an arrangement that subtly bridges shimmering dream pop, shoegaze and fuzz pop — and while buoyant and seemingly ethereal, the song possessed a bracing quality, much like stepping into a cold shower. Interestingly, the song has an underlying emotional push and pull; the sort of complexity brought about by obligation and duty and the need to go out on your own. The forthcoming album’s latest single is the woozy “Round,” a track that sonically seems to mesh 70s AM rock with shoegaze as the track is centered by a looping and shimmering guitar line and a soaring hook. And much like it’s predecessor, the new single will further establish the band’s bracingly wistful take on a familiar and beloved sound — all while evoking the ebb and flow of complicated and ambivalent emotions. 

New Video: Brighton’s Up-and-Coming Penelope Isles Release a Lysergic Visual for “Chlorine”

Comprised of Devon, UK-born, Isle of Man-raised sibling songwriting duo Jack Wolter and Lily Wolter, along with Jack Sowton and Becky Redford, the up-and-coming Brighton, UK-based indie rock at Penelope Isles is centered by the bond between the Wolters, a bond that ironically was strengthened when Jack, who’s six years older moved away to study art when he was 19. “By the time I moved home, Lil was not so much of an annoying younger sister anymore and had grown up and started playing in bands and writing songs. We soon become very close. I had written some songs, so we started a band called Your Gold Teeth. We toured a bit and then Lily left for Brighton to study songwriting.”

While Lily Wolter studied in Brighton, she met Jack Sowton and Becky Redford, with whom she formed a band. As the story goes, when Lily Wolter returned home for the holidays, the idea of a forming a new band rapidly developed. Though Jack and Lily have long written separately, they chucked their disparate songs into a shared song pot, their new band was fueled by a passion for DIY alt rock/indie rock — and are influenced by the likes of Deerhunter, Pixies, Tame Impala, Radiohead and The Thrills among others.

The up-and-coming Brighton-based indie rock act recently signed to renowned indie label Bella Union Records, who will be releasing the British act’s full-length debut Until the Tide Creeps In. Slated for a July 12, 2019 release, Penelope Isles’ debut thematically is informed by the Wolters’ shared experience — in particular leaving home, moving away, dealing with the various transitions in life and growing up. “We are six years apart, so we had a different experience of some of this, but we share a similar inspiration when writing writing music. Family, leaving home, disconnection and connection all ring bells!”

Until the Tide Creeps In’s latest single, the Sleepy Sun-like album opener is centered around an arrangement that bridges shimmering dream pop and shoegaze with fuzz pop, gorgeous harmonies and a soaring hook — and while buoyant and seemingly ethereal, the song possesses a bracing quality, like a cold shower. But underneath that is an emotional push and pull; the sort of complexity brought about by obligation and duty and the need to go out on your own. The recently released video employs the use of collages, found footage and superimposed footage of the band performing the song to create a visual that’s appropriate lysergic.

Officially formed in Athens, GA during the winter of 2014 and comprised of primary songwriter Gresham Cash (vocals, guitar), Wes Gregory (drums) and Connor Sabula (bass), the indie rock/psych rock trio Oak House have developed a reputation for an uncompromisingly weird sound that effortlessly meshes elements of melodic and pop-leaning indie rock, psych rock, experimental rock and grunge rock paired with contemplative and visceral lyrics that explore and investigate life’s inevitable conflicts; bur interestingly enough, Cash’s songwriting is largely influenced by classical music, jazz, Eastern melodic structure and contemporary, minimalist instrumental music, which unsurprisingly gives their overall sound a cinematic air.

Now, if you had been frequenting this site earlier this year, the Athens, GA-based trio’s sophomore effort Hot or Mood was recorded at Chase Park Transduction with Drew Vandenberg, who’s worked with of MontrealToro y MoiKishi BashiDeerhunter and Mothers and the album reportedly finds the band accurately capturing their live sound and energy — and as I wrote of the rapidly shifting album single “Cut That Out,” the track managed to capture the narrator’s vacillating thoughts and emotions with a shaky, unsteady almost anxiety-inducing accuracy. As the band’s Gresham Cash explains in press notes ” I wanted to craft a picture of dreams by using frenetic, shifting imagery with a blend of hopeful nostalgia muddied by sadness, depression, suicidal thoughts, etc. Also, I felt that anxiety, depression and suicide are things that not only influence us directly, but also, those around us; hence, the chorus, ‘We’re all responsible for someone else.’ The ending is the feeling of the dream unraveling combined with the feeling that you are living within someone else’s dream: unsettling to say the least. Your only defense against the confusion and discomfort is like swatting at an irksome fly that keeps buzzing in your ears: ‘Cut that out.’”

Hot or Mood‘s latest single “Esque” continues in a similar vein as its predecessor, thanks to a rapidly shifting structure that touches upon ambient and minimalist electronics, anthemic power chord-based indie rock and expansive psych rock — and while sounding as though it were influenced by OK Computer and Kid A-era Radiohead; but pay close attention to the lyrics, as the song’s narrator at one point ruminates on the relativistic nature of time, in which past, present and future all co-exist simultaneously as the song feels like swirling, feverish and anxious dream.

The band will be embarking on a tour throughout next month and it’ll include an August 20, 2017 stop at The Bowery Electric. Check out the tour dates below.

Tour Dates: 

August 10 – Athens, GA @ Caledonia Lounge
August 11 – Orlando, FL @ Will’s Pub
August 12 – Tampa, FL @ New World Brewery
August 14 – Raleigh, NC @ The Pour House
August 15 – Durham, NC @ The Cave
August 16 – Harrisonburg, VA @ Golden Pony
August 17 – Washington, DC @ TBA
August 18 – Philadelphia, PA @ TBA
August 20 – New York, NY @ The Bowery Electric
August 21 – Fairfield, CT @ Fairfield Theatre
August 22 – Syracuse, NY @ Funk N Waffles
August 23 – Pittsburgh, PA @ Black Forge Coffeehouse
August 24 – Huntington, WV @ V Club
August 25 – Lexington, KY @ Green Lantern
August 26 – Newport, KY @ Southgate House Revival
August 27 – Nashville, TN @ Fond Object Records

 

 

 

 

 

 

Initially forming under the name Apteka, the Chicago, IL-based psych rock quartet Pink Frost, currently comprised of founding members Adam Lukas (vocals, guitar) and Paige Sandilin (guitar) and newest members Alex Shumard (bass) and Jesse Hozeny (drums), have released 2011’s debut Gargoyle Days  and 2014’s Sundowning to critical praise both locally and nationally from  Pitchfork, SPIN Magazine, Noisey, Magnet Magazine, and Chicago Reader for a sound that had been compared favorably to RIDE, Smashing Pumpkins, Dinosaur, Jr. and Deerhunter. And adding to a growing national profile, the band had material from Sundowning placed in the major motion picture, The Lookalike and TV series such as The Vampire Diaries and CSI: Miami.

If you had been frequenting this site over the past 2 years or so, you may recall that the Chicago-based band released a painstakingly remixed and re-mastered edition of their debut effort, from the original analog masters to better reflect their live sound at the time — and with artwork reflecting the band’s name change, as a both a metaphorical and literal rebirth. And at the time, I wrote about Gargoyle Days’ second single, the seemingly  The Posies’Ontario,” Foo Fighters‘ “This Is A Call” and The Black Angels’Telephone“-inspired “Where Days Go.” However, four years have passed since a full-length album of original material from the Chicago-based psych rockers and in that time, they’ve gone through a series of changes that have influenced the band’s songwriting approach, their overall sound and the material’s thematic concerns. Now, as I hinted at earlier, the band went through a massive lineup change — and as the band’s Adam Lukas explains in press notes, Gargoyle Days addresses a collective sense of abrupt changes. “There is a sentimentality or a sense of loss that permeates most of the songs,” Lukas says. “Whether it’s the loss of truth, the ones you love, your place in the universe, or general sense of meaning in changing landscapes.”

The recently released New Minds, reportedly finds the band’s material at points becoming much more introspective — and while the more straight ahead rock-leaning material manages to be heavier and darker, their more spacey, shoegazer-like material manages to be much more introspective and with more delicate melodies. “Bare Roots,” New Minds’ first single was a power chord-based barn-burner that sounds as though it draws from Black Sabbath and Led Zeppelin. And while continuing in a similar, power chord-based, arena rock vein,  the album’s latest single “Seek and Recover” manages to nod at 90s alt rock — in particular Foo Fighters, as the song manages to pair a polished studio sound, a radio-friendly accessibility and an arena rock swagger, completed with rousing hooks.

Initially forming under the name Apteka, the Chicago, IL-based psych rock quartet Pink Frost, currently comprised of founding members Adam Lukas (vocals, guitar) and Paige Sandilin (guitar) and newest members Alex Shumard (bass) and Jesse Hozeny (drums), have released 2011’s debut Gargoyle Days (under the name Apteka) and 2014’s Sundowning to critical praise both locally and nationally from  Pitchfork, SPIN Magazine, Noisey, Magnet Magazine, and Chicago Reader for a sound that had been compared favorably to RIDE, Smashing Pumpkins, Dinosaur, Jr. and Deerhunter. And adding to a growing national profile, the band had material from Sundowning placed in the major motion picture, The Lookalike and TV series such as The Vampire Diaries and CSI: Miami.

Now, if you had been frequenting this site over the past 2 years or so, you may recall that the Chicago-based band released a painstakingly remixed and re-mastered edition of their debut effort, from the original analog masters to better reflect their live sound at the time — and with artwork reflecting the band’s name change, as a both a metaphorical and literal rebirth. And at the time, I wrote about Gargoyle Days‘s second single, the seemingly  The Posies’Ontario,” Foo Fighters‘ “This Is A Call” and The Black Angels’Telephone“-inspired “Where Days Go.” However, four years have passed since a full-length album of original material from the critically applauded, Chicago-based psych rockers and in that time, they’ve gone through a series of changes that have influenced the band’s songwriting approach, their overall sound and the material’s thematic concerns. As I mentioned earlier, the band went through a massive lineup change in which the band’s newest members Shumard and Hozeny take prominent roles — and as the band’s Adam Lukas explains in press notes, the album overall addresses a collective sense of abrupt changes. “There is a sentimentality or a sense of loss that permeates most of the songs,” Lukas says. “Whether it’s the loss of truth, the ones you love, your place in the universe, or general sense of meaning in changing landscapes.”

New Minds, the band’s latest album is slated for a June 16, 2017 release and the album reportedly finds the band’s material at points becoming much more introspective — and while the more straight ahead rock-leaning material manages to be heavier and darker, their more spacey, shoegazer-like material manages to be much more introspective and with more delicate melodies. “Bare Roots,” New Minds‘ first single is a power chord-based barn-burner that sounds as though it draws from Black Sabbath and Led Zeppelin, complete with an anthemic hook. And interestingly enough, the song may be the most urgent and forceful song they’ve released to date, echoing our most urgent and forceful time.