Tag: La Sera

New Video: JOVM Mainstays No Joy with Sonic Boom Release Surreal and Experimental Visuals for Their Most Unusual Song To Date

Now, if you’ve been frequenting this site over the past year or so, you would have seen that I’ve written quite a bit about Montreal, Quebec, Canada-based shogeaze duo No Joy, and as you may recall, the duo, which is comprised of primary songwriter Jasamine White-Gluz and Laura Lloyd can trace their origins to when White-Gluz, who was then living in Los Angeles began collaborating with the Montreal-based Lloyd via email — and their collaboration eventually lead to White-Gluz returning to Montreal, so that they could play their first show, with Husker Du’s Grant Hart. As the story goes, after that show, White and Gluz continued collaborating, playing a number of shows locally, including with Best Coast, whose frontwoman Bethany Cosentino became an early champion of the act. 

Building upon the growing buzz surround the Montreal-based duo, White-Gluz and Lloyd signed to renowned indie label Mexican Summer, who released their debut 7 inch single “No Summer”/”No Joy,” an effort that allowed them to book their own national headlining tour with Katy Goodman’s, La Sera. The 7 inch quickly sold out, and by November 2010, the duo released their full-length debut Ghost Blonde to critical praise from the likes of Pitchfork, AllMusic.com, The New York Times, Brooklyn Vegan, The Guardian and others. No Joy followed that with the British release of the “Hawaii” 7 in, a release that featured a remix of “Indigo Child,” by Stereolab‘s Tim Gane, which they supported with a UK tour with  Surfer Blood, an opening spot in London for Wire, and an appearance at Barcelona’s Primavera Sound Festival.

The  members of No Joy spent the better part of 2011 touring across North America — and it included a busy SXSW schedule, a tour with Vivian Girls, and a co-headling tour with Marnie Stern with whom they released a split single, which featured No Joy’s cover of the Shangri-La’s “He Cried.” Since then, the band has released 2012’s Negaverse EP and Wait to Pleasure, 2013’s Pastel and Pass Out EP, 2015’s More Faithful, 2016’s Drool Sucker, the first of a planned series of EPs and last year’s Creep, which was released through the band’s new label Grey Market Records.

Interestingly, this year finds No Joy’s White-Gluz collaborating with Spacemen 3‘s and E.A.R.’s Sonic Boom (a.k.a. Peter Kember), and although the collaborators can’t accurately remember how they met or when they met, what they do clearly remember is that the idea of collaborating together was brought up in an email exchange back in 2015. At the time, No Joy had finishing touring to support their third album More Faithful, an album that the duo has considered one of their most difficult and demanding efforts they’ve worked on together, and White-Gluz was eager to try new ideas and do something different. “No Joy functioned as a four-piece ‘rock band’ for so long,” White-Gluz explains in press notes. “I wanted to pursue something solo where I collaborated with someone else who could help me approach my songs from a completely different angle. Pete is a legend and someone I’ve admired for a long time. Being able to work with him on this was incredible.”

Initially, the collaboration began as a bit of exploration between two friends, who admired each other’s work with each one passing songs back and and forth with White-Gluz writing and producing songs in her hometown of Montreal and Kember writing, arranging, and producing in Portugal. The end result was their collaborative EP together — four tracks that reportedly walk the tightrope between electronica, trip hop and experimental noise.  As White-Gluz says in press notes, “I wrote some songs that were intended for a full band and handed them off to Pete, who helped transform them. I barely knew how to use MIDI so I was just throwing him these experiments I was working on and he fine-tuned my ideas. There are barely any guitars on this album, because I was focused on trying to find new ways to create sounds.”

The EP’s latest single “Triangle Probably,” continues in a similar vein as its immediate predecessor “Slorb,” as it features a minimalist production featuring swirling wobbling electronics, twinkling and droning synths and industrial clang and clatter paired with  Gluz-White’s ethereal crooning, which make the song one of the most experimental songs not the EP, as it finds the duo nodding at Amnesiac and Kid A-era Radiohead — but with murky feel. 

Created by Jacob Cooper and Ride or Cry, the recently released video for “Triangle Probably,” features live screen grabs from independent, open source and free Unity/3D simulators and the hodgepodge nature further emphasizes the experimental tone and vibe of the song.

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New Audio: No Joy’s Jasamine White-Gluz and Spacemen 3’s Sonic Boom Team Up for an Atmospheric and Eerie Single off Collaborative EP

Over the past year, I’ve written quite a bit about the Montreal, Quebec, Canada-based shogeaze duo No Joy. Interestingly, the duo, which is comprised of primary songwriter Jasamine White-Gluz and Laura Lloyd can trace their origins to when White-Gluz, who was then living in Los Angeles began collaborating with the Montreal-based Lloyd via email — and their collaboration eventually lead to White-Gluz returning to Montreal, so that they could play their first show, with Husker Du’s Grant Hart. As the story goes, after that show, White and Gluz continued collaborating, playing a number of shows locally, including with Best Coast, who’s frontwoman Bethany Cosentino became an early champion of the duo.
Building upon the growing buzz surround the Montreal-based duo, White-Gluz and Lloyd signed to renowned indie label Mexican Summer, who released their debut 7 inch single “No Summer”/”No Joy,” an effort that allowed them to book their own national headlining tour with Katy Goodman’s, La Sera. The 7 inch quickly sold out, and by November 2010, the duo released their full-length debut Ghost Blonde to critical praise from the likes of Pitchfork, AllMusic.com, The New York Times, Brooklyn Vegan, The Guardian and others. No Joy followed that with the British release of the “Hawaii” 7 in, a release that featured a remix of “Indigo Child,” by Stereolab‘s Tim Gane, which they supported with a UK tour with  Surfer Blood, an opening spot in London for Wire, and an appearance at Barcelona’s Primavera Sound Festival.
The  members of No Joy spent the better part of 2011 touring across North America — and it included a busy SXSW schedule, a tour with Vivian Girls, and a co-headling tour with Marnie Stern with whom they released a split single, which featured No Joy’s cover of the Shangri-La’s “He Cried.” Since then, the band has released 2012’s Negaverse EP and Wait to Pleasure, 2013’s Pastel and Pass Out EP, 2015’s More Faithful, 2016’s Drool Sucker, the first of a planned series of EPs and last year’s Creep, which was released through the band’s new label Grey Market Records.

Interestingly, this year finds No Joy’s White-Gluz collaborating with Spacemen 3’s and E.A.R.’s Sonic Boom (a.k.a. Pete Kember), and although the collaborators can’t accurately remember how they met or when they met, but what they do clearly recall is that the idea of collaborating together was brought up in an email exchange back in 2015. At the time, No Joy had finishing touring to support their third album More Faithful, an album that the duo has considered one of their most difficult and demanding efforts they’ve worked on together, and White-Gluz was eager to try new ideas and do something different. “No Joy functioned as a four-piece ‘rock band’ for so long,” White-Gluz explains in press notes. “I wanted to pursue something solo where I collaborated with someone else who could help me approach my songs from a completely different angle. Pete is a legend and someone I’ve admired for a long time. Being able to work with him on this was incredible.”

Initially, the collaboration began as a bit of exploration between two friends, who admired each other’s work with each one passing songs back and and forth with White-Gluz writing and producing songs in her hometown of Montreal and Kember writing, arranging and producing in Portugal. The end result was their collaborative EP together — four tracks that reportedly walk the tightrope between electronica, trip hop and experimental noise.  As White-Gluz says in press notes, “I wrote some songs that were intended for a full band and handed them off to Pete, who helped transform them. I barely knew how to use MIDI so I was just throwing him these experiments I was working on and he fine-tuned my ideas. There are barely any guitars on this album, because I was focused on trying to find new ways to create sounds.”

Now, as you may recall, the EP’s first single “Obsession” featured a Giorgio Moroder meets Evil Heat-era Primal Scream-like production featuring shimmering and undulating club friendly synths and a mesmerizing, trance-like groove. “Slorb,” the EP’s latest single is a slow-burning and atmospheric track which features a minimalist production consisting of wobbling synths and electronics, brief bursts of guitar, and skittering beats within a highly unusual song structure — and interestingly enough, the song finds the collaborators nodding at experimental pop, ambient electronica and noise pop simultaneously. 

New Video: No Joy’s Jasamine White-Gluz and Sonic Boom (a.k.a. Spacemen 3’s, Spectrum’s. and E.A.R.’s Pete Kember) Team Up For a Disco-Inspired Psych Pop Track

he band quickly signed to renowned indie label Mexican Summer, who released their debut 7 inch single “No Summer”/”No Joy,” an effort that allowed them to book their own national headlining tour with Katy Goodman and her project, La Sera. The 7 inch quickly sold out, and by November 2010, the duo released their full-length debut Ghost Blonde to critical praise from the likes of Pitchfork, AllMusic.com, The New York Times, Brooklyn Vegan, The Guardian and others. Building upon a growing profile, the duo released the “Hawaii” 7 inch in the UK,  a release that featured a remix of “Indigo Child” done by Stereolab’s Time Gane — and unsurprisingly, the members of No Joy toured the UK with Surfer Blood, which was promptly followed with a London show opening for Wire, and an appearance at Barcelona’s Primavera Sound Festival.
The rest of 2011 saw the band touring North America — and it included a busy SXSW appearance schedule, a tour with Vivian Girls and a co-headlining tour with Marnie Stern with whom they released a split single, which featured No Joy’s cover of the Shangri-La’s “He Cried.”
Since then, the band has released 2012’s Negaverse EP and Wait to Pleasure, 2013’s Pastel and Pass Out EP, 2015’s More Faithful, 2016’s Drool Sucker, the first of a planned series of EPs and last year’s Creep, which was released through the band’s new label Grey Market Records.  Interestingly, 2018 founds No Joy’s primary songwriter and founding member Jasamine White-Gluze collaborating with Pete Kember, a.k.a. Sonic Boom. who’s best known for his work with Spacemen 3, Spectrum and E.A.R. And although White-Gluz and Kember can’t accurately remember how they met, what the duo does recall that they first brought up the idea of working together in an email exchange in 2015. At the time, No writJoy had just finishing touring to support their third, full-length effort More Faithful, one of their hardest efforts to date, and White-Gluz was eager to try new ideas and do something different. “No Joy functioned as a four-piece ‘rock band’ for so long,” White-Gluz explains in press notes. “I wanted to pursue something solo where I collaborated with someone else who could help me approach my songs from a completely different angle. Pete is a legend and someone I’ve admired for a long time. Being able to work with him on this was incredible.”

Initially, the collaboration began as a bit of exploration between two friends, who admired each other’s work with each one passing songs back and and forth with White-Gluz writing and producing songs in her hometown of Montreal and Kember writing, arranging and producing in Portugal. The end result was their collaborative EP together — four tracks that reportedly walk the tightrope between electronica, trip hop and experimental noise.  As White-Gluz says in press notes, “I wrote some songs that were intended for a full band and handed them off to Pete, who helped transform them. I barely knew how to use MIDI so I was just throwing him these experiments I was working on and he fine-tuned my ideas. There are barely any guitars on this album, because I was focused on trying to find new ways to create sounds.”

The EP’s first single “Obsession” pairs White-Gluz’s ethereal vocals with layers of Giorgio Moroder meets Evil Heat-era Primal Scream -like undulating synths in an expansive song structure that allows the duo to display their uncanny ability to craft a mesmerizing, trance-like groove. The recently released video filmed by Nuno Jardim, featuring video synthesis by Sonic Boom ad starring Samantha Tyson manages to further emphasize the trippy and trance-like vibes of the song as it features wobbling visuals, neon bright colors, flashing lights and colors in the background and so on.

 

With the release of their first two EP’s 2016’s Sorry I Messed Up and Please Call Me Back, the Gothenburg, Sweden-based indie rock quartet Holy Now, comprised of Julia Olander, Ylva Holmdahl, Samuel von Bahr Jemth and Hampus Eiderström Swahn quickly developed a reputation as one of their homeland’s up-and-coming indie rock/guitar pop acts — and with tours across Sweden and in London, the Gothenburg, Sweden-based quartet received praise from the likes of DIY, The 405Festivalrykten and Nöjesguiden, and others.

Building upon their growing national and international profile, “Feel It All,” will further cement Holy Now’s reputation for crafting jangling guitar pop with soaring hooks paired with plaintive and tender vocals and while clearly drawing from 80s and 90s guitar pop, like The Sundays and others, the Swedish quartet puts a subtly modern spin on it, along the lines of the likes of La Sera and others — complete with a deep yearning to feel and know everything.

 

 

 

Now, if you’ve been frequenting this site over the past year, you may have come across a post or two featuring the Los Angeles-based indie rock trio Psychic Love. Fronted by multimedia artist and vocalist Laura Peters, along with Max Harrison (guitar) and Liam McCormick (bass), the trio have described their sound in press notes as “dream grunge” and “as if Nancy Sinatra had a love child with Frank Black.” Earlier this year, I wrote about “Ultralight,” the first single off the recently released full-length debut The Hive Mind, a propulsive and jangling guitar pop ballad that nodded at Phil Spector‘s Wall of Sound and  La Sera‘s Music For Listening To Music To — with an anthemic hook. The album’s latest single “Dye Pack” continues along a similar vein as  jangling guitar chords played through reverb and delay pedal and propulsive drumming are paired with Peters’ sultry vocals and an anthemic hook in a swaggering, mid-tempo song that is as Peters explains in press notes is about “how even the smallest relationships leave a mark on you, and how the bigger ones can be a huge, confusing, mess.”

As a result, the song’s narrator expresses the complex array of emotions that relationships can inspire in us:  frustration, dismay, confusion, desire, suspicion, the sensation that you’re being played but aren’t completely sure, and so on. And every relationship you ever have reverberates through every succeeding relationship — and frequently in often unforeseen and unpredictable ways.

 

 

 

If you’ve been frequenting this site over the past couple of years, you’d likely be familiar with La Sera, the recording project of Vivian Girls‘ and All Saints Day‘s Katy Goodman. Initially begun as a solo side project, Goodman’s La Sera found an increasingly growing national profile with the release of her first three critically applauded albums — the project’s self-titled debut, her sophomore effort, Sees the Light and her third effort, Hour of the Dawn. Each subsequent album found Goodman experimenting and expanding upon her sound with Hour of the Down revealing an 80s guitar pop influence, clearly drawing from The SmithsThe Pretenders, and others.

Goodman released her fourth La Sera album, Music For Listening To Music To earlier this year and at its core, the material revealed an artist who has gone through a series of personal and artistic transitions that heavily influenced the material’s lyrical themes and concerns — while further cementing Goodman’s burgeoning reputation for crafting shimmering guitar pop paired with infectious hooks and Goodman’s plaintive, ethereal vocals. One of the biggest personal and creative transitions was that Goodman’s husband Todd Wisenbaker, who may best be known as a member of Music For Listening‘s producer, Ryan Adams‘ backing band and Hour of the Dawn‘s producer, officially joined as a cowriter, guitarist and collaborator. And for a song like “I Need an Angel,” the material manages to nod both at The Smiths’ “This Charming Man,” and Johnny Cash‘s and June Carter Cash‘s “Jackson” thanks in part to the alternating boy-girl verses, and their harmonizing on the song’s hook and chorus.

Goodman and Wisenbaker will be releasing Music For Listening to Music To‘s follow-up and continuation of sorts, Queens EP today and you might remember that earlier this month I wrote about the upbeat, propulsive and shimmering EP title track, which was written while Wisenbaker was on a leisurely stroll through East Hollywood at dusk one night. And as Goodman adds, “To me, the song stands for being an important, passionate, loving person in your own life, every day.” The EP’s second and latest single changes things up quite a bit — mainly because it’s a strutting and swaggering homage/cover of Led Zeppelin‘s “Whole Lotta Love.” And while being a somewhat straightforward cover sonically, Goodman’s vocals add a completely different interpretation and feel to a beloved and familiar song; in fact, her vocals add a feminine sultriness. Interestingly, the La Sera cuts the end section of the original, presumably to be gender neutral — and that decision also adds its own series of interpretations to a familiar and beloved song.

Goodman, Wisenbaker and the members of their backing band will be on tour throughout October to support both Music For Listening Music To and to the Queens EP and it’ll include two NYC area dates  — October 22, 2016 at the Mercury Lounge and an early October 23, 2016 at Baby’s All Right. Check out the rest of the tour dates below.

 

TOUR DATES: 

10/07 Pomona, CA @ Glasshouse
10/08 San Diego, CA @ The Hideout
10/09 Phoenix, AZ @ Valley Bar
10/10 Santa Fe, NM @ Meow Wolf
10/12 Austin, TX @ Sidewinder
10/13 Dallas, TX @ Club Dada
10/14 Kansas City, MO @ Riot Room
10/15 St Louis, MO @ Firebird
10/16 Nashville, TN @ High Watt
10/18 Atlanta, GA @ Masquerade
10/19 Chapel Hill, NC @ Pinhook
10/20 Washington, DC @ Song Byrd
10/22 New York, NY @ Mercury Lounge
10/23 Brooklyn, NY @ Baby’s All Right (early)
10/25 Boston, MA @ Brookline Teen Center
10/26 Buffalo, NY @ Mohawk
10/28 Toronto, ON @ Silver Dollar
10/29 Detroit, MI @ El Club
10/30 Chicago, IL @ Empty Bottle
11/01 Denver, CO @ Lost Lake
11/02 Salt Lake City, UT @ Kilby Court
11/03 Reno, NV @ Holland Project
11/04 San Francisco, CA @ Swedish American Hall
11/05 Los Angeles, CA @ Bootleg Theater

Initially begun as a solo side project from her then-primary projects  Vivian Girls and All Saints Day, singer/songwriter and guitarist Katy Goodman has developed a burgeoning national profile with the release of her first three critically applauded albums with La Sera — including, the project’s self-titled debut, her sophomore effort Sees the Light and her third effort Hour of the Dawn. And with each successive album found Goodman experimenting and expanding upon her sound with Hour of the Down revealing an 80s guitar pop influence, in particular The Smiths, The Pretenders, and others.

Now, if you’ve been frequenting this site for a while, you’d know that Goodman released her fourth La Sera album, Music For Listening To Music To earlier this year, and the material on the album revealed an artist, who has gone through a series of personal and artistic transitions including  Goodman’s newlywed husband Todd Wisenbaker, who may be best known as a member of Music For Listening To Music To‘s producer  Ryan Adams‘ backing band, and as the producer of Goodman’s third album Hour of the Dawn joined his wife’s project as a cowriter, guitarist and collaborator. Sonically, the material continues along the veins of its predecessor — sounding deeply indebted to the aforementioned The Smiths and The Pretenders while at times also nodding at Johnny Cash (in particular, think of “Folsom Prison Blues,” “Jackson” and countless others.) And lyrically, the material focused on romantic relationships — whether our desire to be and feel loved, the raw and bitter ironies exposed during the breakup of a relationship and more. Of course, adding to the retro feel and tone of album was the fact that the material frequently employed the use of male/female vocals on top of a familiar and beloved sound featuring shimmering guitars played through reverb as you’ll hear on album singles “High Notes,” and “I Need an Angel.”

Beginning in October, Goodman Wisenbaker and company will be embarking on a month-long national tour — and just before the tour, the members of the project will be releasing the digital-only release Queens EP. The EP’s title track is a propulsive and upbeat bit of shimmering guitar pop that was written while Wisenbaker was on a leisurely stroll through East Hollywood at dusk one night. And as Goodman adds, “To me, the song stands for being an important, passionate, loving person in your own life, every day.” While sonically the song continues to cement the act’s reputation for crafting swooning nd shimmering, 60s and 80s inspired guitar pop, the song lyrically deals with the passing of time and the experience of small yet profound joys with someone you love.

As I mentioned the band will be on tour throughout October and it includes two NYC area dates — October 22, 2016 at the Mercury Lounge and an early October 23, 2016 at Baby’s All Right. Check out the rest of the tour dates below.

TOUR DATES: 

10/07 Pomona, CA @ Glasshouse
10/08 San Diego, CA @ The Hideout
10/09 Phoenix, AZ @ Valley Bar
10/10 Santa Fe, NM @ Meow Wolf
10/12 Austin, TX @ Sidewinder
10/13 Dallas, TX @ Club Dada
10/14 Kansas City, MO @ Riot Room
10/15 St Louis, MO @ Firebird
10/16 Nashville, TN @ High Watt
10/18 Atlanta, GA @ Masquerade
10/19 Chapel Hill, NC @ Pinhook
10/20 Washington, DC @ Song Byrd
10/22 New York, NY @ Mercury Lounge
10/23 Brooklyn, NY @ Baby’s All Right (early)
10/25 Boston, MA @ Brookline Teen Center
10/26 Buffalo, NY @ Mohawk
10/28 Toronto, ON @ Silver Dollar
10/29 Detroit, MI @ El Club
10/30 Chicago, IL @ Empty Bottle
11/01 Denver, CO @ Lost Lake
11/02 Salt Lake City, UT @ Kilby Court
11/03 Reno, NV @ Holland Project
11/04 San Francisco, CA @ Swedish American Hall
11/05 Los Angeles, CA @ Bootleg Theater

Fronted by multimedia artist and vocalist Laura Peters, along with Max Harrison (guitar) and Liam McCormick (bass), Psychic Love is a Los Angeles-based indie rock trio, who describe their sound as “dream grunge” and “as if Nancy Sinatra had a love child with Frank Black.” Now if you had been frequenting this site towards the end of last year, you may recall that I wrote about “Nancy,” a bluesy, psych rock song with menacing lyrics that seemed like threats, recriminations and sexual come ons simultaneously while evoking a slowly unfolding and uneasy dread and horror. “Ultralight,” the first single off the trio’s recently released full-length debut The Hive Mind is a propulsive and jangling guitar pop ballad that sounds as though it owes a debt to Phil Spector‘s Wall of Sound with a rousingly anthemic hook paired with Peters’ plaintive and tender vocals. Sonically, the song sounds as thought it nods at La Sera‘s latest effort Music For Listening To Music To and Rilo Kiley but with a coolly, self-assured swagger.

As the band’s frontman Laura Peters explains in press notes, “Oddly, I first wrote ‘Ultralight’ while taking care of a friend, who was having a bad acid trip. Apparently the guitar lines were so soothing that every time I stopped playing, he looked horrified and pukey. I ended up writing about nine verses. Obviously they all didn’t make it into the final cut.”

 

 

 

 

February 2016’s JOVM Spotify playlist will likely continue the wild variety I’m so proud of but with a number of mainstay artists including tracks by Victoria + Jean, Anna Rose, Rene Lopez, Anika, Shabaam Sahdeeq, Gosh Pith, Marco Benevento, New Order, Boulevards, Mavis Staples, Sofi Tukker, Charles Bradley, Majid Jordan, La Sera, Pr0files, Atmosphere, We Are Temporary, Beacon, Elephant Stone, Caveman, Octo Octa and several others who you’ve become familiar with through this site. But you’ll also come across a couple of tracks from one of my favorite new artists of the year, Sophie and the Bom Boms, some classic blues from Howlin’ Wolf, Muddy Waters, Bo Diddley and George Thorogood, porto-metal and stoner rock and countless more. Check it out!