Tag: Exploded View

Video by William Ruben Helms

New Audio: Exploded View Return with a Fatalistic Ode to the Environment

Initially spending the early part of her professional career as a political journalist, who split her time between Berlin and Bristol, UK, Annika Henderson, best known as Anika can trace the origins of her musical career to a particular moment —  when she was introduced to Portishead’s Geoff Barrow. As the story goes, at the time, Barrow was looking for a vocalist, who would be willing to work with his band Beak> for what he envisioned as a side project. Reportedly, when Barrow and Henderson first met, they immediately bonded over a mutual love of punk, dub and 60s girls group. And within a week of their meeting, Barrow, Henderson and the members of Beak> went into the studio to record the material which would eventually comprise Henderson’s 2010 self-titled full-length debut.

2013 saw the release of Henderson’s self-titled EP, a collection of covers and remixes that included one of my favorite songs off the set, Henderson’s cover of Chromatics’ “In the City,” which paired Henderson’s icy delivery with a Portishead and The Velvet Underground and Nico-inspired production. Last year, Geoff Barrow’s Invada Records, released an icily foreboding, dub-inspired cover of Nena’s “99 Red Balloons” by the mysterious Invada All Stars featuring Anika on vocals as part of the  Stop Trident National anti-nukes demonstration in London.

Since then, Henderson has been busy with her most current musical project, Exploded View is collaborative side project fronted by the renowned vocalist and featuring a group of Mexico City-based producers including Martin Thulin, known for his work with JOVM mainstays Crocodiles; Hugo Quezada and Amon Melgarejo — and the project’s sound finds Henderson and company moving away from the krautrock-inspired sound of her solo work, and towards a seemingly fuzzily atmospheric and baroque-like psych pop.  After completing the material that would comprise the band’s self-titled debut album, the members of the band decided to return to the studio and record some more, with the result being the Summer Came Early EP. Comprised of some outtakes from the self-titled album, along with some new material, their follow-up EP reportedly finds the band crafting sons that carefully walk a tightrope between clarity and focus and a messy, free-flowing experimentalism that comes from improvisation.

Interestingly, EP title track “Summer Came Early” may arguably be one of the most delicate and bitterly wistful songs that the band has released to date — while thematically, the song is written as a post-permanent climate change ode to how the environment once was, with the caveat that no one questioned anything and no one did anything besides lazily sat down and gave up. And when the proverbial shit hit the fan, the only action that was left  was to point fingers at someone else. It’s a bit reminiscent of the famous T.S. Eliot poem isn’t it?

Directed by William Markarian-Martin is an eerily psychedelic vision of the hellish and permanent damage that humanity has done to the environment, and while wistful it possesses an eerie fatalism and acceptance.

 

Uncategorized by William Ruben Helms

New Video: JOVM Crocodiles Return with Decidedly Lo-Fi Yet Revealing Visuals for “Not Even In Your Dreams”

JOVM mainstay artists Crocodiles, comprised of primary members and best friends Brandon Welchez and Charles Rowell have an established reputation for scuzzy, swaggering, garage rock with a decidedly pop leaning sensibility throughout the course their five previously released and critically praised full-length albums. However, the band’s latest effort Dreamless found Welchez and Rowell going through a decided change in sonic direction and songwriting approach. The album’s first single “Telepathic Lover,” possesses a stripped down and atmospheric feel, as the band moved more towards piano and synth being primary instrumentation with guitars and pedal effects moved to the background, giving the material a spectral and uneasy feel — and yet, they managed to retain their shuffling pop sensibility and swaggering badassery.

“We’ve always been a guitar band and I think we just wanted to challenge ourselves and our aesthetic,” Crocodiles’ Brandon Welchez explained in press notes. “It didn’t start as a conscious decision but within the first week Charlie’s mantra became ‘fuck guitars.’ Only one song has zero guitar but in general we tried to find alternatives to fill that space.” And much like its its predecessor, Boys, the band’s latest effort was recorded in the band’s adopted hometown Mexico City and was recorded and produced with friend, occasional bandmate and producer Martin Thulin, who’s also known for collaborating with Anika in her new project Exploded View. As the story goes, during the recording recording sessions Welchez, Rowell and Thulin shared instrumental duties with Welchez and Rowell handling most of the guitar and bass work, Thulin handling piano and synths and Thulin and Welchez splitting the live drum work.

Thematically speaking, the material on the album may arguably be the duo’s most personal, most bitter and fucked up work they’ve released to date — with the album’s title managing to work on both a deeply literal and metaphorical level. As the band’s primary lyricist explained in press notes ““I suffered insomnia throughout the whole session. I was literally dreamless. The past two years had been fraught with difficulty for us – relationship troubles, career woes, financial catastrophe, health issues. In that pessimistic mindset it was easy to feel as if the dream was over.” Dreamless’ latest single “Not Even In Your Dreams” is a jangling bubblegum pop-leaning bit of indie rock in which twinkling piano chords, strummed guitar and a propulsive rhythm section are paired with Welchez’s ironic, deadpan vocals singing lyrics describing the frayed nerves and boredom of the insomniac, whose inability to sleep will further fuel his inability to sleep, leaving his narrator with his running self-flaggelating thoughts of how his life and his career have been a momentous and laughable failure. And in some way it captures both the ghosts the linger in your life and the endless battle against your own crushing self-doubts.

The recently released music video will further cement the band’s reputation for pairing their sound with decidedly lo-fi, grainy videos, and in this case the video is comprised of brief footage of the band performing and goofing off both before and after shows and old movies — and despite its purposely shitty quality, it’s a revealing look into the band, their individual personalities and in a small way, the life of an indie musician.

Single Review by William Ruben Helms

Many influential artists and characters once played at renowned and long-defunct clubs like CBGBs, Max’s Kansas City and others during the mid-to-late 1970s — including a now cult-favored local-born artist Annie Bandez, who known as Annie Anxiety (and later as Little Annie) was the frontperson of punk act Annie and the Asexuals. After several years of attempting a series of unsuccessful creative pursuits, Bandez relocated to the UK, where she would up joining the famed anarchist commune Dial House, led by activist Penny Rimbaud. And while a member of Dial House, Bandez quickly established herself as an artist with a singular voice with the release of her solo debut single “Barbed Wire Halo,” which was released through Crass Records.

Interestingly, when Bandez relocated to the UK, a number of punk rock artists including Bandez herself had begun shifting towards a much more diverse, multicultural approach, exploring dub, rocksteady, ska and other Caribbean genres. In the summer of 1983, Bandez along with legendary dub producer Adrian Sherwood and members of Crass, Family Fodder, African Head Charge, Flux of Pink Indians, London Underground and Art Interface went into the studio to record her stark, industrial dub-based solo debut Soul Possession, which would be released by Corpus Christi Records in 1984. And it resulted in a number of lengthy collaborations with Nurse With Wound, Coil, Current 93, Swans and Marc Almond.

33 years after its initial release, Dais Records will be re-issuing Soul Possession on January 6, 2017 and the re-issue’s first single “Burnt Offerings” is an ominously apocalyptic and minimalist bit of industrial dub featuring mechanical clang and clatter and twinkling keys paired with Bandez’s half-spoken vocals that manages to bring to mind Annika Henderson‘s solo work and her work with Exploded View — and in some way it wouldn’t be surprising if Bandez’s work influenced Henderson and producer/collaborator Geoff Barrow at some point.

Bandez will be on touring Europe throughout the Spring with Swans. Check out tour dates below:

Tour Dates, Spring 2017:
3/08  Rockefeller – Oslo, Norway
3/09  Kraken Sthlm – Stockholm, Sweden
3/11  Grey Hall – Copenhagen, Denmark
3/12  VoxHall – Aarhus, Denmark
3/14  Fleda Club – Brno, Czech Republic
3/15  Taba Ka Kulturfabrik – Kosice, Slovakia
3/17  Legendos Klubas – Vilnius, Lithuania
3/19  Sentrum – Kiev, Ukraine
3/22  FORM Space Club – Cluj-Napoca, Romania
3/23  Control Club – Bucharest, Romania
3/24  MKC – Skopje, Macedonia
3/25  Dom Omladine – Belgrade, Serbia
3/27  Pogon Kulture – Rijeka, Croatia
3/28  Rote Fabrik Ziegel oh Lac – Zürich, Switzerland
3/29  FZW – Dortmund, Germany
3/30  Kompass Klub – Ghent, Belgium
3/31  Paradiso Music Hall – Amsterdam, Netherland

Single Review by William Ruben Helms

Over the course of this site’s history, JOVM mainstay artists Crocodiles, comprised of primary members and best friends Brandon Welchez and Charles Rowell have an established reputation for scuzzy, swaggering, garage and psych rock with decidedly pop leaning hooks through their five previously released and critically praised full-length albums. However, with the band’s forthcoming, sixth effort Dreamless, the primary duo of Welchez and Rowell have gone through a decided sonic departure as you’d hear on the album’s haunting and bittersweet first single “Telepathic Lover,” as the band has stripped down their sound, moving guitars and pedal effects to the background while piano and synths have moved to the forefront, making their sound much more atmospheric, while retaining a jangling and shuffling pop feel.

“We’ve always been a guitar band and I think we just wanted to challenge ourselves and our aesthetic,” Crocodiles’ Brandon Welchez explains in press notes. “It didn’t start as a conscious decision but within the first week Charlie’s mantra became ‘fuck guitars.’ Only one song has zero guitar but in general we tried to find alternatives to fill that space.” Much like its predecessor, Boys, Dreamless was recorded in the band’s new adopted hometown of Mexico City and was recorded and produced with friend, occasional bandmate and producer Martin Thulin, who collaborates with Anika in her new, side project Exploded View. During the recording sessions, each member of the collaborative trio shared instrumental duties, with Welchez and Rowell handling most of the guitar and bass work, Thulin handling piano and synths while Thulin and Welchez split the live drum work.

Interestingly, the album’s title manages to work on both a literal and metaphorical level. “I suffered insomnia throughout the whole session. I was literally dreamless,” Welchez explained in press notes. “The past two years had been fraught with difficulty for us – relationship troubles, career woes, financial catastrophe, health issues. In that pessimistic mindset it was easy to feel as if the dream was over.” The album’s second and latest single “Not Even In Your Dreams” is a jangling and noisy track in which seemingly discordant piano chords are paired with what sounds like melodica playing a twisting and turning melody, strummed acoustic guitar, a propulsive backbeat and Welchez’s ironic, deadpan snarl, all which evokes the frayed nerves and sanity, as well as the utter boredom of the insomniac, who knows that every single time they try to lie down that sleep will be elusive. The only thing the narrator has is yet another joint and or cigarette to smoke, his running thoughts about how everything in his life has been a tremendous failure — and as a result it gives the song the sense of bitter realizations and self-flagellation.

 

Single Review by William Ruben Helms

Back in 2013, I wrote quite a bit about Anika Henderson, best known under the mononym that she writes, records and performs under, Anika . Initially, Henderson spent her professional career as a political journalist, who split time between Berlin and Bristol, UK. While in Bristol, Henderson was introduced to Geoff Barrow, who’s best known for his work with Portishead. And at the time, Barrow was looking for a vocalist, who would work with his band Beak> for what would be a side project. As the story goes, Henderson and Barrow bonded over a mutual love of punk, dub and 60s girl groups — and about a week later, Barrow, Henderson and the members of Beak>  went into the studio to record what would eventually turn out to be Henderson’s 2010 self-titled full-length debut, completely live with Henderson and the band in the same room without overdubs — and in 12 days.

2013 saw the release of Henderson’s self-titled EP, a collection of covers and remixes that included Henderson’s murky, Portishead and The Velvet Underground and Nico-inspired cover of Chromatics’ “In the City.” And what the self-titled EP revealed is that Henderson, Barrow and company have a way of covering a song with a unique take that makes a song their own — and in the case of Chromatics’ “In The City,” their cover feels as though it was always their song. That’s a rare thing, indeed. Last week, as February was coming to a close, Invada Records, released an icy, lo-tech analog synth electro pop and dub-leaning cover of Nena’s “99 Red Balloons” by the mysterious Invada All Stars featuring Anika on vocals as part of that weekend’s Stop Trident National anti-nukes demonstration in London, a demonstration protesting the renewal of Britain’s nuclear weapons system. Proceeds from the digital single will go to the Campaign for Nuclear Disarmament (CND).

Also in that post, I mentioned that Henderson is part of a new project Exploded View — and as it turns out, Exploded View is something of a side project  from her solo work with the members of Beak>. Although the project’s full-length debut is slated for release later on this year through Sacred Bones Records, they will be performing several sets at this year’s SXSW. But before that, the project released their single “No More Parties in the Attic,” that draws from post-krautrock, krautrock, dub and industrial music as the band pairs electronic bloops and bleeps, industrial clang and clatter, buzzing and angular synth and guitar chords with Anika’s signature icy delivery to craft a sound that’s tense and icy  — while evoking the contemporary zeitgeist of trying to navigate in a world that’s gone absolutely mad all the time.

 

 

 

Single Review by William Ruben Helms

The Internet can be a wonderful and thrilling place as it can inspire the sort of serendipitous discovery that’s necessary if you’re an audiophile or a music blogger; however, the Internet can also be a powerful reminder of the relentless passing of time — and that no matter what, you’re not getting any younger.  Now, as a child of the 80s, Nena‘s “99 Red Balloons” or if you preferred the original German version, “99 Luftballoons” was a mega-hit back in 1984 as it captured and evoked everyone’s fear of nuclear annihilation.

Back in 2013, I wrote quite a bit about Anika Henderson, best known under the mononym that she writes, records and performs under, Anika . Initially, Henderson spent her professional career as a political journalist, who split time between Berlin and Bristol, UK when she was introduced to Geoff Barrow, who’s best known for his work with Portishead. At the time Barrow was looking for a vocalist, who would work with his band Beak> for what would be a side project. And as the story goes, Henderson and Barrow bonded over a mutual love of punk, dub and 60s girl groups. About a week later, Barrow, Henderson and the members of Beak> went into the studio to record what would eventually turn out to be Henderson’s 2010 self-titled full-length debut, completely live with Henderson and the band in the same room without overdubs — and in 12 days.

2013 saw the release of Henderson’s self-titled EP, a collection of covers and remixes that included Henderson’s murky, Portishead and The Velvet Underground and Nico-inspired cover of Chromatics’ “In the City.” And what the self-titled EP revealed is that Henderson, Barrow and company have a way of covering a song with a unique take that makes a song their own — and in the case of Chromatics’ “In The City,” their cover feels as though it was always their song. That’s a rare thing, indeed.

Recently Invada Records, run by Barrow released an icy, lo-tech analog synth electro pop and dub-leaning cover of Nena’s “99 Red Balloons” by the mysterious Invada All Stars featuring Anika on vocals as part of this weekend’s Stop Trident National anti-nukes demonstration in London, a demonstration protesting the renewal of Britain’s nuclear weapons system. Proceeds from the digital single will go to the Campaign for Nuclear Disarmament (CND).

Additionally Henderson is part of a new project Exploded View which will release their debut single in March and play SXSW. The project’s debut effort is slated for release later this year through Sacred Bones Records.