A preview of RZA’s upcoming City Winery set on February 18.
Tag: Interpol
With the release of their first three EPs, Gold, Better Off, and Broken Machine, and their full length debut Palace of Industrial Hope, the San Francisco, CA-based indie rock quintet The New Up — comprised of ES Pitcher (vocals, guitar), Noah Reid (guitar, vocals), Hawk West (automation), Nick Massaro (bass) and Art McConnell (drums) –developed a reputation for genre defying sound that possesses elements of garage rock and electro pop paired with lyrics that focus on philosophical concerns. And while the band has drawn comparisons to Yeah Yeah Yeahs and The Kills, their sound reminds me of Dirty Ghosts.
As the story goes, when it came time to start working on the material that would comprise the San Francisco-based quintet’s forthcoming, sophomore effort Tiny Mirrors, the members of the band launched an Indiegogo crowdfunding campaign to obtain the necessary funds to create and build their own recording studio, which the band felt was necessary to realize their creative vision for the album — with label or studio interference. Then they covered a secluded Mendocino County, CA barn into a state-of-the-art recording facility and enlisted Jack Frost who has worked with Antartica and BlackRock to produce the recording sessions and Sean Beresford, who has worked with Chuck Prophet, The Donnas and Vanessa Carlton to mix the album.
Now, if you had been frequenting this site towards the end of last year, you may recall that I wrote about album single “Black Swan,” a slinky and slickly produced track in which shimmering and atmospheric electronics, slashing and angular guitar chords and a sinuous bass line are paired with ES Pitcher’s sensual vocals — singing lyrics that reveal the narrator’s urgent, carnal need, the need (and desire) to lose one’s self, if even for a little bit, her increasing frustration with people and human relationships and empty, soulless hookups. But at the core of the song is the sort of loneliness and dissatisfaction that being in a large city frequently inspires within people. The album’s latest single “No Fly Zone” continues on a similar vein as its preceding single as shimmering synths and processed beats are paired with Pitcher’s cooing, shimmering guitar chords in a moody and sensual song that sonically and structurally reminds me of Antics-era Interpol.
Comprised of Trond Fagernes (vocals, guitar), Rune Øverby (guitar), Petter Gudim Marberg (bass), Ola Jørgen Kyrkjeeide (drums) and live contributions from Kenneth Ekes (synth), Olso, Norway quartet Mayflower Madame specialize in a moody and dark post-punk/darkwave/chillwave sound that immediately brings to mind 4AD Records heyday along with several contemporary bands, including Interpol, JOVM mainstay artists The Harrow and others. And since the 2013 release of their debut EP Into the Haze, the Norwegian quartet have developed a reputation nationally for their live shows; in fact, they’ve played two of their homelands biggest festivals Norwegian Wood and Oya Festival, as well as opening for a number of renowned acts including Crystal Stilts, Night Beats, Moon Duo and JOVM mainstay acts Disappears, Crocodiles and La Femme.
Mayflower Madame’s full-length debut Observed in a Dream was released earlier this year across Europe through Night Cult Records and was released across North America through Custom Made Music earlier this month and the album’s first latest single “Weightless” consists of a tight motorik groove paired with shimmering guitar chords and Fagernes’ brooding baritone in a song that will further cement the quartet’s growing reputation for moody 4AD Records era post-punk — but in a remarkably hazy and ethereal song.
New Video: The Dario Argento-Inspired Visuals for Preoccupations’ Latest Single “Anxiety”
Although they received a massive amount of attention across the blogosphere with the 2014 release of their self-titled full-length debut, the Calgary, Alberta-based quartet originally known as Viet Cong actually formed in 2012 and can trace their origins […]
New Video: Eric Wareheim’s Kinky Video for Blonde Redhead’s “Dripping”
Back in 2014, Blonde Redhead quietly released their ninth full-length effort Barragan, an effort that includes the shimmering and sultry single “Dripping.” The New York-based trio promptly released a hazy and gorgeous video for the song that also doubled as an advertisement for British fashion label All Saints, which you can catch below. Interestingly, comedian, actor and musician Eric Wareheim, best known for his work in comedy duo Tim and Eric is a huge Blonde Redhead fan and he figured that he could two things — create a better video and craft a love letter to his favorite band. And much like the original video, Wareheim’s video is gorgeous, featuring worshipful imagery of beautiful women of all shapes, sizes and colors smoking, drinking whiskey or delicately pruning hedges until the camera gently pulls back and reveals some incredibly kinky activities.
New Video: The Fight Club Meets Art School Visuals for Ultrviolence’s “Radiation”
Ultrviolence’s latest single “Radiation” will further cement the Canadian trio’s burgeoning reputation for crating dark and moody post-punk/New Wave/darkwave-leaning rock while gently expanding upon the sound that initially captured my attention as the band pairs Nate J’s expressive and yearning baritone with ethereal synths, shimmering guitar chords played through copious reverb, and a driving rhythm consisting of four-on-the-floor drumming and propulsive bass chords.The recently released music video for the song is an aptly noir-ish video that features the awesomely casual destruction of an old cathode ray TV, some bad ass dudes swinging sledgehammers, brandishing knives, fighting each other and posing about; in some way, the video reminds me of a fashion forward jeans ad mixed with Fight Club.
Comprised of Nate J. (vocals, bass), Ali Abbas (guitar) and Kirk Power (drums), Calgary, AB-based post-punk/darkwave/chillwave trio Ultrviolence have quickly developed a reputation for a moody, post-punk sound that’s indebted to Joy Division, New Order, Interpol, Viet Cong and others and for adhering to the sort of DIY principles that led them to ignore the clichés and dictates of the major recording industry machine. Now over the past couple of months the Canadian post-punk trio have become one of my new favorites as I’ve written about “Better Learn How to Swim,” and “Radiation,” the first two singles off the Canadian trio’s soon-to-be released EP Black Sea; in fact, both singles manage to remind me quite a bit of Turn On The Bright Lights-era Interpol — in particular, I think of “Untitled,” “NYC” and “Stella Was a Diver and She Was Always Down.”
Much like “Radiation,” “Untitled,” will further cement the trio’s reputation for moody and angular post-punk with anthemic hooks — but while arguably being the most propulsive and forceful songs they’ve released to date.
Earlier this month, I wrote about Calgary, AB-based indie rock/darkwave/New Wave/post-punk trio Ultrviolence. Comprised of Nate J. (vocals, bass), Ali Abbas (guitar) and Kirk Power (drums), the Canadian trio have quickly developed a reputation for a moody post-punk sound that’s reminiscent of contemporary acts like Interpol, Viet Cong and others, and for adhering to DIY principles as they’ve played in countless basements and tiny clubs across the continent, using battered instruments and battered instruments and ignoring the cliches and dictates of the recording industry machine. Now you might recall that i wrote about “Better Learn How to Swim,” a moody yet swooningly Romantic song off their forthcoming Black Sea EP that manages to be reminiscent of Turn On The Bright Lights-era Interpol — in particular, I think of “Untitled,” “NYC” and “Stella Was a Diver and She Was Always Down” — as the band pairs a sinuous bass line, angular and shimmering guitar chords and an dramatic, anthemic hook with Nate J’s aching baritone.
Black Sea‘s latest and single ” Radiation” will further cement the Canadian trio’s burgeoning reputation for crating dark and moody post-punk/New Wave/darkwave-leaning rock while gently expanding upon the sound that initially captured my attention — the band pairs Nate J’s expressive and yearning baritone with ethereal synths, shimmering guitar chords played through copious reverb, and a driving rhythm consisting of four-on-the-floor drumming and propulsive bass chords. Sonically, the new single manages to clearly draw influence from the likes of the aforementioned Turn On The Bright Lights-era Interpol, Joy Division and New Order — but with as subtle twist on a familiar sound.
Earlier this month, I wrote about Calgary, AB-based indie rock/darkwave/New Wave/post-punk trio Ultrviolence. Comprised of Nate J. (vocals, bass), Ali Abbas (guitar) and Kirk Power (drums), the Canadian trio have quickly developed a reputation for a moody post-punk sound that’s reminiscent of contemporary acts like Interpol, Viet Cong and others, and for adhering to DIY principles as they’ve played in countless basements and tiny clubs across the continent, using battered instruments and battered instruments and ignoring the cliches and dictates of the recording industry machine. Now you might recall that i wrote about “Better Learn How to Swim,” a moody yet swooningly Romantic song off their forthcoming Black Sea EP that manages to be reminiscent of Turn On The Bright Lights-era Interpol — in particular, I think of “Untitled,” “NYC” and “Stella Was a Diver and She Was Always Down” — as the band pairs a sinuous bass line, angular and shimmering guitar chords and an dramatic, anthemic hook with Nate J’s aching baritone.
Black Sea‘s latest and single ” Radiation” will further cement the Canadian trio’s burgeoning reputation for crating dark and moody post-punk/New Wave/darkwave-leaning rock while gently expanding upon the sound that initially captured my attention — the band pairs Nate J’s expressive and yearning baritone with ethereal synths, shimmering guitar chords played through copious reverb, and a driving rhythm consisting of four-on-the-floor drumming and propulsive bass chords. Sonically, the new single manages to clearly draw influence from the likes of the aforementioned Turn On The Bright Lights-era Interpol, Joy Division and New Order — but with as subtle twist on a familiar sound.
Liverpool-based, indie rock quintet ETCHES have started to receive attention across the UK for a batch of singles that reportedly (and subtly) draws from a variety of influences including Tears For Fears, Interpol, electronica, post-punk and psych rock and others; however to my ears, the Liverpool-based quintet’s latest single “Love Is” sounds to my ears as though it were channeling Milagres‘ Violent Light — in particular, I think of “Column of Streetlight” and “Urban Eunuchs” — as the sleek, moody and sultry song possesses elements of R&B, soul, indie rock and pop while thematically touching upon the conflicting (and inherent) push and pull in romantic relationships.
Comprised of Nate J. (vocals, bass), Ali Abbas (guitar) and Kirk Power (drums), Calgary, AB-based trio Ultrviolence have developed a reputation for a moody post-punk sound reminiscent of Interpol, Viet Cong and others, and for adhering to DIY principles — they’ve played in countless basements and small clubs across the continent, using battered instruments and blinking electronics while writing and recording their material, following wherever their muses take them. Recently, the Canadian post-punk trio have started to receive both radio airplay and attention for their live show and building upon the growing buzz they’ve received, they released “Better Learn How to Swim,” a moody yet swooningly Romantic song off their forthcoming EP Black Sea that’s reminiscent of Turn On The Bright Lights-era Interpol — in particular, I think of “Untitled,” “NYC” and “Stella Was a Diver and She Was Always Down” — as the band pairs a sinuous bass line, angular and shimmering guitar chords and an dramatic, anthemic hook with Nate J’s aching baritone.
New Audio: Belgian Producer Henri PFR’s House Music Remix of Editors’ “Ocean of Night”
Currently comprised of Tom Smith (vocals, guitar and piano), Russell Leech (bass, synths and backing vocals), Ed Lay (drums, percussion and backing vocals). Justin Lockey (lead guitar) and Elliott Williams (keys, synths, guitars and backing […]
New Video: The Giraffes’ Behind-the-Scenes Video for “Blood Will Run”
Although they’ve gone through a number of lineup changes over the years, the NYC-based quartet The Giraffes have a long-held reputation for a brutally intense live show since their formation back in 1996. And as […]
Comprised of Bobby Moynahan (vocals), Esli Sugich (bass), and Scott Eton (keyboards and guitar), the trio of Ballerina Black, have received praise across the blogosphere for a sound that my colleagues have described as “a collage of mope rock and grave wave;” in fact, their sound on their earliest releases reminded me quite a bit of Depeche Mode, Nine Inch Nails and 4AD Records as it struck me as being a slickly produced, anxious goth-based electro rock.
Adding to a growing national profile, the band has opened for the likes of Interpol and Silversun Pickups, have seen some of their singles receive airplay on radio stations across the globe and have played a number of sold out shows in their hometown of Los Angeles. And to continue the growing buzz around the band, they’re planning to embark on a tour to close out 2015; however, in the meantime, the band has released their latest single “Chiffon,” which is a decided change in sonic direction as it’s arguably one of the sunniest and breeziest songs they’ve released to date. Not only is the song much more upbeat with much of the gloom and doom being lifted from the proceedings, the song sounds as though it subtly leans towards shoegaze as the song consists of lush, shimmering guitar chords, propulsive drumming and Moynahan’s plaintive and ethereal vocals. And although swooning and seemingly channelling 120 Minutes-era alternative rock, there’s something under the surface that’s tense and menacing.
New Audio: Soldiers of Fortune’s Swaggering, Jam-Leaning, New Single
Comprised of Brad Truax, who’s a touring bassist for renowned indie rock act, Interpol; Kid Millions, who’s best known for his work with Man Forever and Oneida; Barry London, who’s Kid Millions’ bandmate in Oneida; and Matt […]