Tag: Lightfoils

New Audio: Bodywash Releases a Slow-burning and Shimmering New Single

Bodywash is a Montreal-based dream pop act, that can trace its origins back to when its founding (and core) duo — Chris Steward (vocals, guitar) and Rosie Long Decter (vocals, synths) — were students at McGill University. Bonding over a mutual love of shoegaze and dream pop, Steward and Decter quickly found an immediate musical and creative simpatico when they started jamming together in at a McGill University basement rehearsal room.

Last year, the Montreal-based dream pop act released their full-length debut Comforter, and the album firmly established their sound: slow-burning, contemplative and hazy dream pop centered around atmospheric electronics, shimmering synths, effect pedaled guitar. plaintive and ethereal vocals and trip-hop-like beats that seemed to bring Slowdive, and Lightfoils to mind.

Bodywash’s latest single “Follow” is the first bit of new material from the band since last year’s Comforter and the track is a slow-burning, Sade/Quiet Storm-like take on shoegaze centered around shimmering and bluesy guitar lines, atmospheric electronics, stuttering beats and a soaring hook. But at its core, is a steadfast desire to stop repeating patterns that end up in heartache and bitterness, to proudly move forward as best as you can.

“Follow comes from a lot of things: a gig gone wrong; a run-in at a birthday party; a coat rack I was too lazy to put up,” the duo explain. “I wrote it during a period when I was realizing that a lot of my relationships were rooted in trying to ‘help’ or change people. Mostly, it’s about wanting to break that pattern, and to make peace with the fact that some people are better off apart. Sometimes you have to let go and hope that the person you miss is doing well, wherever they are.”

Lyric Video: Nashville’s In Parallel Releases an Ambitious and Rousingly Anthemic Single

Nashville-based indie act In Parallel — Lance Black, Jesse Fine, Ryan Parrish and Mark Nash, former members of Celebrity and Hopesfall — can trace it origins back to when the members of the band got together in the back room of a local picture frame shop. That night with nothing more than a looped electronic drum sample and a few guitars, the first notes they played became the framework of the project’s first song “Bridge and Tunnel.” 

Inspired by 80s pop, 90s shoegaze, and post-hardcore, the band aims to balance contrasting melodic, expansive and ambient moments within their material. Interestingly, it took them multiple recordings for the band to get the material on their debut Broken Codes correct; in fact, they had scrapped the first two version of the EP altogether. Thematically, the seven song EP touched upon power, control and human connection. 

The Nashville-based indie act’s sophomore EP, Fashioner is slated for a September 4, 2020 release through Wiretap Records. Recorded last year in the band’s home studio, the EP was supported with the help of successful crowdfunding campaign funded by the fans of their previous projects. And as the band claims, bypassing the traditional music industry structure gave them the freedom to lean into technology — and to push their sound and approach into new territory. 

Fashioner’s latest single “Deep Dark” is an expansive and ambitious  track, centered around shimmering guitars, atmospheric synths, an angular bass line and earnest songwriting which manages to reveal an unerring knack for a rousingly anthemic hook. And while managing to bring Slowdive, Lightfoils and Foals to mind, the track possesses a swooning and urgent romanticism that evokes being simultaneously lost and desperately in love. 

New Video: AMAARA Releases a Cinematic and Expressive Visual for “Desert Storm”

Kaelen Ohm is a British Columbia-born, Los Angeles-based singer/songwriter, musician, actor and award-winning filmmaker. As an actor, Ohm is known for roles in AMC’s Hell on Wheels, NBC’s Taken, MGM’s Condor, Lifetime Network’s Flint and several others. Ohm is also the creative mastermind behind the the multimedia project AMAARA. Interestingly, upon receiving the news that she was cast as a series regular in the Netflix original series Hit and Run, Ohm left Calgary with six songs off her forthcoming album Heartspeak completed. (Of course, much like everything else Hit and Run was impacted by COVID-19: the series’ first season was filmed in NYC last fall and they were filming in Israel when pandemic-related quarantines put this on hiatus, four weeks out from wrapping up thee season.)

Officially released today through Lady Moon Records, Heartspeak continues her ongoing collaboration with Reuben and the Dark‘s Brock Geier, and the album is the result of ten days of stream-of-consciousness-based songwriting, recording and production in Geiger’s bedroom studio. The material can trace its origins to the British Columbia-born, Los Angeles-based singer/songwriter, musician, actor and filmmaker sitting at the piano or with a guitar first thing each morning until a song was found — with the two collaborating on production and instrumental work, spending each day laying down tracks. But at its core, the album’s material was written as the culmination of life-changing heartbreak and the end of a marriage, and was a result is a deeply lived-in meditation on love, grief and self-evaluation. 

I’ve written about two of the album’s singles so far: the slow-burning and brooding “Awake” and the shoegazy Mazzy Star and Lightfoils-like “Gone,” both of which came from a place of lived-in grief and heartache, in which each narrator learns to accept them as a natural part of life that have to be lived with and through. “Desert Storm,”  the album’s third single is an brooding track that has two clearly delineated sections: a sparsely arranged introduction with twinkling keys, that slowly builds up into a brooding and cinematic bit of synth pop with thumping beats, fluttering synths; but the song is held together by atmospheric electronics and Ohm’s achingly plaintive vocals.  Much like the previously released material, “Desert Storm” is informed by heartache — in particular, life altering moments that wound up deeply changing us and the paths our lives will take. And while in the middle immeasurable pain, we don’t see that what we’re going through at that moment is profoundly important. 

Directed, produced and edited by Ohm, the incredibly cinematic visual is shot in the middle of the desert and features the Canadian-born artist expressively dancing with a collective of acclaimed dancers including Denzel Chisolm, Sohey Sugihara, Alekz Samone, Sarah Francis Jones dancing an expressive, hip-hop tinged moves choreographed by Tatiana Parker. Each and every moment from the dancers feels like a cathartic release of something previously pent up. 

Adrian Recordings · Spunsugar – Run

With the release of last year’s attention-grabbing debut EP Mouth Full of You. the rising Swedish act Spunsugar firmly established a unique, genre-blurring sound and approach. which features elements of industrial electronica, post-punk, noise rock, shoegaze and dream pop. And as as a result, the band earned airplay from BBC 6 Music‘s Steve Lamacq.

Building upon their growing profile, the Swedish indie rock act’s highly-anticipated, Joakim Lindberg-produced,  full-length debut Drive-Through Chapel is slated for an October 2, 2020 release through Adrian Recordings.  The album reportedly finds the rising Swedish act seeking to emulate the sounds of beloved acts like Cocteau Twins, Slowdive, and others — but while simultaneously crafting some of their hardest hitting material to date. Earlier this year, I wrote about the brooding single Happier Happyless,” a track that sonically recalled 4AD Records while also nodding at contemporary acts like Lightfoils, BLACKSTONE RNGRS and countless others, who have actively pushed the sonic boundaries of shoegaze and dream pop. 

“Run,” Drive-Through Chapel‘s latest single is centered around layers of blazing. pedal effected guitars, a forcefully insistent, industrial thump, rousingly anthemic hooks and earnest songwriting. The end result is a breakneck banger that recalls Lightfoils, The Sisters of Mercy, Chain of Flowers and others — but while possessing the swooning urgency of youth.

 

Formed back in 201t6, the Brooklyn-based act No Swoon — Tasha Abbott (vocals, guitar) and Zack Nestel-Patt (synths) — have received attention across the blogosphere for a sound that meshes elements of dream pop, shoegaze, post-punk and ethereal wave. Now, if you’ve been frequenting this site over the past year, you may recall that the JOVM mainstays have added their names to a growing list of acts like BLACKSTONE RNGRS, Lightfoils that have been pushing the sonic and aesthetic boundaries of shoegaze and dream pop as far as they possibly could.

2018’s EP 1 was written in Los Angeles during a self-imposed exile from the East Coast. For Abbott, a native of Ontario, CA, the idea was to get back to her geographic and musical roots: she spent a great deal of time driving around the suburbs listening to the goth and New Wave that her mom played in the car when Abbott was a little girl  (Bauhaus, Love and Rockets, New Order) and the indie rock and punk rock of her teenage years (Yeah Yeah Yeahs, The White Stripes). Last year’s s Jorge Elbrecht-produced, self-titled full-length debut firmly established their sound. And while being ambitious and urgent, the material thematically touched upon the confusion, frustration and uncertainty of our zeitgeist with narrators seeking answers to questions that may never be easily resolved.

Of course, much like countless acts across the world, the Brooklyn-based shoegazers had plans for a national tour to support their self-titled debut — but because of COVID-19 pandemic-related lockdowns and restrictions, those plans have been indefinitely scrapped. In the meantime, the band will be releasing a digital zine Cancelled Tour The Zine, which will highlight the bands and artists No Swoon would have toured with during their Spring 2020 tour.

Along with that, they released “Otherside (Demo).” Written, recorded and produced through social distancing guidelines, the track is the first bit of new song that the band since the release of their full-length debut — and it’s part of a batch of material that the band has been working on. Featuring Mitski’s touring drummer Jonathan Smith, “Otherside” is a slow-burning track centered around shimmering guitars, Abbot’s ethereal crooning, fuzzy synths and a soaring hook. But at its core is a yearning and unquenchable desire for something just out of reach, whether it be the small things that make us all so very much human like touch, sex, companionship — or the end to this period of pandemic disease, death, economic ruin and uncertainty.

100% of the proceeds from the single and the Canceled Tour The Zine electronic zine will go to National Independent Venue Association (NIVA), a collection of the country’s over 1,300 independent music venues fighting to survive through this period of historic uncertainty. Music is arguably one of America’s greatest exports — and perhaps even more importantly on a local level, your local music venue gives back in many more ways economically than what you may be aware. Livelihoods are on the line, here.

 

 

 

 

New Video: AMAARA Releases Two Gorgeous and Dreamy Videos

Kaelen Ohm is a British Columbia-born, Los Angeles-based singer/songwriter, musician, actor and award-winning filmmaker. As an actor, Ohm is known for roles in AMC’s Hell on Wheels, NBC’s Taken, MGM’s Condor, Lifetime Network’s Flint and several others. In 2018, Ohm appeared in Charles Wahl’s short film Little Grey Bubbles, which premiered at ten Oscar qualifying festivals worldwide, including SXSW. The film was featured as a Staff Pick on Vimeo, earned best actress and best short film award nominations and received widespread praise from critics and blogs across the globe. 

Ohm is also the creative mastermind behind the the multimedia project AMAARA. Upon getting the news that she was cast a series regular in the new Netflix original series Hit and Run, Ohm left Calgary with six songs off her forthcoming album Heartspeak completed. Hit and Run was filmed in New York last fall and was filming in Israel and  was put on pause, four weeks out from wrapping up their first season as a result of COVID-19 quarantines and social distancing guidelines. 

Heartspeak, which continues her ongoing collaboration with Reuben and the Dark’s Brock Geier, is the result of ten days of stream-of-consciousness songwriting, recording and production in Geiger’s bedroom studio. Written completely by Ohm, the material can trace its origins to the British Columbia-born, Los Angeles-based singer/songwriter, musician, actor and filmmaker sitting at the piano or with a guitar first thing each morning until a song was found — with the two collaborating on production and instrumental work, spending each day laying down tracks. Written as a culmination of a life-changing heartbreak and the end of a marriage, the album’s material is a meditation on love, grief, freedom and self-evaluation. 

Slated for an August 14, 2020 release through Lady Moon Records, Ohm and Geier have released two singles from the album. “Awake,” a slow-burning and brooding single centered around shimmering guitar, twinkling keys, a soaring hook and Ohm’s plaintive vocals — and “Gone,” a decidedly shoegazey track featuring shimmering synth arpeggios, thumping beats. And while respectively bringing Mazzy Star and Lightfoils to mind, both tracks come from a place of lived-in grief and heartache, accepting them as a natural part of life that one experiences and learns to live with — and through. 

The accompanying videos were directed and by Ohm. “Gone” employs a simple concept of Ohm performing the song by herself in the desert — but the video features a cinematic sweep that makes its creator seem tiny. “Awake,” features Ohm traveling a surreal and unusually empty New York. And while capturing the experience of wandering New York during the COVID-19 pandemic, it’s a commentary of on how the jarring experience of realizing one’s own illusion of perfection can be an awakening experience. 

New Audio: Brooklyn Shoegazers No Swoon Releases a Slow-Burning Meditation on Alienation

Since their formation in 2016, the Brooklyn-based indie act No Swoon — the core duo of Tasha Abbott (vocals, guitar) and Zack Nestel-Patt (synths) — have received attention locally and nationally for a sound that meshes elements of dream pop, shoegaze, post-punk and ethereal wave. And interestingly, much like BLACKSTONE RNGRS, Lightfoils and others, the Brooklyn-based act have added their name to a growing list of acts that have actively pushed the sonic and aesthetic boundaries of shoegaze and dream pop.

Last year’s critically applauded EP 1 was written in Los Angeles during a self-imposed exile from the East Coast. For Abbott, a native of Ontario, CA, the idea was to get back to her geographic and musical roots with a great deal of time spent driving around the suburbs listening to the goth and new wave that her mom played in the car when Abbott was a little girl (Bauhaus, Love and Rockets, New Order) and the indie rock and punk rock of her teenage years (Yeah Yeah Yeahs, The White Stripes).

Now, as you may recall, the duo’s forthcoming Jorge Elbrecht-produced, self-titled debut is slated for a November 1, 2019 release through Substitute Scene Records, and the album reportedly is an ambiguous and urgent affair that thematically touches upon the confusion, frustration and uncertainty of our zeitgeist. Naturally, the result is material that is at times searingly critical, frustrated and despondent everything from misogyny to global power imbalance and inequality with each of the song’s narrators seeking answers to questions that may never be resolved. The album also finds the duo collaborating with Robi Gonzalez, best known for his work with A Place to Bury Strangers and This Will Destroy You, contributing drums.

“Don’t Wake Up, Wake Up,” their self-titled debut’s first single and opening track was a Joy Division-like take on shoegaze, centered around layers of fuzzy and distorted power chords, a motorik-like chugging groove, an enormous arena rock-like hook. But at its core, Abbott expresses confusion, unease and frustration while asking uncomfortably familiar, large questions: has the world gone crazier or is it me? Is this real or is this some horrifying and unending nightmare? “Forward,” the album’s second single was a lush, synth-driven track featuring shimmering and arpeggiated synths, thunderous drumming, a soaring hook and Abbot’s ethereal cooing. And while being their most dance floor-like single of their growing catalog, the song expresses frustration about how we haven’t made progress on racism, sexism. homophobia, inequality and so on. “Faces,” the self-titled album’s third and latest single continues in the same lush vein of its predecessor — but it’s a shimmering and slow burning and meditative song that evokes a sense of alienation and disconnectedness that feels and sounds familiar.  

“Faces is the oldest song on the record and worked for us as a kind of pivot from the sound of the EP to the sound of the record,” the band explains in press notes. “We brought in a sampled synth and had more intricate parts and arrangements. Lyrically the song is about floating through a crowded city feeling disassociated from the people you see around and how specifically we begin to internalize that alienation. A day living in a city puts us in proximity to an insane number of people. And that number increases ten fold when you add what we see on social media. Yet so many of our friends are struggling with loneliness. It’s hard to build and sustain a close community. And in many ways, how we are forced to live in this city specifically makes connecting to folks difficult. The generally cramped apartments we share make it hard to have people over, and the struggle to pay rent make it hard to have income to go out. And this is beyond the general exhaustion so much of us feel from hustling.”

New Audio: Brooklyn Shoegazers No Swoon Releases a Shimmering and Lush, Synth-Driven Single

Since their formation in 2016, the Brooklyn-based indie act No Swoon, currently comprised of Tasha Abbott (vocals, guitar) and Zack Nestel-Patt (synths) have received attention locally and elsewhere for a sound that features elements of dream pop, shoegaze, post-punk and ethereal wave. Interestingly, much like BLACKSTONE RNGRS, Lightfoils and others, the Brooklyn-based act have added their name to a growing list of acts that have actively pushed the sonic and aesthetic boundaries of shoegaze and dream pop.

Last year’s critically applauded EP 1 was written in Los Angeles during a self-imposed exile from the East Coast. For Abbott, a native of Ontario, CA, the idea was to get back to her geographic and musical roots with a great deal of time spent driving around the suburbs listening to the goth and new wave that her mom played in the car when Abbott was a little girl (Bauhaus, Love and Rockets, New Order) and the indie rock and punk rock of her teenage years (Yeah Yeah Yeahs, The White Stripes).

Now, as you may recall, the duo’s forthcoming Jorge Elbrecht-produced, self-titled debut is slated for a November 1, 2019 release through Substitute Scene Records, and the album reportedly is an ambiguous and urgent affair that thematically touches upon the confusion, frustration and uncertainty of our zeitgeist. And naturally, as a result, the material is at times searingly critical, frustrated and despondent over everything from misogyny to global power imbalance and inequality with each of the song’s narrators seeking answers to questions that may never be resolved. The album also finds the duo collaborating with Robi Gonzalez, best known for his work with A Place to Bury Strangers and This Will Destroy You, contributing drums.

“Don’t Wake Up, Wake Up,” their self-titled debut’s first single and opening track was a Joy Division-like take on shoegaze, centered around layers of fuzzy and distorted power chords, a motorik-like chugging groove, an enormous arena rock-like hook. But at its core, Abbott expresses confusion, unease and frustration while asking uncomfortably familiar, large questions: has the world gone crazier or is it me? Is this real or is this some horrifying and unending nightmare? “Forward,” No Swoon’s second and latest single off their forthcoming full-length debut is a lush, synth-driven track featuring shimmering and arpeggiated synths, thunderous drumming, a soaring hook and Abbot’s ethereal cooing. And while being their most dance floor-like single of their growing catalog, the song expresses frustration about how we haven’t made progress on racism, sexism. homophobia, inequality and so on. 

“You know when you’re talking to someone about how fucked the world is (in many ways) right now and they say ‘but it’s better than it used to be, we’ve come so far!’  I hate that, ‘we’ve come so far,’ it’s such a cop-out,” the band says in a statement. “Sure we’ve made progress, some things are better than before and some things aren’t. It doesn’t mean that racism, sexism, homophobia, abuse (the list goes on), doesn’t exist today or that climate change isn’t a real threat to the world. And if that all still exists, we still have work to do. And that’s what this song, ‘Forward’ stems from. That cop-out of an idea that things are better and great. ‘Are the clouds really breaking, or merely moving over?’ Meaning are we really making progress or is whatever problem just shifting, either to someone else, or in a different form.”