Tag: Gorilla vs. Bear

New Video: Molina Releases a Feverish and Surreal Visual for Atmsopheric and Synth Driven “Parásito”

Rebecca Maria Molina, is an emerging Chilean-Danish singer/songwriter, electronic music artist and producer, who can trace the origins of her career to when she was eight. As the story goes, the Copenhagen, Denmark-based Molina began writing her own music, inspired by the music her mother frequently played for her, including Bjork, Kate Bush and Royksopp. “I remember wanting the Basement Jaxx’ Rooty album for my birthday at the same age as I was dancing to children’s music.” Molina recalls.

When Molina was in her teens, she furthered her musical education by searching the corners of the Internet and following a trail of like-minded bands and artists, eventually becoming obsessed with the work of Kraftwerk, Aphex Twin, Boards of Canada, 70s-80s new wave and punk , shoegaze and the work of Miharu Koshi and Mariah among others. Unsurprisingly, all of those disparate sounds and styles have influenced the Chilean-Danish artist’s work. 

With the release of her debut EP Corpus, Molina received attention internationally from BBC Radio 6, Beats 1 Radio, The 405, The Line of Best Fit and countless others for a songwriting approached that openly embraces experimentalism — but while sonically drawing from late 70s and early 80s synth pop. Building upon a growing profile across Scandinavia and elsewhere, Molina has released three singles “Mike” “Venus and “Hey Kids” off her highly-awaited, forthcoming sophomore EP Vanilla Shell that have not only established her as a unique voice in the alternative pop scene, but have also received attention from a number of media outlets across the globe, including Gorilla vs. Bear and Pitchfork founder Ryan Schreiber, who highlighted “Venus” among the best tracks of this year. 
Slated for a January 24, 2020 release, Vanilla Shell finds Molina weaving layered vocals, string and flute arrangements and fretless bass into a synthetic universe, frequently characterized by inventive and challenging song structures, catchy melodies and brooding production. “Parásito,” Vanilla Shell’s latest single is centered around layers of ethereal and achingly plaintive vocals, a chilly, motorik-like groove with warm bursts of organic instrumentation — primarily strummed, acoustic guitar, fluttering flute and wobbling fretless bass lines. Sonically, the song is an exploration of the contrasts between hard and soft and the organic and the synthetic that will draw comparisons to Peter Gabriel and Kate Bush. But thematically, the song focuses on two familiar emotions — that mix of longing and absorption for another that makes it feel impossible to get as close to that person as you’d want and the desperate, intense urge for that person that makes you feel as though you were a parasite, as though you couldn’t survive without them. In other words, it suggests that love can be kind of parasitical and confusing. 

“Parásito,” is the first song of Molina’s career written and sung in Spanish and interestingly when she wrote the song, she felt a deeply inherent power and energy than in either Danish and English. “I feel Spanish amplifies my message,” Molina explains in press notes. “The drama in the language makes it easier and more natural for me to be an extrovert and emotional.” 

While being a decidedly 80s-era MTV inspired visual, the recently released video possesses a surreal and feverish air that emphasizes the song’s longing at the song’s core. 

Comprised of Antonia Sellbach (guitar, vocals), Alison Bolger (guitar, vocals), Ali McCann (guitar vocals), Gil Tucker (bass, vocals) and Karla Way (drums, vocals), the Melbourne, Australia-based psych rock quintet Beaches formed in 2007, and since their formation the band has toured extensively both across Australia and the US, developing a reputation for trancelike live shows and critically applauded recordings that found the band’s sound drawing from psych rock, shoegaze, prog rock and krautrock and others; in fact, the quintet’s 2008 self-titled debut and 2013’s sophomore effort She Beats were shortlisted for the Australian Music Prize. Their self-titled debut was included in John O’Donnell’s, Toby Creswell’s and Craig Mathieson’s 100 Best Australian Albums and received praise from internationally recognized outlets including Pitchfork, Stereogum, Gorilla Vs BearSpin Magazine, and others.

The band’s forthcoming full-length effort, Second of Spring is slated for a September 8, 2017 release through Chapter Records and the album is a double LP, the first double LP released by an individual artist/band in the renowned Australian label’s history.  Recorded in their hometown of Melbourne with producer/engineer John Lee, who has worked with Totally Mild and Lost Animal, mastered by David Walker and features artwork from the band’s Ali McCann and design by artist Darren Sylvester.

Reportedly, the band’s forthcoming full-length effort finds the band expanding upon the sound that won them international attention while focusing on an extensive, jam-like feel. Second of Spring‘s first single features layers of buzzing power chords paired with a forceful a motorik groove, and anthemic hook — creating a song that sounds as though it drew influence by The Breeders Last Splash,” Liz Phair‘s “Supernova” and others but with a swirling, lysergic feel; but as the band’s Ali McCann explains to the folks at Vice Noisey “‘Void’ is a conversation between two people, who discuss a prolonged absence, a temporary disappearance into a space of emptiness. We wrote ‘Void’ in our rehearsal space in Reservoir (Melbourne) during a prolific period of songwriting. It was produced by John Lee (Phaedra Studios), who also plays synthesiser on this track. Karla and I are on vocals. There is a restrained interaction between them, tempered by the motorik drive of the instrumentation.”


Comprised of Christie Simpson, Sam Perry, Charlie Ryder, Josh Burgess, Yumi Zouma have developed an international profile for crafting breezy and infectious, 80s-inspired synth pop. Recently, the folks at Turntable Kitchen invited the band to take part of their monthly vinyl subscription series Sounds Delicious, in which bands cover any full-length album they love, and reimagine it from front to back. Interestingly, the quartet decided on Oasis‘ 1995 full-length effort, (What’s the Story) Morning Glory?

As the band’s Charlie Ryder told Gorilla Vs. Bear in an interview “Even when we realized that an Oasis album could potentially be an option in terms of something we could actually do in a Yumi Zouma way, we weren’t 100% sure where it would just sound totally ridiculous or not. It wasn’t until we tried the first song we had an initial idea for — ‘Champagne Supernova’ — that we knew we had finally settled on something rad.  Yumi Zouma’s cover turns the anthemic, Brit Pop classic into a mid-tempo, buoyant and ethereal synth pop track with a subtle Tropicalia vibe that retains the original’s anthemic hook and trippy vibe.