Tag: indie psych rock

New Video: The 60s Psych Rock and Horror Movie-Inspired Sounds and Visuals of Tele Novella’s Latest Video

“Even Steven” is the latest single off the band’s recently released House of Souls and the single sounds as though it were inspired by 60s psych pop and Roger Corman horror movies — in particular, his loopy Fall of the House of Usher, as the band pairs shimmering guitar chords played through reverb, soaring organ chords, an anthemic and infectious hook, and sultry and subtly menacing vocals in a song about a evil character, named Even Steven who does everything within his power to get even with those who he feels wronged him.

The recently released music video employs the use of Claymation, construction paper animation and collages to create a hilarious DIY video full of cartoonish gore and violence — all of which are fitting for the Halloween season.

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New Video: Boogarins Returns with Yet Another Breezy and Contemplative Song, and Gorgeous Visuals

Boogarins latest single “Tempo” is an contemplative song with an expansive song structure consisting of alternating dreamy and moody section with a loud, anthemic section featuring buzzing guitar chords and feedback — and much like the album’s previously released singles the latest single sounds as thought it draws from Pink Floyd, 60s garage psych, Tropicalia and jazz, which gives the song a breeziness that belies its thoughtful and psychedelic nature. According to press notes, the song’s lyrics speak about stopping time and freeing yourself from the everyday grind of work, school and obligations and escaping from the pressures of daily life.

Interestingly, the members of the band reached out to their fans on social media and asked them to shoot footage of two different moods: the first being “man’s world,” a world full of soul-crushing and demeaning imagery of urban life — commuting and rushing about, working, studying and starting at computer screens; and the second being images of sanctuary and safe places — friends, being out in nature, music, art and anything that would make you feel open, free and whole. As a result of their open call, the band received hundreds of submissions, which were then edited and crafted into a gorgeous, surreal and coherent whole by Cobrandit Films’ Owen Mack.

Over the past year or so,  Grand Rapids, MI-based psych rock trio HEATERS, comprised of Andrew Tamlyn, Nolan Krebs and Joshua Korf have become a JOVM mainstay act. And with the release of  the “Mean Green”/”Levitate Thigh” 7 inch, their full-length debut Holy Water Pool last year, along with a series of singles, the Grand Rapids-based trio also received a growing national profile for a 60s inspired psych rock sound.

Earlier this month I wrote about “Centennial,” the first single from the Grand Rapids, MI-based trio’s highly-anticipated sophomore effort, Baptistina. Interestingly, “Centennial” continues in a similar vein as the material on Holy Water Pool as the band paired dense layers of shimmering guitar chords played through tons of reverb and effects pedal, ethereal vocals, propulsive drumming and a throbbing bass line in a towering and anthemic psych rock song that feels as though it may descend into cacophonous chaos — but with a towering swagger that gives the song an effortless, larger-than-life feel. The album’s second and latest single “Garden Eater” is an epic and sprawling song that has a lengthy introductory section featuring dense layers of shimmering guitar chords and propulsive drumming that slowly fades into a dreamy and contemplative fade out, which allows for the slow build up of  an atmospheric section consisting of subtly droning guitar chords and vocals — an interestingly enough this section sounds as though it were indebted to Directions to See a Ghost-era The Black Angels before fading out with tons of reverb. Structurally the song may arguably be the most expansive song the trio have committed to wax

Featuring primary and founding members Courtney Ewan (singer/songwriter) and frequent collaborator Andy Bishop,  Twin River wrote the material of their soon-to-be released sophomore effort Passing Shade, an effort whose name draws from a lengthy dream sequence in Patti Smith‘s memoir M Train while they were over 3,00 miles apart — Ewan had relocated to Montreal while Bishop remained in his hometown of Vancouver. Initially, the material took the form of stripped-down, heartbroken ballads about lost love and as Ewan explains in press notes “I always write on an acoustic guitar, which I think is the vestigial influence of being 15 and playing acoustic guitar in the basement because my mom wouldn’t let me have an amp. Nine times out of ten, when we get the band together, we end up increasing the tempo.” In fact, when Ewan and Bishop got together to flesh out the original demos, the material turned into a barn-burning rock numbers with infectious pop hooks with a subtle hint of atmospherics — and done in way that manages to channel both 60s psych pop and garage rock and the contemporary fascination with that sound.

“Knife,” Passing Shade‘s latest single is a jangling and muscular garage rock song featuring gorgeous shimmering guitar chords and a classic psych rock guitar solo and a propulsive rhythm section paired with Ewan’s vocals which evoke vulnerability and heartbreak simultaneously. From this single, I think the act will throw themselves into a growing list of contemporary garage rock and psych rock acts including High Waisted, Raccoon Fighter, The Coathangers and several others — and the band does so with a cool, swaggering self-assuredness that belies the heartache, yearning and badassery at the core of the song.

With the release of A Swirling Fire Burning Through the Rye last year, San Francisco-based quartet Cool Ghouls received attention across the blogosphere for a sound that’s heavily indebted to the classic 60s and 70s rock sounds of the likes of The ByrdsCrosby, Stills, and NashNeil YoungCreedence Clearwater Revival and classic psych rock as their material is generally comprised of jangling guitar chords, simple yet propulsive percussion and layered, multi-part harmonies. “Sundial,” the first single off the Bay Area quartet’s forthcoming third full-length effort Animal Races, slated for an August 19, 2016 will further cement the band’s burgeoning reputation for classic psych rock and classic rock leaning sounds. Much like their previously released material, the song sonically evokes the sensation of tripping on hallucinogens with friends as you were meandering through a cemetery or a meadow on a bright sunny day while simultaneously sounding as though it could have been released in 1966.

 

Over the past 12-18 months your’e likely come across posts about Grand Rapids, MI-based psych rock trio HEATERS. Comprised of Andrew Tamlyn, Nolan Krebs and Joshua Korf, the band can trace their origins to when founding members Tamilyn and Krebs relocated to Grand Rapids to start a music project together. Korf, who was coincidentally Tamilyn’s and Kreb’s next door neighbor was later recruited to flesh out the band’s sound. With the release of the “Mean Green”/”Levitate Thigh” 7 inch, their full-length debut Holy Water Pool last year, along with a series of singles, the Grand Rapids-based trio became JOVM mainstays while also receiving a growing national profile.

The psych rock trio’s highly-anticipated sophomore follow-up effort Baptistina is slated for an August 5, 2016 release through Beyond Beyond Is Beyond Records, and the album’s first single “Centennial” continues a bit on the path of Holy Water Pool as the band pairs dense layers of shimmering guitar chords played through tons of reverb and effects pedal, ethereal vocals, propulsive drumming and a throbbing bass line in a towering and anthemic psych rock song that feels as though it may descend into cacophonous chaos — but unlike their previously released material, “Centennial” possesses a towering swagger that gives the song an effortless, larger-than-life feel while sounding a though it could have been released in 1967.

 

Comprised of founding member Will Halsey (vocals, guitar), Ash Reiter (vocals, guitar), The Beehavers‘ Bryant Dennison (guitar) and The Electric Magpie‘s Peter Maffei (bass), Joshua Tree, CA-based psych rock quartet Sugar Candy Mountain can trace its origins to when Halsey, who has had stints as a drummer in renowned Bay Area-based bands like The Blank Tapes, fpodbpod and Ash Reiter, began the project as a bedroom recording project in which Halsey initially wrong songs in the vein of of Montreal and The Beach Boys. Shortly after Halsey had started Sugar Candy Mountain, Reiter had joined him and the duo began co-writing songs. Interestingly, there was a brief period in which they wrote electro pop songs — before they had gone on a decidedly psychedelic direction when Reiter had started obsessively collecting effects pedals. Denison, who also was a bassist and former bandmate in Ash Reiter with Reiter and Halsey, joined on as a guitarist (which was interestingly enough, his first instrument).

With the band’s forthcoming album 666, the Joshua Tree, CA-based quartet will further cement their burgeoning reputation for a sound that has been described as being indebted to Jacco Gardner, Tame Impala and the classic psych rock sounds of 60s Laurel Canyon — as you’ll hear on album title track “666,” a single that also possesses an uncanny attention to dreamy melody as the band pairs Reiter’s gorgeous and chilly crooning with gently fuzzy guitar chords, soaring and ethereal organ chords with gentle almost minimalist drumming. Yes, it sounds as though it could have been written and recorded in 1966 and was recently discovered in a used record store — perhaps one like Last Vestige in Albany — but with a subtly modern production sheen.

 

 

Comprised of Aaron Closson (guitar and vocals), best known as a member of The Hourly Radio and multi-instrumentalist Nolan Thies, best known as a member of N?TIONS, Brooklyn-based shoegaze duo The Blessed Isles specialize in a sound that is heavily indebted to 80s Brit Pop, New Wave and of course, shoegaze; in fact, as you’ll hear on “Caroline,” the first single off the duo’s long-awaited full-length effort Straining Hard Against the Strength of Night, the band’s sound seems to draw from New Order, Slowdive and Cocteau Twins as the duo pairs Closson’s plaintive vocals with shimmering delay pedal fed guitar chords, propulsive boom-bap 808s, and ambient-like synths to craft a swooning and introspective song with an urgently anthemic pulse.