Tag: Levitation Festival

New Video: Acclaimed Singer/Songwriter Jonathan Bree Releases a Striking Visual for “Waiting On The Moment”

Jonathan Bree is a New Zealand-born and-based singer/songwriter and multi-instrumentalist and producer, who can trace the origins of his musical career to when he was a child: he began writing his own songs when he was nine and performed as a drummer in his cousin’s band until he was 13. This was interrupted for some time, as he was sent to Australia to live with his father, who was an aspiring cult leader. Bree subsequently left home and navigated his teenage years independently. 

When Bree returned to New Zealand, he formed The Brunettes, an indie rock act that released material through Sub Pop Records and his own label, Lil’ Chief Records. The band managed to tour across the world to support their material — but the frustrations of taking the traditional route to success found Bree taking a long hiatus from releasing his own music. During that hiatus though, Bree produced Princess Chelsea’s “The Cigarette Duet” and directed its accompanying music video, which has amassed over 47 million views. 

Bree’s solo debut, 2013’s The Primrose Path was initially released to little fanfare and an unusual bit of promotion — an accompanying album-length video of himself watching TV on his laptop in bed with his girlfriend and cat. His sophomore album, 2015’s A Little Night Music saw the New Zealand-born and based singer/songwriter, multi-instrumentalist and producer embrace a cinematic and classically influenced sound, centered around strong melodies, tight hooks and his brooding baritone crooning lyrics focusing on modern life and love. During the campaign for A Little Night Music, Bree introduced his period piece masked band with the video or “Weird Hardcore” featuring his backing band appearing as though they were in a skewed timeline that some have described as Amadeus meets classic BBC music show The Old Grey Whistle Test.

Since then, Bree has amassed a cult following around the world for his unique live show which features masked band members in pioneering clothing, set against a backdrop of cinematic projections specifically created for each song. Two dancers also perform other-worldly choreographed routines along with the music.

Bree’s third album, 2018’s Sleepwalking continued a run of material drawing from orchestral pop with the material centered around string and horn arrangements, celeste (a smaller, keyboard operated instrument that kind of sounds like a glockenspiel) and soprano vocals — and while sounding as though it came from a bygone era, the material touches upon avant-garde in a way that’s very modern. Album single “You’re So Cool” and its accompanying video went viral, amassing over 12 million YouTube views, while further cementing his reputation for crafting gorgeous yet brooding pop. 

Centered around a soaring and swooning string arrangement, a sinuous bass line, propulsive drumming, chiming celeste, arpeggiated synths, a remarkably tight hook and Bree’s brooding baritone, “Waiting On The Moment,” his latest single manages to be both carefully crafted and danceable pop that manages to be an uncannily anachronistic synthesis of 60s and 80s pop — with a subtly modern filter. At its core, the song is a breakup song about the lingering ghosts of a past relationship — primarily, the places that you and your former lover once went that had significance between you. Apparently in the song’s case, it’s a karaoke bar that its narrator once went. 

Rather than being a tearjerker ballad full of bitterness, heartache and recrimination, the song revisits the past relationship at its center with a sense of a joy that it all happened and a sense of optimism. As a songwriter once wisely wrong “every new beginning comes from some other beginning’s end.” And they’ll be new loves, new places to hold significance and new heartache — but all of it is worth it. 

Directed by Jonathan Bree, the recently released video for “Waiting On The Moment” features Bree, his backing band and dancers performing the song in a sparse studio appearing in the wardrobe they do on stage — with each member covered head-to-toe in white zentai suits, wigs and monochromatic clothing.

Advertisements

New Video: JOVM Mainstays Sextile Release Feverish Visuals for Club Banging “Hazing”

Paragraph
Over the past couple of years, I’ve written quite a bit about the Los Angeles, CA-based post-punk act and JOVM mainstay Sextile, and as you may recall the act which was formed back in 2015, earned a devout following as a result of an explosive live show and non-stop touring as an opener and as a headliner with the likes of fellow JOVM mainstays A Place to Bury Strangers, Ty Segall, Thee Oh Sees, The Soft Moon, Ought, ADULT., The Chameleons, Modern English and others. Building upon a growing profile, the act has made appearances across the national festival circuit with sets at Bersekertown, Cloak & Dagger and Levitation.

During that same period, the act went through a massive lineup change that found the band writing, recording and performing as a duo featuring founding member Brady Keehn and Melissa Scaduto. And naturally, as a result of those lineup changes, the remaining members radically reinvented their sound — moving towards a synth-based sound with minimal use of guitar; in fact, on EP3, the Los Angeles-based JOVM mainstays last bit of recorded output before their indefinite hiatus, Keehn and Scaduto use a KORG MS-10 sequencer, a Fender Stratocaster, a LinnDrum and various other percussion-based instruments to craft a decidedly 80s industrial synth sound. “Hazing,” EP3’s latest single continues in a similar vein as its predecessors as its centered around a motorik groove, arpeggiated synths and clang and clatter — and while continuing a string of singles that sound indebted to Substance-era New Order.

Directed by Gabriel Francez, the recently released video for “Hazing” is a tense and lysergic fever dream, focused entirely on the subconscious desires of its subjects. “The video is about a dream. The idea was to represent the blurriness of it, where all of the perception is altered and images come one after the other,” Francez explains in press notes. “I imagined the dream being divided into three main levels separated by the red door, representing for the boy character a sign of escape. In each room he finds himself stuck in this surrealistic thriller and look desperately for the exit as the characters try to keep him in this crazy hallucination. It’s an odyssey within the dream where the character is tested by his subconscious.”

New Video: JOVM Mainstays Sextile Release an Industrial New Wave-Inspired Banger

Last year, I wrote quite a bit about the  Los Angeles, CA-based post-punk act Sextile, and as you may recall since the act’s inception in 2015, they’ve earned a devout following, as a result of an explosive live show and non-stop touring as both as an opener and as a headliner with the likes of A Place to Bury Strangers, Ty Segall, Thee Oh Sees, The Soft Moon, Ought, ADULT., The Chameleons, Modern English and others. Adding to a growing profile, they’ve also played sets at Bersekertown, Cloak & Dagger and Levitation Festivals.

Interestingly, over that same year period, the act has gone through a massive lineup change that finds the act writing, recording and performing as a duo featuring Brady Keehn and Melissa Scaduto. Naturally, as a result of the lineup changes, Kehn and Scaduto have radically reinvented their sound with a move towards synths with minimal use of guitar; in fact, on their recently released EP, EP3, the duo use a KORG MS-10 sequencer, a Fender Stratocaster, a LinnDrum and various other percussion-based instruments to craft a decidedly industrial synth-based sound. Additionally, the duo cite futurist Luigi Russolo’s The Art of Noises as an influence on their approach, as their sound and songwriting is meant to evoke and mirror the chaos and brutality of the industrial era. EP single “Spun” was centered around explosive squealing bursts of guitar, scorching synths, thumping beats, industrial clang and clatter and a motorik-ike groove, and it some way the song found the band meshing  the aesthetics of Gang of Four and classic DFA Records (i.e., early LCD Soundsystem and Echoes-era The Rapture) while hinting a bit at Bay City Rollers‘ “Saturday Night,” thanks to its punchily delivered vocals.  “Disco,” EP 3’s latest single may argaubly be the most dance floor friendly song they’ve ever released as it sonically brings Yaz’s “Situation,” New Order’s “Blue Monday” and Ministry to mind, as it’s centered around a production of layers arpeggiated synths, industrial clang and clatter and a motorik groove — but lyrically, as the duo note,t he song’s lyrics focus on the lack of time to do anything productive or constructive, DIY spaces being shut down, gun control and constant media propaganda in a way that evokes our increasingly cynical, paranoid and uncertain world.  Civilization as we know it is collapsing before our eyes, and we might as well dance, dance, dance, dance, dance.

Keehn and Scaduto directed the video and as they mention in press notes, visually and aesthetically, the slickly shot black and white treatment was deeply influenced by the New German Wave.

Over the course of last year, I wrote about the  Los Angeles, CA-based post-punk act Sextile and since its formation back in 2015, the band has earned a devout following thanks to a reputation for an explosive live show and non-stop touring as either a headliner or opener with the likes of A Place to Bury Strangers, Ty Segall, Thee Oh Sees, The Soft Moon, Ought, ADULT., The Chameleons, Modern English and others — and they’ve played sets at Bersekertown, Cloak & Dagger and Levitation Festivals.
Now, since I’ve last written about them, the act has gone through a massive lineup change that finds the act as a duo featuring Brady Keehn and Melissa Scaduto. And as a result of the lineup changes, the project has shifted towards a decidedly minimalist approach with the duo of Kehn and Scaduto favoring the use of synths over guitars — although with their forthcoming self-recorded, forthcoming EP3 the duo employ the use of a KORG MS-10, a sequencer, a Fender Stratocaster, a LinnDrum and various other percussion-based instruments. The duo also cite futurist Luigi Russolo’s The Art of Noises as an influence on their approach, as their sound and songwriting is meant to evoke and mirror the chaos and brutality of the industrial era; in fact, the EP’s latest single “Spun” is centered around explosive squealing bursts of guitar, scorching synths, thumping beats, industrial clang and clatter and a motorik-ike groove, and it some way the song finds the band meshing the aesthetics of Gang of Four and classic DFA Records (i.e., LCD Soundsystem and The Rapture) — although the song subtly hits at Bay City Rollers‘ “Saturday Night,” thanks to its punchily delivered vocals.  Sonically, the song manages to evoke a civilization gone absolutely mad, inching itself closer to apocalypse — but dancing on its way to the end.

 

The duo of Kehn and Scaduto will be on a lengthy tour to support their new EP. Check out the tour dates below. .

Tour Dates
09.13 Glasgow, UK @ Broadcast
09.14 Newcastle, UK @ Underground
09.15 Manchester, UK @ Soup Kitchen
09.16 Birmingham, UK @ The Cuban Embassy
09.18 London, UK @ Electrowerkz
09.19 Brighton, UK @ The Hope & Ruin
09.20 Portsmouth, UK @ The Edge Of The Wedge
09.21 Le Havre, FR @ Mc Daids
09.22 Angers, FR @ Levitation Festival
09.23 Lyon, FR @ Le Farmer
09.24 Limoges, FR @ El doggo
09.25 Landgraaf, NL @ Oefenbunker
09.26 Antwerp, BE @ TRIX
09.27 Paris, FR @ La Station
09.28 Hamburg, DE @ Karatekeller
09.29 Berlin, DE @ Urban Spree
10.02 San Francisco, CA @ Great American Music Hall ~
10.03 San Francisco, CA @ Great American Music Hall ~
10.12 – 14 Moreno Valley, CA @ Desert Daze

 

 

New Video: Up-and-Coming Austin Indie Rock Act Sun June Explore and Celebrate Loss with Cinematic Single and Visuals

Comprised of founding members Laura Colwell and Stephen Salisbury, along with Michael Bain (guitar), Sarah Schultz (drums), and Justin Harris (bass), the Austin, TX-based indie rock act Sun June can trace their origins to when its founding duo of Colwell and Salisbury started the band while working very long hours in Terrence Malick’s editing rooms, practicing whenever Malick was out of town. 

Last year, the band began working on their forthcoming full-length album Years with Evan Kaspar at Estuary Recording Facility, recording the material live to tape without being overly polished or processed. As the band notes, the album is a “we’ve-been-broken-up-along-time” album, and explores how loss — of friends, family members and partners — evolves over time; but while not being too heavy or too serious. Interestingly enough, at the time, Keeled Scales Records’ Tony Presley lived above the studio and first heard the band playing through the floorboards, and immediately contacted and signed the band to the label, who will be releasing the album on June 15, 2018. So far, the band has built up quite a bit of buzz with several crowd wooing sets at this year’s SXSW and they’ve received attention from Spotify’s Fresh Finds and NPR’s Staff Picks. And adding to a growing profile, the band is playing alongside Waxahatchee, Bedouine, and Hurray for the Riff Raff at the Levitation after-party this weekend. 

Album opening track “Discotheque” is an atmospheric and slow-burning track featuring an arrangement of shimmering guitar chords, shuffling drums paired with achingly tender and gorgeous vocals, and the song manages to evoke a complex array of 
profoundly inescapable loss but with a sense of pride and celebration; after all, to truly live is to know, accept, and live with loss because it meant you knew love and connection with another, even if it were briefly. And somehow, some way, life pushes you forward no matter what. 

Directed and edited by Laura Colwell and Stephen Salisbury, the recently released video for “Discotheque” is eccentric yet cinematic as it follows Colwell and Salisbury as they drive around a boring and average American suburban development that’s somewhere between the hope of being built up and disastrously incomplete — and they do so in a daze of amazement, loss and confusion. 

New Video: The Cinematic, B Movie Inspired Visuals for L.A. Witch’s “Drive Your Car”

Over the past couple of years, I’ve written a bit about the Los Angeles, CA-based indie rock/garage rock trio L.A. Witch, comprised of Sade Sanchez (lead vocals, guitar), Irita Pai (bass, backing vocals) and Ellie English (drums). And as you may recall, the trio have developed a reputation for crafting a grungy, garage rock sound that draws from late 50s-early 60s rock,  The Pleasure Seekers, The Sonics, The Black Angels, The Brian Jonestown Massacre and others — all while bearing a resemblance to JOVM mainstay artists The Coathangers, Sharkmuffin and Death Valley Girls.
The band’s self-titled, full-length debut was released last year through Suicide Squeeze Records, the label home of The Coathangers and others, and the album’s first single “Drive Your Car,” (which was also released as a 7 inch single back in 2016), is a grungy and gritty track featuring a propulsive rhythm section, chugging power chords fed through reverb and delay pedal paired with Sanchez’s sneering vocals — and while clearly resembling The Coathangers, the song manages to possess a malicious and murderous intent, along with some roaring hooks.

Directed and edited by Allie Lane, the incredibly cinematic video features a collection of badass ladies, including the members of L.A. Witch driving sweet cars through the desert, cut with footage of the band playing the song. Certainly, if you’re a photographer, you envy how rich the blues, browns and blacks came out under seemingly endless skies.

New Audio: JOVM Mainstays WINDHAND Return with a Lysergic and Epic Doom-Laden Dirge

Now, if you’ve been frequenting this site over the past three years or so of its almost eight-year history, you’ve likely come across a handful of posts featuring the Richmond, Virginia-based doom metal band WINDHAND. Currently comprised of Dorthia Cottrell (vocals), Garrett Morris (guitar), Parker Chandler (bass) and Ryan Wolfe (drums), the Northern Virginia-based metal act formed back in 2009 and with the 2010 release of a self-recorded two track CD, the band quickly garnered comparisons to Electric Wizard, The Devil’s Blood and Black Sabbath.  Building upon a growing profile, their 2012 self-titled debut became an underground hit and sold out multiple vinyl pressings within a few months.

2013 saw WINDHAND sign to Relapse Records, before collaborating with Richmond, VA-based band Cough on a split single “Reflection of the Negative,” which was released to critical praise from the likes of Pitchfork and others. WINDHAND promptly followed that up with the release of their critically applauded sophomore effort Soma, an effort that received praise from Stereogum, Spin, LA Weekly, Revolver, Invisible Oranges, MetalSucks, Metal Injection, Rolling Stone and NPR — with Pitchfork naming the album as one of the third best metal releases of the year. Adding to a breakthrough year, the members of the Richmond, VA-based doom metal band had spent the bulk of 2013 and 2014 touring North America, the European Union, and Australia with Sleep, High on Fire, Dead Meadow and Kvelertak, as well as the festival circuit, wth appearances at Roadburn, SXSW, Scion Rock Fest, Day of the Shred and Maryland Deathfest. They closed out a breakthrough and breakneck period with a critically praised split album,in which they collaborated with Swedish doom metal act Salem’s Pot.

2015’s Jack Endino-produced, third full-length album, Grief’s Internal Flower featured album singles Crypt Key.” and “Two Urns” which unsurprisingly managed to further cement their reputation for crafting sludgy, murky, punishing and downtempo dirges.  At the end of last year, the members of the band announced that they would be releasing a split album with fellow Virginians Satan’s Satyrs, which Relapse Records will release on Friday, and as you may recall, the album’s first single “Old Evil” was a mosh pit worthy sound that featured some impressive psych rock meets metal god guitar work and an anthemic hook that belies the lurking evil within the song. The split album’s latest single “Three Sisters” is an epic, slow-burning and lysergic dirge with a scorching and smoking guitar line, explosive burst of organ and wobbling bass over which Cottrell’s vocals ethereally float over, like a feverish dream-like portent.