Tag: Hinds

Video by William Ruben Helms

New Video: JOVM Mainstays The Parrots Release a Cinematic and Allegorical Visual for New Single “Maldito”

Diego García (vocals, guitars) and Alex de Lucas (vocals, bass) formed the acclaimed Madrid-based indie rock/garage rock act The Parrots back in 2014. And with a handful of independently released singles, the then-trio nosily burst into the music world, receiving both national and international attention while establishing a boozy, mischievous sensibility to their overall sound and approach.

Along with the likes of Hinds and Los Nastys, the members of the JOVM mainstay act helped bring Madrid’s music scene into the spotlight, eventually signing to renowned London-based label Heavenly Recordings, who released their critically applauded full-length debut, 2016’s Los Niños Sin Miedo. Since the release of their debut, the acclaimed Madrid-based have been busy: relentlessly touring the world, the band has won over fans with their sweaty and raw punk rock ferocity and mischievousness — all while gradually pushing the boundaries of their sound.

Garcia and de Lucas have been working on their highly-anticipated and long-awaited sophomore album. Reportedly, the forthcoming, Tom Furse-produced album will represent a new phase for the acclaimed JOVM mainstays with the duo gaining a bolstered sense of confidence in their creative processes and taking pride in surrounding themselves with people who inspire them. “[It] makes us feel very proud of ourselves. If anyone had told us that we could ever make our dream album exactly the way we wanted, we wouldn’t have believed it. It reflects all of our inner feelings and our influences, and we made it by keeping our circles of collaborators small with people we love and trust. This is what works for us.”

“Maldito,” the sophomore album’s first single finds them pushing their raw and melodic take on garage rock into more modern sonic territory with a slick studio polish and aass-driven motorik-like groove. While retaining a great deal of the scuzzy and distorted guitar driven and the rousingly anthemic hooks that have won them fans globally, the song finds the act experimenting a bit with autotunes — particularly on the song’s punchily delivered hook. But underneath the song’s slick polish, the song is a bittersweet meditation on the nuanced feelings involved in letting someone go including longing, regret and uneasy acceptance of the decisions that had to be made and their consequences on you and others. Interestingly, the song features a guest spot from multi-million selling Spanish rapper C. Tangana.

“There is a burden carried with every decision taken, not everything is as golden as it may look and therefore growing and changing implies pain and a feeling of emptiness that feels irreplaceable,” the band explains. ““For this song our inspiration came from things that were the closest to us, and that’s maybe the reason we were incapable to see them. The stop in the touring life and the time we’ve had to write has made us realize the distance we had created between our home and our people. Realizing this has made us feel closer than ever to our childhood references and to seek new ways to compose songs.” The band adds, “For a long time, we had the idea of writing a song with C. Tangana. We played him some demos and he loved them, so we spent some days in the studio to record the song.”

Directed by Rogelio for the renowned production company CANADA, which has helmed visuals for Rosalia, Tame Impala, Dua Lipa and countless others, the recently released video for “Maldito” is a gorgeously shot allegory that follows a lonely widower, who’s courted, followed and harassed by three characters as he goes about his daily routine through the streets of Madrid — a preacher, who apparently represents God/religion; a homeless man, who represents Death; and the Devil. The video manages to tackle the song’s themes while being funny. “We think the video for ‘Maldito’  is more akin to a movie than to a music video,” The Parrots say.  “Filming it was an amazing experience and made us discover a love for acting.” 

Video by William Ruben Helms

New Video: The Animated and Psychedelic Visuals for Gordon Raphael’s “Savage”

Now, if you’ve been frequenting this site over the course of the summer, you’ve likely come across a couple of posts Seattle, WA-born, Berlin, Germany-based singer/songwriter, guitarist, and producer Gordon Raphael. As a producer, Raphael has worked with an impressive, who’s who list of contemporary indie rock and rock artists including  The Strokes, Regina Spektor, Damon Albarn, Ian Brown, The Cult‘s  Ian Astbury, Hinds and others; however, Raphael primarily sees himself as a singer/songwriter and guitarist.  “I love producing, but playing guitar and writing songs is what I’ve always done,” Raphael explains in press notes. “I wanted to show what I can do on the other side of the desk all the time, but producing kept getting in the way.”

Raphael’s full-length debut Sleep on the Radio was released last month and the album draws from Ziggy Stardust-era David Bowie, Mick Ronson, Kimono My House-era Sparks, Frank Zappa and prog rock among others. Reportedly “View From Blue,” the album’s first single was part of over 1,000 songs he had written over the years; but it came from the most unlikely source — from a dream. In particular, “View From Blue” is a part of a selection of 12 songs that were carefully honed and perfected to the point that they were living, breathing and fully fleshed out songs that needed to be played, recorded and heard – – right now.  And as a result, while the song clearly nods at Ziggy Stardust-era Bowie — think “Queen Bitch,”“Panic in Detroit,” and others — the anthemic, hook-laden song possesses a forceful urgency underneath its boozy, free-flowing psychedelia.

“Savage,” Sleep on the Radio‘s latest single sounds as though it draws from Evil Heat-era Primal Scream, Brit Pop and 60s psych pop as twinkling synths, buzzing and whirring electronics are paired with blazing guitar pyrotechnics, an anthemic hook and a  spacey, psychedelic vibe that belies an incredibly sensual nature.  And much like its preceding single, Raphael’s latest reveals him to be a songwriter, who can craft an incredibly catchy hook and has an ability to have both a signature sound and aesthetic while being a musical chameleon, who can morph into any genre, any style at will.

Directed and produced by Marta Figuredo, the recently released animated video is set in a intricately detailed and drab world in which a Raggedy Andy-like Raphael carries a flower that opens up a brightly colored, wildly psychedelic universe. 

Video by William Ruben Helms

New Video: Break Out From the Banality of the 9-5 World with the Visuals for Wild Honey’s “Break Away”

Comprised of Thom Moore (vocals, guitar), Adam Della-Grota (guitar), Sam Barron (bass, keys), Jackson Love (keys, vocals) and Thomas Eagleton (drums, vocals), the Sydney, Australia-based indie rock quintet Wild Honey quickly emerged with their self-titled debut EP, an effort that was written and recorded by Moore almost entirely in his bedroom and featured lead single “Eye To Eye.” “Eye To Eye” wound up becoming one of the most played songs by an Australian artist on Triple J during the summer of 2015-2016 — and as a result, the band found themselves opening for the likes of several national and internationally recognized bands including The Delta Riggs, The Belligerents, Hinds and Twin Peaks.

Building upon a rapidly growing national profile, the Sydney-based indie rock quintet went into the studio to record their forthcoming, Jack Mofitt-produced, full-length debut album, and the album’s first single “Break Away,” serves as an anthemic call to arms for anyone, who feels like they’re going through the motions. Interestingly, the song finds the band effortlessly meshing classic alt rock, Brit Pop and contemporary indie rock as the song features jangling guitars, an anthemic hook consisting of enormous, arena rock friendly power chords and an earnest call to go out and work your ass off to make your dreams happen — and that there’s more to life than struggling to cover the rent and your bills while working a shitty 9 to 5.

Directed by Kansas Smeaton and Keane, the recently released video, echoes the song’s aspirational message and tone as it follows a dissatisfied and hopelessly bored advertising executive, who in a fit of frustration figuratively and literally breaks out of his boredom — and probably loses his job in an awesome, “take this fucking job and shove it moment.” 

Single Review by William Ruben Helms

If you’ve been frequenting this site over the past month or so, you’ve come across a couple of posts featuring  Seattle, WA-born, Berlin, Germany-based singer/songwriter, guitarist, and producer Gordon Raphael. As a producer, Raphael has worked with an impressive, who’s who list of contemporary indie rock artists including  The Strokes, Regina Spektor, Damon Albarn, Ian Brown, The Cult‘s  Ian Astbury, Hinds and others; however, Raphael primarily sees himself as a singer/songwriter and guitarist.  “I love producing, but playing guitar and writing songs is what I’ve always done,” Raphael explains in press notes. “I wanted to show what I can do on the other side of the desk all the time, but producing kept getting in the way.”

Raphael’s full-length debut Sleep on the Radio draws from Ziggy Stardust-era David Bowie, Mick Ronson, Kimono My House-era Sparks, Frank Zappa and prog rock among others. Reportedly “View From Blue,” the album’s first single was part of over 1,000 songs he had written over years; but it came from the most unlikely source — from a dream. But in particular, “View From Blue” is a part of a selection of 12 songs that were carefully honed and perfected to the point that they were living, breathing and fully fleshed out songs that needed to be played, recorded and heard – – right now.  And as a result, while the song clearly nods at Ziggy Stardust-era Bowie — think “Queen Bitch,”
“Panic in Detroit,” and others — the anthemic, hook-laden song possesses a forceful urgency underneath its boozy, free-flowing psychedelia.

 

“Savage,” Sleep on the Radio‘s latest single sounds as though it draws from Evil Heat-era Primal Scream and Brit Pop as twinkling synths, buzzing and whirring electronics are paired with blazing guitar pyrotechnics, an anthemic hook and a  spacey, psychedelic vibe that belies an incredibly sensual nature.  And much like its preceding single, “Savage” reveals a songwriter, who can craft an incredibly catchy hook and an ability to simultaneously be a musical chameleon while having a signature sound and aesthetic.

Single Review by William Ruben Helms

Comprised of Thom Moore (vocals, guitar), Adam Della-Grota (guitar), Sam Barron (bass, keys), Jackson Love (keys, vocals) and Thomas Eagleton (drums, vocals), the Sydney, Australia-based indie rock quintet Wild Honey quickly emerged with their self-titled debut EP, an effort that was written and recorded by Moore almost entirely in his bedroom and featured lead single “Eye To Eye.” “Eye To Eye” wound up becoming one of the most played songs by an Australian artist on Triple J during the summer of 2015-2016 — and as a result, the band found themselves opening for the likes of several national and internationally recognized bands including The Delta Riggs, The Belligerents, Hinds and Twin Peaks.

Building upon a rapidly growing national profile, the Sydney-based indie rock quintet went into the studio to record their forthcoming, Jack Mofitt-produced, full-length debut album, and the album’s first single “Break Away,” serves as an anthemic call to arms for anyone, who feels like they’re going through the motions. Interestingly, the song finds the band effortlessly meshing classic alt rock, Brit Pop and contemporary indie rock as the song features jangling guitars, an anthemic hook consisting of enormous, arena rock friendly power chords and an earnest call to go out and work your ass off to make your dreams happen — and that there’s more to life than struggling to cover the rent and your bills while working a shitty 9 to 5.

 

 

 

 

 

 

 

 

Video by William Ruben Helms

New Video: Producer for The Strokes and Regina Spektor Releases Mischievous and Psychedelic Visuals for “View From Blue”

Gordon Raphael is a Seattle, WA-born, Berlin, Germany-based singer/songwriter, guitarist, and producer, who has worked with an impressive array of contemporary artists including The Strokes, Regina Spektor, Damon Albarn, Ian Brown, The Cult‘s Ian Astbury, Hinds and others; however, Raphael primarily sees himself as a singer/songwriter and guitarist. “I love producing, but playing guitar and writing songs is what I’ve always done,” Raphael says in press notes. “I wanted to show what I can do on the other side of the desk all the time, but producing kept getting in the way.”  Interestingly, Raphael’s long-awaited full-length debut Sleep on the Radio draws from Ziggy Stardust-era David Bowie, Mick Ronson, Kimono My House-era Sparks, Frank Zappa and prog rock among others, as you’ll hear on the album’s latest single “View From Blue.”

Reportedly “View From Blue” came to the renowned producer, singer/songwriter and guitarist in a dream and was part of over 1,000 songs he wrote over a period of time — and a section of 12 that were carefully honed and perfected to the point that they were living, breathing songs that needed to be heard, now.  And as a result, the anthemic hook-laden song possesses a forceful urgency underneath its boozy, free-flowing psychedelia.

The recently released visuals for the single features Raphael performing the song in the studio in front of psychedelic projections and playing with balloons but at one point Raphael is inexplicably in a purple wig — because why the hell not?  

Single Review by William Ruben Helms

Gordon Raphael is a Seattle, WA-born, Berlin, Germany-based singer/songwriter, guitarist, and producer, who has worked with an impressive array of contemporary artists including The Strokes, Regina Spektor, Damon Albarn, Ian Brown, The Cult‘s Ian Astbury, Hinds and others; however, Raphael primarily sees himself as a singer/songwriter and guitarist. “I love producing, but playing guitar and writing songs is what I’ve always done,” Raphael says in press notes. “I wanted to show what I can do on the other side of the desk all the time, but producing kept getting in the way.”  Interestingly, Raphael’s long-awaited full-length debut Sleep on the Radio draws from Ziggy Stardust-era David Bowie, Mick Ronson, Kimono My House-era Sparks, Frank Zappa and prog rock among others, as you’ll hear on the album’s latest single “View From Blue.”

Reportedly “View From Blue” came to the renowned producer, singer/songwriter and guitarist in a dream and was part of over 1,000 songs he wrote over a period of time — and a section of 12 that were carefully honed and perfected to the point that they were living, breathing songs that needed to be heard, now.  And as a result, the anthemic hook-laden song possesses a forceful urgency underneath its boozy, free-flowing psychedelia.

 

 

 

 

Single Review by William Ruben Helms

With the release of the We’re Set EP, which featured standout singles “Wild” and “Surfer Girl,” the San Francisco, CA-based indie rock/garage rock quartet The Band Ice Cream, comprised of Kevin Fielding (vocals, guitar), Joe Sample (vocals guitar), Bryce Fernandez (bass) and Louie Rappoport (drums), quickly developed a national reputation for a fuzzy, scuzzy alt rock-leaning sound that draws from Nirvana, The Strokes, The White Stripes, The Orwells, Pavement and Link Wray — and for opening for the likes of Hinds, Night Beats, Adult Books, SWMRS, The Aquadolls and others. Adding to a growing profile, the band’s last EP caught the attention of legendary producer and sound engineer Bruce Botnick, who’s best known for his work with The Doors and The Beach Boys, and along with San Francisco underground rock legend Mike Carnahan worked with the band on their forthcoming full-length debut Classical Trained, slated for a March 10, 2017.

Classically Trained‘s latest single “Seventeen” manages to evoke the awkwardness and uncertainty of being a stupid teenage kid while looking back at it with a wistful nostalgia over that period’s seeming simplicity and deep friendships– and without as many devastating mistakes, poor choices, unending complications and uneasy compromises. And while the band has developed reputation for scuzzy garage rock, the band’s latest single manages to be clearly indebted to power pop, thanks to anthemic hooks and some guitar pyrotechnics; but in an expansive, and meandering song structure that possesses both a muscular insistence and a mischievous and ironic wit.

 

 

 

 

Video by William Ruben Helms

New Video: The Artful and Menacing Visuals for The Parrots’ “A Thousand Ways”

Adding to a growing international profile, last year NME named the Spanish trio as one of SXSW’s “buzziest bands” and since then the members of The Parrots have been incredibly busy — they’ve released a critically applauded EP Weed for The Parrots, have toured relentlessly and played an incredible 14 shows at this year’s SXSW (in which they were later signed by renowned indie label Heavenly Recordings). Building on the growing buzz around the band, the trio spent a week at Paco Loco Studios in El Puerto de Santa Maria in Cadiz, Spain, where they recorded their latest effort Los Ninos Sin Miedos. And if you had been frequenting this site earlier this year, you may recall that I wrote about album single “Let’s Do It Again,” a single reportedly inspired by the members of the band drinking beers and Horchata, eating Moroccan delicacies and feelings of deep friendship and loyalty and as a result the song possesses a shuffling, intoxicated feel of elation and adventure — the sort that would come about when you’ve drunkenly stumbled along a new best friend. Sonically, the single furthered their reputation for crafting raw, shaggy garage rock that channeled the sounds of 1961-1965.

As the band explains, their latest single “A Thousand Ways” draws from the key moment in one’s teenage years, when you are probably most tempted by the forbidden and unknown, and you then avoid responsibilities and complex responsibilities. “This is the moment when, along with your friends, childhood dies,” the band says. Interestingly, the latest single continues along the same veins of the album’s previously released single while nodding at other contemporary garage rock acts like Raccoon Fighter and others, as the band pairs Garcia’s howled vocals mangling the English language with an unvarnished and wild earnestness with buzzing guitars and a propulsive backbeat. And the band does this while evoking a stoner elation and paranoia.

Directed by frequent collaborator Pablo Amores, the recently released video for “A Thousand Ways” is a cinematically shot video that’s one part perfume ad, one part art film, one part Stanley Kubrick’s A Clockwork Orange that ends in a gorgeous and surreal fashion.

Video by William Ruben Helms

New Video: The 80s New Wave Channeling Sounds and Visuals of Public Access TV’s “End of an Era”

The quartet’s highly-anticipated full-length debut Never Enough is slated for a September 30, 2016 through Cinematic Records and the album’s latest single “End of an Era” sounds as though it draws from radio-friendly, 80s New Wave — in particular, think of The Fixx’s “Saved by Zero,” “One Thing Leads to Another,” “Red Skies,” and “The Sign of Fire,” The Knack’s “My Sharona,” Huey Lewis and The News’ “The Heart of Rock ‘N’ Roll,” and others as the band pairs angular guitar chords, a driving bass line, four-on-on-the-floor-like drumming, atmospheric synths, punchily delivered lyrics and an anthemic hook. As the band’s John Eartherly mentions in press notes “We’ve been told that playing a rock ‘n’ roll band in 2016 is a ridiculous thing. For all of us though, it isn’t a question of wanting to do it or not. We have to do it. I left home and quit school at 16 to play music. Music is all we know and love, and this son his an ode to us following that path.”

As for the recently released video, the band’s John Eatherly mentions in press notes that “the label wanted David LaChappelle to do this one, especially ’cause it’s the pop sugar injection song, and they hope, a little pot of radio-friendly unit-shifting gold. But we said ‘nah, give us your money and we’ll do it it ourselves.’ So we took their money and bought a 1986 Dodge 600 and a mini DV Cam and did what we normally do — but for your voyeuristic pleasure.” While visually nodding at the sort of visuals Crocodiles would do, the video does capture some of the spirit and feel of videos released in the 80s.