Tag: Echo and the Bunnymen Crocodiles

Lyric Video: Beat Hotel Returns with a Swooning and Heartfelt Power Pop Anthem

Split between Brighton, UK and Plymouth, UK,  Beat Hotel, which features current and former members of The June Brides, The Loft, The Weather Prophets, Distractions, Mudlow, Mojo Fins and Lolita Storm can trace its origins to when its founding members — The June Brides’, The Distractions’ and The Granite Shore‘s Arash Torabi and Paul Pascoe met after a 1988 The Jasmine Minks show.  (Interestingly, many years later, the first Beat Hotel single featured a guest vocal spot from The Jasmine Minks’ frontman Jim Shepherd.)

Developing a strong live presence in their local scene, the act managed to record a number of demos,  but they didn’t officially release anything until 2013 — the “Best of Our Years”/”The Fire,” double A-side 7 inch, which featured The Loft’s and The Weather Prophets’ Dave Morgan (drums), who then became a permanent member of the band.

Released earlier this year through Occultation Records, the band’s long-awaited self-titled EP was recorded at Hove, UK-based Church Road Studios by the band’s Paul Pascoe and features five originals written by Pascoe and a cover of The Wishing Stones‘ “Beat Girl.” The EP also features guest spots from The June Brides’ Frank Sweeney, who contributes strings and piano and former Mojo Fins member Stephen Brett (guitar), who releases material as a solo artist under the moniker SJ Brett. “Every now and again, we produce something that’s very special to us. These forays into the physical world are usually inspired by a collaboration,” Beat Hotel’s Paul Pascoe says in press notes about the band’s self-titled EP. “This time it was driven by an unexpected creative surge due to the sudden and shocking end of a relationship. I felt like I had to relearn everything about how to be in the world and look seriously at who I actually am. I found comfort in the music that had given me a sense of belonging the first time around. The Jesus & Mary Chain, Echo & The Bunnymen, The Weather Prophets .  .  .these songs and songwriters, so familiar to my psyche, were there again to drag me to safety.”

“This collection of songs is about love and near-death and confronting the very worst aspects of ourselves, facing down those inner demons, the fears that haunt us and our deepest, darkest secrets,” Pascoe says of the EP’s material. “And… with one of the tracks beginning its recording journey in 1997 and getting its final guitar overdub and mix in 2019 (in all its 3 minutes 14 seconds of rock’n’roll glory), this record is also a tribute to the awesome power of getting shit done.”

Earlier this year,  wrote about “Bury It Deep,” an upbeat, hook-driven song that brings Starfish-era The Church, early-to-mid 80s Echo and the Bunnymen (i.e, Crocodiles, Heaven Up Here and Ocean Rain) and The Dream Syndicate to mind — and while possessing an uncanny period specificity, the song is more than a homage to a classic and beloved sound: at its core, the song is centered around a narrator desperately trying to maneuver a confusing and uncertain world, as well as their own demons. The EP’s latest single “Feel It” continues a run of hook-driven, 80s inspired material — but in this case, the track is a jangling power pop anthem that brings The Smithereens, The Sighs, and others to mind. But interestingly, the song is a heartfelt love song that evokes the swooning urgency of newfound love in a way that should remind you of your first love. 

Back in 1990, the mysterious San Diego-based act The Cry quietly released Beautiful Reasons. Several songs off Beautiful Reasons were included in the H-Street Skateboards’ video Hokus Pokus, which was also released that year. The band started to increasingly attention and were being courted by a major label — and then they did something completely unexpected: they disappeared without much of a trace.

Although at the time, Beautiful Reasons only had a limited cassette release, the album has  grown in stature among their original fans while attracting new fans. Centered around heartfelt vocals, jangling and shimmying guitars, upbeat drumming and propulsive bass lines, the album has become a cult favorite among jangle pop and indie rock circles. Interestingly, over the years Hokus Pokus has become regarded as arguably one of the most iconic skateboard videos ever made — with its soundtrack highly praised.

Beautiful Reasons was recently uploaded onto the digital streaming platforms — and naturally that has brought increased attention back to the album and to the band. Encouraged and empowered by their fans and supporters, the members of The Cry quietly reunited in 2017. And since their reunion, the band has released a string of new material that has cemented their-long held reputation for crafting upbeat, earnest, hook-driven material — but with a heightened self-assuredness and confidence. 30 years after the release of their seminal album, the band will be releasing a string of singles and are currently working on a full-length album that’s tentatively slated for release later this year.

In the meantime, the San Diego-based act’s latest single “This Hazy Morning” is a anthemic hook-driven bit of jangle pop centered around shimmering and reverb-drenched guitars, mellifluous, earnestly yearning vocals and a propulsive rhythm section, the song manages to bring Crocodiles and Heaven Up Here-era Echo and the Bunnymen — and with a similar, swaggering self-assuredness.

 

 

 

 

New Audio: British Indie Act Beat Hotel Releases a Shimmering 80s New Wave-Inspired Single

Split between Brighton, UK and Plymouth, UK, the rising British indie rock act Beat Hotel, which features current and former members of The June Brides, The Loft, The Weather Prophets, Distractions, Mudlow, Mojo Fins and Lolita Storm can trace its origins to when its founding members — The June Brides’, The Distractions’ and The Granite Shore’s Arash Torabi and Paul Pascoe met after a 1988 The Jasmine Minks show.  (Interestingly, many years later, the first Beat Hotel single featured a guest vocal spot from The Jasmine Minks’ frontman Jim Shepherd.) 

Developing a strong live presence in their local scene, the act managed to record a number of demos,  but they didn’t officially release anything until 2013 — the “Best of Our Years”/”The Fire,” double A-side 7 inch, which featured The Loft’s and The Weather Prophets’ Dave Morgan (drums), who then became a permanent member of the band. 

Slated for a January 31, 2020 release through Occultation Records, the band’s long-awaited self-titled EP was recorded at Hove, UK’s Church Road Studios by the band’s Paul Pascoe and features five originals written by Pascoe and a cover of The Wishing Stones’ “Beat Girl.” The EP features guest spots from The June Brides’ Frank Sweeney, who contributes strings and piano and former Mojo Fins member Stephen Brett (guitar), who releases material as a solo artist under the moniker SJ Brett. “Every now and again, we produce something that’s very special to us. These forays into the physical world are usually inspired by a collaboration,” Beat Hotel’s Paul Pascoe says in press notes about the band’s self-titled EP. “This time it was driven by an unexpected creative surge due to the sudden and shocking end of a relationship. I felt like I had to relearn everything about how to be in the world and look seriously at who I actually am. I found comfort in the music that had given me a sense of belonging the first time around. The Jesus & Mary Chain, Echo & The Bunnymen, The Weather Prophets…these songs and songwriters, so familiar to my psyche, were there again to drag me to safety.”

“This collection of songs is about love and near-death and confronting the very worst aspects of ourselves, facing down those inner demons, the fears that haunt us and our deepest, darkest secrets,” Pascoe says of the EP’s material. “And… with one of the tracks beginning its recording journey in 1997 and getting its final guitar overdub and mix in 2019 (in all its 3 minutes 14 seconds of rock’n’roll glory), this record is also a tribute to the awesome power of getting shit done.”

The EP’s latest single “Bury It Deep” is a propulsive and upbeat, hook-driven song centered around layers of shimmering guitars that immediately brings Starfish-era The Church, early-to-mid 80s Echo and the Bunnymen (i.e., Crocodiles, Heaven Up Here and Ocean Rain), The Dream Syndicate and others, as it hints at radio psych rock, New Wave and post-punk in an uncanny period specific fashion. But the song isn’t just another  soulless homage to a classic and beloved sound we’ve grown up with; at its core, the song finds it narrator trying to maneuver a confusing and uncertain world while facing their own demons.

Formed back in 2016, the Asheville, NC-based goth/post-punk act Secret Shame — Lena (vocals), Nathan (drums), Nikki (guitar), Matthew (bass) and Billie (guitar) — can trace their origins to all of its members feeling a desperate need to create. “If I couldn’t sing or play music, I would tear my skin off.” the band’s front person Lena explains in press notes. Shortly after their formation, the band released their self-titled debut EP, which quickly established a dark and atmospheric sound paired with lyrics that thematically touch upon issues of domestic abuse, mental health, political and social dissatisfaction and frustration. 

Interestingly, their full-length debut, Dark Synthetics is slated for a September 6, 2019 release through Portrayal of Guilt Records, and as you may recall, earlier this month, I wrote about the enormous Siouxsie and the Banshees and 4AD Records-like album single “Calm.” Building upon the buzz Dark Synthetics has begun to amass, the album’s latest single “Gift” is breakneck gallop of a song that will further establish their early 80s post-punk sound — in particular, the aforementioned Siouxsie and the Banshees, but the new single also subtly nods at Crocodiles and Heaven Up Here-era Echo and the Bunnymen, as the song is centered around shimmering and reverb-drenched guitars, rapid-fire drumming, enormous hooks and Lena’s plaintive vocals desperately cutting through the brooding instrumentation.

The members of Secret Shame will be embarking on a short East Coast tour to support their full-length debut and it includes a September 13, 2019 stop at The Broadway. What could be better than listening to moody post-punk on Friday the 13th? Check out the tour dates below.

Tour Dates

 

9/07 – Raleigh, NC @ Hopscotch Music Festival
9/08 – Richmond, VA @ Hypercube
9/09 – Baltimore, MD @ Ottobar
9/11 – York, PA @ Skid Row Garage
9/13 – Brooklyn, NY @ The Broadway
9/15 – Greensboro, NC @ New York Pizza
9/16 – Asheville, NC @ The Mothlight

Dancing Tongues is a Los Angeles-based indie rock act, comprised of Alex Lavayen and Kevin Modry that can trace their origins to when their previous band broke up.  Shortly after that they relocated to Los Angeles, where they began to write songs inspired by late 70s and early 80s post-punk — in particular The Gun Club, The Cure and Talking Heads. However, their latest single, the brooding and shimmering “Shotgun” finds the band channeling Crocodiles and Heaven Up Here-era Echo and the Bunnymen and Starfish-era The Church, complete with shimmering guitars, plaintive vocals and big hooks.

“Relationships and creative endeavors are mercurial journeys that often refuse to acknowledge or cater to the needs of one another,” the duo says in press notes. “‘Shotgun’ is a song about the collision between one’s personal life and their shared life. The story describes the balancing act of keeping a relationship intact while fully committing oneself to creative pursuits.”

 

 

New Video: The Dreamlike and 80s MTV-Inspired Visuals for Radar Eyes’ “Community”

Featuring Anthony Cozzi (vocals, guitar), Russell Calderwood (guitar), Nithin Kalvakota (drums) and Lucas Sikorski (bass), Chicago, IL-based quartet Radar Eyes initially received attention for a fuzzy, garage rock sound, and with Cozzi’s relocation to Los Angeles, the quartet’s forthcoming effort Radiant Remains was in some way meant to be a swan song for the band — while being a sonic change in direction as the band’s material took on a decidedly 80s post-punk rock sound that channeled the likes of Crocodiles, Heaven Up Here and Ocean Rain-era Echo and the Bunnymen, Starfish-era The Church and others as you’ll hear on the album’s moody and shimmering first single “Community.” And much like the material that influenced it, “Community” reveals that the band has the ability to write material that possess an incredibly anthemic and rousing hook.

Directed by Laura Callier and featuring desert footage shot by Jason Ogawa, the recently released music video for “Community” manages to mesh the feel, spirit and imagery of contemporary videos with that of videos from MTV’s heyday — including a Peter Gabriel “Shock the Monkey”-like motif, in which the lead singer sits in front of screen in which various images are projected; sequences in which the band’s lead singer, dressed entirely in black is wandering around the desert, followed around by an equally mysterious man dressed entirely in white; along with some introductory sequences in which the band are hanging out with a bunch of folks at an outdoor bar. The video itself possesses a dreamlike logic while hitting upon the song’s sense of longing to fit into someplace.

New Video: Introducing the Post Rock/Post Punk Sounds of San Francisco’s The Soonest

Led by San Francisco, CA-based singer/songwriter Young Lee and featuring a rotating cast of collaborators including members of indie rock bands such as WATERS, Hazel English’s backing band, Doe Eye, There’s Talk, and Elsa y Elmar, The Soonest have released a handful of EPs at traditional recording studios that have won attention both locally and regionally for a layered and moody, 80s post-punk/post-rock leaning sound; in fact, Lee was asked to write the score to the documentary Weaving Shibusa.

Mixed by Greg Francis and mastered by TW Walsh, the project’s recently released full-length debut effort, Doors to the City was recorded in an empty Bay Area church, and the high wooden ceilings helped create the enormous, wall of sound like sound that you’ll hear on Doors to the City’s first single “Start a War,” a single that pairs Lee’s lilting and dramatic vocals with layers upon layers of angular guitar chords, a forceful, motorik-like groove consisting of a sinuous bass line and propulsive drumming, and an anthemic hook. Sonically, the song manages to channel Crocodiles and Heaven Up Here-era Echo and the Bunnymen — including deeply urgent and visual lyrics that describe an uneasy and fraught relationship.

Last month, I wrote about Brooklyn-based indie rock/shoegazer act Dinowalrus. Currently comprised of frontman Pete Feigenbaum, who has spent some time as a touring guitarist in Titus Andronicus; Max Tucker; Meaghan Omega; Dan Peskin; and John Atkinson, who joins the band as a touring member, the members of the band have received attention for a  sound that possesses elements of post-punk, krautrock, shoegaze, synth pop and psych rock — i.e., much like the single I wrote about last month “Tides” off the band’s forthcoming full-length FAIRWEATHER. The album’s second and latest single “Light Rain” is a shimmering and swooning track — thanks to shimmering guitar chords, ethereal synths and a propulsive groove– that sounds as though it cribs from Crocodiles and Heaven Up Here-era Echo and the Bunnymen and Starfish-era The Church.

 

 

 

Led by its founding member and creative mastermind David Eugene Edwards, Wovenhand much like Edwards’ previous projects have a long-held reputation for intense and anthemic music that showcases Edwards’ Romantic and incredibly dramatic crooning — and for a relentless experimentation and reinvention. His previous project 16 Horsepower  was well-received for a sound based around antique Americana while Wovenhand’s earliest incarnations specialized in hushed ballads; however, with the newest and most current lineup, featuring Planes Mistaken For Stars‘ Chuck French (guitar) and Neil Keener (bass), Ordy Garrison (drums) and Crime and The City Solution‘s Matthew Smith (piano, synth) the band has written and recorded some of the heaviest and most forceful material to date on their latest effort Star Treatment slated for release on September 9, 2016 through Sargent House Records globally — with the exception of Europe.

As Edwards explains, the soon-to-be released album’s title isn’t a reference to our contemporary obsession with celebrity; rather it’s a reference to the concept of astrolatry — or humanity’s enduring interest in the stars of the night sky. “It’s ethereal in its concept,” Edwards says. “There are many layers, as always. I’ve been paying attention to the stars in the sky and in literature, and it’s a theme throughout the album.” He adds, “There’s more love song style on this in general, which is nice. The idea of what love is and how it’s expressed and all these different atmospheres.” Star Treatment‘s first single and opening track “Come Brave” finds the band pairing a propulsive, rumbling and rolling drum beat, enormous power chords, Edwards crooning vocals, a swooning and urgent Romanticism and rousing, arena rock friendly-like hooks with celestial hooks in a song that sounds as though it drew from Crocodiles and Heaven Up Here-era Echo and the Bunnymen, complete with a dark and mysterious fury.

The band will be embarking on a world tour to support the album. Check out tour dates below.

Tour Dates:
08/26   LAS VEGAS, NV @ Hard Rock Hotel & Casino – Psycho Las Vegas 
09/12   COLOGNE, DE @ Gebäude 9 *
09/13   FRANKFURT, DE @ Zoom *
09/15   BERN, CH @ ISC *
09/16   ZURICH, CH @ Bogen F *
09/17   VIENNA, AT @ Flex *
09/18   BUDAPEST, HU @ A38 *
09/20   SALZBURG, AT @ Rockhouse *
09/21   MUNICH, DE @ Ampere *
09/22   LEIPZIG, DE @ UT Connewitz *
09/23   BERLIN, DE @ Heimathafen *
09/24   HAMBURG, DE – Reeperbahn Festival
09/26   ARHUS, DK @ Train *
09/27   OSLO, NO @ John Dee *
09/29   HELSINKI, FI @ Tavastia
09/30   STOCKHOLM, SE @ Nalen *
10/01    LUND, SE @ Mejeriet *
10/02    COPENHAGEN, DK @ Vega Jr. *
10/04    EINDHOVEN, NL @ Effenaar *
10/05    AMSTERDAM, NL @ Melkweg *
10/06    LEUVEN, BE @ Het Depot *
10/07    GENT, BE @ Handelsbeurs *
10/08    CHARLEROI, BE @ L’Eden *
10/10    LILLE, FR @ L’Aéronef *
10/11    PARIS, FR @ La Maroquinerie *
10/13    ORLEANS, FR @ L’Astrolabe *
10/14    GRENOBLE, FR @ La Belle Electrique *
10/15    FEYZIN, FR @ L’Epicerie Moderne *
10/16    TOULOUSE, FR @ La Rex *
10/18    LONDON, UK @ The Dome *
* w/ Emma Ruth Rundle