Tag: DIIV

Formed back in 2015, the rising  Los Angeles-based punk act The Paranoyds — founding members Staz Lindes (bass, vocals) and Laila Hashemi (keys vocals), Hashemi’s childhood friend Lexi Funston (guitar) and David Ruiz (drums) — derive their name as an apt summery of their general outlook on technology and modern culture. But ironically, the act can trace its origins to the friendship its founding duo forged through MySpace when they were in their early teens. Initially bonding over their shared interest and passion for local. underground music, Lindes and Hashemi eventually became friends in real life. Eventually the duo recruited Funston and Ruiz to complete the band’s lineup.

Since their formation, the band has developed a reputation as one of Los Angeles’ most exciting bands as a result of tours with the likes of DIIVWhite ReaperAlbert Hammond, Jr., Sunflower BeanTacocat,BRONCHO and others, and for playing major festivals like Coachella. Building upon a rapidly growing profile, the Los Angeles-based quartet released their critically applauded full-length debut Carnage Bargain, an album that was a raucous blend of gritty garage rock, New Wave, horror movie camp and a other left-of-center influences delivered with a sneering wink.

With the world literally burning down with us, the members of the acclaimed Los Angeles-based quartet return with a much-needed dose of musical levity. Slated for a November 27, 2020 release through Suicide Squeeze Records, the “Pet Cemetery”/”Hotel Celebrity” 7 inch is the first bit of new material from the band since Carnage Bargain. And reportedly, the effort is an embodiment of all of their influences. Interestingly, the 7 inch’s A side — and first single — firmly cements their identity and reputation for being a band fueled by campy horror movies and garage rock. Centered around sharply arpeggiated organs, a chugging guitar line, thunderous drumming and an expansive song structuc, “Pet Cemetery” is a Halloween-themed headbanger that’s become a staple of the band’s live sets. But while arguably being among the heaviest songs of their growing catalog, the song possesses a mischievous sense of humor: the song thematically focuses on undead lovers partaking in streamy PDA sessions. It’s an anthemic love song for the underworld.

“When your honeymoon phase has the strength to extend to the underworld – ‘Pet Cemetery’ will be playing. If you are lucky enough to experience the type of love that feels deep enough to follow you underground with you and your lover- you know what ‘Pet Cemetery’ is saying. It is the ultimate love song with a message of passion strong enough for both life and afterlife,” the band’s Staz Lindes explains.

New Video: Athens, GA’s Easter Island Releases a Gorgeous and Cinematically Shot Visual for Soaring “Always Room For Another”

Rising Athens, GA-based dream pop act Easter Island — sibling’s Ethan (guitar) and Asher Payne (keys), Ryan Monahan (guitar), John Swint (drums) and Justin Ellis (bass) have developed and honed a sound that’s been compared to the likes of Explosions in The Sky, My Bloody Valentine, DIIV, Pedro the Lion and others. Their full-length debut, 2012’s Frightened featured material, which appeared in a number of TV show including ABC’s Off The Map, MTV’s Awkward and an live appearance on a 2019 episode of the CW’s Dynasty.

Adding to a growing profile, the act has shared stages with a number of acclaimed acts including David Bazan, The B52’s Cindy Wilson, The Low Anthem, Bully, Wild Nothing, White Rabbits, Valley Maker and a lengthy list of others. Over the past six years or so, the members of the Athens-based act have been working on new material in various studios across the country while touring and making stops across the national circuit touring — with stops at SXSW, CMJ, Treefort, Underground Music Showcase, Secret Stages and AthFest. They’ve even traveled to Japan to work on material — and to shoot the video for Take All The Time You Think You Need’s single “Island Nation.”

Speaking of Take All The Time You Think You Need, the Ryan Monahan-produced album which is slated for a December 2020 release draws from a diverse and eclectic array of influences including Sufjan Stevens, Max Richter and The Never Ending Story. The album’s latest single, the cinematic “Always Room For Another” originally premiered on Billboard back in 2018. The single is an incredibly cinematic track, centered around shimmering guitars, ethereal textures, a propulsive groove led by thunderous drumming, plaintive falsetto vocals and euphoric hooks paired with earnest songwriting packed with an emotional wallop.

Directed by the band’s Ethan Payne, the gorgeously shot, cinematic visual for “Always Room For Another” follows the band’s Ryan Monahan on an epic journey through Denver and eventually through White Sands National Monument in New Mexico. Throughout the video, the viewer is supposed to get a sense that its protagonist is on a quest to ultimately find himself.

Last year, I wrote about the Orlando, FL-born and-based singer/songwriter and multi-instrumentalist Matthew Messore. And as you amy recall, after spending a period of time traveling across the country, Messore returned to his hometown to work on music with his solo, bedroom recording project Cathedral Bells.

Since the release of last year’s breakthrough self-titled EP, which received support from David Dean Burkhart and praise from the likes of The Line of Best Fit, who likened the project’s sound to “an exploration of the smudged reds of The Cure, hazy pinks of Chromatics and gluey browns of DIIV,” Messore has been busy releasing new material, including his latest single, the gauzy and swooning “Heavy Rain.” Centered around seemingly unending layers of shimmering guitars, propulsive drum machine-driven beats and Messore’s plaintive and ethereal vocals, the track sonically meshes the classic 4AD Records sound with shoegaze in a way that feels warmly familiar yet novel.

“Sometimes, loneliness can feel like it’s raining down on you and there’s such a storm of emotion, you wonder if anyone can understand,” Messore told FAULT Magazine.

 

 

 

 

 

 

New Video: Hull’s bdrmm Releases a Trippy Visual for Arena Rock-Friendly Single “Shame”

Last year, I wrote about the up-and-coming Hull, UK-based indie rock act bdrmm. And as you may recall, the act which initially started as the bedroom recording project of singer/songwriter and guitarist Ryan Smith during the end of 2016 quickly became a full-fledged band when Smith recruited his brother Jordan (bass), Joe Vickers (guitar), Daniel Hull (synth, backing vocals) and Luke Irvin (drums) to complete the band’s lineup. 

The band went on to cut their teeth playing shows across Northern England before releasing their first two singles “kare” and “the way i want,” which quickly caught the attention of MTV, Clash Magazine and DORK, as well as airplay from BBC Radio 1 and Amazing Radio. The Hull-based quintet has opened for Trudy & The Romance, Her’s, FEHM and Horsey — and as a result, they caught the attention of London-based indie label Permanent Creeps, who released the 4AD Records-like “C.U.” Since then, they’ve opened for JOVM mainstays pizzagirl and Amber Arcades, as well Gengahr. Additionally, they’ve played sets at a number of British festivals including Gold Sounds, Humber Street Sesh, and Live at Leeds, which have added to a rapidly growing national profile. 

Their highly-anticipated Alex Greaves-produced debut EP If Not When? is slated for an October 11, 2019 release through Sonic Cathedral Records — and the EP, which has seen physical pre-orders quickly sell out is largely influenced by the likes of DIIV, Slowdive and Beach House, as well as an up-and-coming crop of British post-punk acts including Squid, YOWL, Black Country and New Road. Interestingly, the EP’s first single “Shame” find the band retaining the shimmering post-punk tinged shoegazer sound of their previous releases — but with a forceful and propulsive groove and an ambitious arena rock-like feel, reminiscent of The Cure and others. 

“‘Shame’ is about the heartache of having to tell someone you can about the most that being together can’t work for whatever reason — having to be the person, who takes it upon themselves to do the right thing, even though it feels so wrong,” the band’s Ryan Smith explains in press notes. 

The recently released video by Jordan Smith is a dizzying visual that’s one part lyric video with some psychedelic imagery. 

New Video: The Paranoyds Release an Interactive and Trippy, 360º Visual for “Face First”

Formed back in 2015, the buzz-worthy Los Angeles-based punk act The Paranoyds, derive their name as a bit of an apt summary of their general outlook on technology and modern culture — but ironically, the act can trace its origins to a friendship forged between its founding members Staz Lindes (bass, vocals) and Laila Hashemi (keys vocals) over MySpace in their early teens. Initially bonding over a shared interest in local underground music, the duo eventually became friends in real life. Eventually, the duo recruited Hashemi’s childhood friend Lexi Funston to join the band — with David Ruiz (drums) completing the band’s lineup in 2015.

Since their formation, the band has developed a reputation as one of Los Angeles’ most exciting bands as a result of tours with the likes of DIIV, White Reaper, Albert Hammond, Jr., Sunflower Bean, Tacocat, BRONCHO and others, and for playing major festivals like Coachella. The band’s highly-anticipated (and long-awaited) full-length debut Carnage Bargain is slated for a September 13, 2019 release through Suicide Squeeze Records — and the album is reportedly a raucous blend of gritty garage rock, New Wave swagger, B movie camp and a myriad of other left-of-center influences.

Earlier this year, I wrote about the album’s second single, album title track “Carnage Bargain,” a track which found the band pairing ironically delivered lyrics that offered a scathing observation of our world of instant gratification with quirky yet infectious pop hooks, fuzzy power chords  and forceful drumming. Beginning with a pair of alternating half-tones that sound like sirens piercing through the air, the album’s third and latest single, album opener “Face First”  quickly develops a motorik groove featuring some explosive blasts of post punk skronk and squeal. And over that the band’s Lexi Funston sings lyrics about watching other people’s private lives unfold on social media and on our phones. 

Directed by David Gantz and Theo Cohn, the recently released video for “Face First” is  trippy 360º and interactive visual that follows a stalker. “We wanted the video to be driving, as the song has always reminded us of some sort of forward movement, like running, driving in a car late at night, etc.,” the members of The Paranoyds say in a statement. “The song is loosely about a stalker and we wanted that idea to be involved in the movement somehow. The video directors, our friends Theo Cohn and David Gantz, wanted to challenge themselves by doing something they had never done before–shooting with a 360º camera. This allowed us to show the point of view of these stalkers, where you could watch the video multiple times and still notice little Easter eggs each time depending on where you look. So many people watch videos on their phones now, and a 360º video makes for a much more interesting and fulfilling experience on a phone.”

New Video: Los Angeles’ The Paranoyds Release a Trippy B Movie-Inspired Visual for “Carnage Bargain”

Formed back in 2015, the buzz-worthy Los Angeles-based punk act The Paranoyds, derive their name as a bit of an apt summary of their general outlook on technology and modern culture — but ironically, the act can trace its origins to a friendship forged between its founding members Staz Lindes (bass, vocals) and Laila Hashemi (keys vocals) over MySpace in their early teens. Initially bonding over a shared interest in local underground music, the duo eventually became friends in real life. Eventually, the duo recruited Hashemi’s childhood friend Lexi Funston to join the band — with David Ruiz (drums) completing the band’s lineup in 2015.  

Since their formation, the band has developed a reputation as one of Los Angeles’ most exciting bands as a result of tours with the likes of DIIV, White Reaper, Albert Hammond, Jr., Sunflower Bean, Tacocat, BRONCHO and others, and for playing major festivals like Coachella. The band’s highly-anticipated (and long-awaited) full-length debut Carnage Bargain is slated for a September 13, 2019 release through Suicide Squeeze Records — and the album is reportedly a raucous blend of gritty garage rock, New Wave swagger, B movie camp and a myriad of other left-of-center influences. 

Carnage Bargain’s second and latest single, the album title track will further cement their long-held reputation for pairing ironically delivered lyrics with quirky yet infectious pop hooks, fuzzy power chords and forceful drumming. And while being the sort of mosh pit friendly track in which you can envision sweaty concertgoers bopping about and singing along at your local music venue, the track is centered around a scathing observation of our current world of instant gratification that has left us unhappier. “People want things all the time—there seems to be a constant manic need of consuming now more so than ever. ‘Carnage Bargain’ is about the people higher up wanting to get all this evil work done at a wholesale price,” the band’s Staz Lindes says in press notes. 

“It’s an extremely vulnerable time in America—things aren’t sugar coated anymore,”Lindes adds. “The dirt and grime that was swept under the rug has risen to surface. It’s impossible for us to get through a day without thinking of the thousands of migrant children in cages at the border alone, some without proper beds, soap, toothbrushes, and with lights on 24/7. We can not continue to ignore the black lives, young and old, taken by police almost every week. The plastic crisis. The mass shootings. The extreme need for prison reform. The opioid crisis. The water crisis in Flint, Michigan. The list goes on, and the hole gets deeper. Sometimes I can’t sleep and I wonder: do they sleep well in the White House? What else can I do as a privileged citizen? They want to get a Carnage Bargain. I want to pick up garbage.”

Directed by David Ruiz and Max Flick, the recently released video immediately brings 120 Minutes to mind as its split between placing the band in a seemingly dysfunctional and dystopian reality and their studio — while nodding at constant commercials. 

Currently comprised of founding members Laila Hashemi (keys, vocals) and Lexi Funston (guitar, vocals) along with Staz Lindes (bass, vocals) and David Ruiz (drums, vocals), the Los Angeles-based punk act The Paranoyds can trace their origins to the longtime friendship of its founding members, who met when they were both in preschool. Eventually moving from the playground to the practice room, the band’s founding duo met Lindes and Ruiz, who joined the band in 2015.

Since becoming a full-fledged band in 2015. the Los Angeles-based punk quartet have  crafted material with the gritty spunk and dark playfulness of a cult-classic splatter film while developing what they’ve described as a “sister vocal act,” that effortlessly moves from scuzzy surf-pop to power chord-based garage rock. Interestingly, the members of the band have generally kept a low profile on social media, instead keeping in the old-school punk tradition of hitting the road, playing shows and kicking ass wherever they go; in fact, over the past few years, they’ve built up a reputation as an in-demand opener, opening for the likes of DIVV, Albert Hammond, Jr., Sunflower Bean and BRONCHO.

Slated for a July 12, 2019 release through Suicide Squeeze Records, the band’s “Hungry Sam”/”Trade Our Sins” 7 inch is a sort of one-off single that finds the band playfully expanding upon their sound and approach, before the release of more new material and a West Coast tour with blogosphere darlings Tacocat. “Trade Our Sins” is a slow-burning apocalyptic waltz centered around a simple arrangement of guitar, organs and drums that focuses on two lovers, in a now-or-never moment to share decadent, sinful delights before the end of everything. And while self-assured in a fashion that recalls JOVM mainstays The Coathangers, the song manages a sultry coquettishness.

Check out the tour dates below.

Tour Dates:

06/11/19 – Seattle, WA @ Belltown Yacht Club

06/12/19 – Spokane, WA @ The Bartlett w/ Tacocat

06/13/19 – Boise, ID @ Neurolux w/ Tacocat

06/14/19 – Salt Lake City, UT @ Kilby Court w/ Tacocat

06/15/19 – Denver, CO @ Larimer Lounge w/ Tacocat

06/17/19 – Dallas, TX @ Club Dada w/ Tacocat

06/18/19 – Houston, TX @ White Oak Music Hall (upstairs) w/ Tacocat

06/19/19 – Austin, TX @ Barracuda (outside) w/ Tacocat

06/21/19 – Santa Fe, NM @ Meow Wolf w/ Tacocat

06/22/19 – Phoenix, AZ @ Valley Bar w/ Tacocat

06/23/19 – San Diego, CA @ Casbah w/ Tacocat

06/25/19 – Los Angeles, CA @ Bootleg Theater w/ Tacocat

Theodore is a critically applauded, Athens, Greece-based multi-instrumentalist, singer/songwriter and composer, whose schooling in piano and traditional Greek folk music eventually led to a professional music career in London, where he studied Music Composition in 2011. As a composer and singer/songwriter, Theodore meshes classical compositions and arrangements with subtle electronic production and rock instrumentation to create a sound that’s atmospheric, cinematic that nods at psych rock, prog rock and experimental rock — and it shouldn’t be surprising that the Greek composer, singer/songwriter and multi-instrumentalist cites Sigur Ros, Radiohead, Pink Floyd, Manos Hadjidakis, Vangelis Papathanasiou, Nils Frahm, The National, Olafur Arnalds and Max Richter as being major influences on his work and sound. “I like a composer or a band because when I listen to the music or attend a concert I am just getting lost in the atmosphere,” Theodore explains in press notes. “I understand that orchestral music is something that I am really into and I will try to test my self in the future.”

Theodore has written compositions for Matina Megla’s Window, Vladan Nikolic’s film Bourek and he was commissioned to write a new, live score for Buster Keaton’s classic, 1928 silent comedy The Cameraman, which he and his band performed during  a screening at the Temple of Zeus. But interestingly enough, his sophomore album It Is But It’s Not, which was performed live at London’s Abbey Road Studio 2 has been his breakthrough effort as the accompanying performance video has amassed more than 2 million YouTube views — and as a result, the Greek composer, singer/songwriter and multi-instrumentalist has played sets at some of the world’s biggest festivals, including Reeperhbahn Festival, Eurosonic Nooderslag, Release Festival and SXSW. Adding to a growing profile, he has opened for Sigur Ros and DIIV, and has received praise from a number of major media outlets, including Clash Magazine, Music WeekTsugi, FGUK, Gaffa and Szene, as well as airplay from BBC Radio 6 Music’s Lauren Laverne. Oh, and I must add that “Towards (for what is to come)” is currently playlisted on NPR’s All Songs 24/7 and Germany’s Flux Passport Approved.

Theodore’s third, full-length album Inner Dynamics is slated for a November 2, 2018 release and the album finds him thematically looking inward to examine the dichotomies (and dualities) of his identity in order to seek new creative potential. “On It Is But It’s Not, I tried to explore how the opposite elements in the universe interact, how they fight and how without the one you can’t have the other.” Theodore says, adding, “For Inner Dynamics, I was trying to express my urge to connect the conscious and subconscious part of myself so I can be creative. It’s an understanding that humans are not just one thing, and they shouldn’t try to hide certain elements of their personality because society likes to put labels of who we are. It’s the different sides of my self that makes who I am.” Inner Dynamics‘ third and latest single “Disorientation” clocks in at a little over 6 minutes, and it finds Theodore’s sound nodding at dramatic film scores, Kid A and Amnesiac-era Radiohead-like atmospherics, Pink Floyd’s Wish You Were Here and Rush-like prog rock expansiveness, centered around Theodore’s yearning vocals and slick production.

 

New Video: Introducing the 4AD Records-Inspired Shoegaze Sound of Los Angeles’ Tennis System

With the release of their latest effort PAIN earlier this year through Graveface Records,the up-and-coming Los Angeles, CA-based noise rock/shoegaze trio Tennis System has developed a reputation for a classic 4AD Records sound: squalling feedback-tinged power chords fed through delay and effect pedals, thundering drumming and ethereal melodies, centered around a rather sunny ambivalence, and a sense of profound loss — and for quickly establishing themselves as one of their hometown’s best, new live bands. In fact, the trio have played sets at Austin Psych Fest, Noise Pop Fest, Echo Park Rising and the Air & Style Festival, and have shared stages with The Flaming Lips, Ride, Dinosaur Jr., Kendrick Lamar and Diiv among others. 

“COMINGDOWN,” PAIN’s latest single will further cement the band’s reputation for crafting a familiar and beloved sound — in this case, recalling My Bloody Valentine, A Storm in Heaven-era The Verve, JOVM mainstays Dead Leaf Echo, My Vitriol and others but with an anxiety of wha the future could hold, after a horrible event that the song’s narrator knows they will regret. 

Directed by Logan Rice, the video follows  Niamh Hannigan as she distractedly goes through her day — and through a series of rapidly changing colors, grainy fade outs and fade ins, the video suggests that its protagonist is slowly coming down from the throes of hallucinogenic fugue.