Tag: Live Footage

Live Footage: Moaning Performs “Artificial” at Tapetown Studios

Over the better part of this year, I’ve written a bit about the Los Angeles, CA-based trio Moaning, and as you may recall, the band which is comprised of Sean Solomon, Pascal Stevenson and Andrew MacKelvie have spent the past few years crafting a moody and angular sound that draws from shoegaze, slacker rock and post-punk — and as a result, the Southern Californian trio has received attention both nationally and internationally from the likes of The Fader, The Guardian, DIY Magazine, Stereogum, and others.

Moaning’s self-titled, full-length debut was released earlier this year through Sub Pop Records, and the album’s fourth single “Artificial” is centered around angular guitar and bass chords, thundering drumming and an anthemic hook — and while recalling Joy Division, Interpol, Preoccupations and others; but just under the surface, the song bristles with a tense an uneasy self-awareness of the narrator’s own artifice, superficiality and ugliness, as well as that of the larger world he lives in. 
Interestingly, if you’ve been frequenting this site over the 18 months or so, you’d also recall that Aarhus, Denmark-based recording studio Tapetown Studios and Sound of Aarhus have been inviting national. regional and even internationally recognized touring bands to come into their studios for a live session, which they film and release through the interwebs. And during that time, they’ve invited British indie rockers Ulrika Spacek, Gothenburg, Sweden-based trio Pale Honey, the Bay Area-based JOVM mainstay Tim Cohen and his primary project The Fresh & Onlys, renowned British psych rockers The Telescopes,  Malmo, Sweden-based punk rock act Sista Bossen, Copenhagen, Denmark-based indie rock quartet ONBC and a growing list of others. The members of Moaning had stopped by Tapetown Studios during their second European Union tour, and performed an urgent rendition of the attention-grabbing “Artificial” as part of the Tapetown Studio sessions. Check it. 

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Live Footage: Donna Missal Performs the Sultry “Keep Lying” on Vevo DSCVR

Donna Missal is a New Jersey-born, Los Angeles-based singer/songwriter, who initially won the attention of the blogosphere with her sultry and bluesy debut single “Keep Lying” which pairs Missal’s soulful, belting vocals with 12 blues power chords, a propulsive section and enormous, anthemic hooks — and while sonically, the single finds Missal and her backing band effortlessly meshing the blues, old school soul, hip hop, and rock in a way that recalls Amy Winehouse, Hannah Williams and the Affirmations, Alicia Keys and others, the song is an urgent and passionate plea to a lover, who may be unfaithful, deceitful or no damn good. Unsurprisingly, once the original demo version of “Keep Lying” was played on Zane Lowe’s Beats 1 Radio show, the single has climbed up the charts — 18 Alternative radio stations have added the track to their playlists, with the song shooting to the top of Spotify Viral and Hype Machine charts; in fact, “Keep Lying” along with several other tracks have amassed over 11 million streams across streaming services.

Missal’s much-anticipated Nate Mercereau-produced full-length debut This Time was released the other day, and the album will further cement the New Jersey-born Los Angeles-based singer/songwriter’s growing reputation for soulful and unabashed honest pop, centered on living entirely on one’s own terms. I’ve spent most of my life being hyper-focused on time, which I think is something that a lot of women obsess over,” Missal says in press notes. “We’re in such a rush to make things happen, when really we should take the time to figure out what we actually want out of life. And even though it’s so fucking hard to have that kind of patience, I think it’s so important to believe in yourself enough to let things develop in a way that feels right to you.” Missal continues, “This isn’t a record about love and loss and relationships. It’s about taking chances for yourself, figuring out who you are and really standing behind that. I made a point of putting myself out there as a real person navigating this life at this moment in time, because I want to do whatever I can as an artist to help people feel more confident in navigating their own lives. I’d love for the listener to receive the message that you can take your time to learn and love yourself. That’s been the most important discovery that I want to share with this album.”

Interestingly, Missal and her backing band recorded live to tape with some of the material being sampled to imbue it with a fresh yet timeless energy — and to set her apart from a busy and competitive slate of contemporary pop singers.  “I really wanted this album to reference my history of playing in bands,” Missal   explains in press notes. “It’s all these very pure, talented musicians playing together in a room, but then we took that and sampled it and altered in a way that creates something totally new.” Of course, Missal is touring to support her new album and it includes a sold out show tonight at Rough Trade. (You can check out the tour dates below.)

Vevo DSCVR is Vevo’s emerging artist platform that curates the best up-and-coming artists — acts that the site believes will have a significant impact on the future — to perform their best material. Vevo has a lengthy history of promoting emerging artists and helping them break through to new and wider audiences; in fact, past alumni of the Vevo DSCVR series has included Jack Garratt, James Bay, Years & Years, Wolf Alice, Sam Smith, Jorja Smith, Maggie Rogers, Alessia Cara and Ella Eyre among others. Now, as you may recall Vevo DSCVR has invited up-and-coming pop artists Billie Eilish and Bülow to perform material off their newest efforts, and they recently invited Missal to perform her impressive standout track “Keep Lying” and from the footage, Missal performs with a rock ‘n’ roll-like energy, bouncing around like a young Anthony Kedis.

Live Footage: Nick Cave & The Bad Seeds Perform “The Mercy Seat” Live in Copenhagen

Currently comprised of Australian-born founding member Nick Cave (vocals, piano, guitar), Australian-born multi-instrumentalist Warren Ellis, Australian-born Martyn P. Casey (bass), British-born George Vijestica (guitar),  American-born Toby Dammit (keys, percussion) (a.k. Larry Mullins), Swiss-born Thomas Wydler (drums) and American-born Jim Sclavunos (drums), the renowned indie rock act Nick Cave & The Bad Seeds can trace its origins back to 1983 when the band formed after the breakup of Cave’s and multi-instrumentalist Mick Harvey’s previous band The Birthday Party.  Throughout the band’s 35 year history, the band has gone through a series of lineup changes, but they’re known for featuring a cast of internationally-based collaborators — and perhaps most importantly, as one of the most critically celebrated and original post-punk, alt rock and indie rock bands of their era, managing to write and record material across a wide range of sounds, styles and genres — i.e., after the release of 1988’s Tender Prey, the band shifted from post-punk to experimental rock for a series of albums; 2008’s Dig, Lazarus, Dig!!! found the band playing gritty garage rock; 2013’s Push the Sky Away found the band increasingly incorporating synths after Mick Harvey’s departure in 2009.

Additionally, Nick Cave and The Bad Seeds have a long-held reputation for being one of the more intense live acts around and interestingly enough, the members of the band filmed one show, during their 2017 world tour — their Copenhagen stop — and presented in cinemas across the world for one night only as Distant Sky — Nick Cave & The Bad Seeds Live in Copenhagen. September 28, 2018 will mark the release of the digital and 12 inch vinyl release of a limited, special release EP of the audio from the show. Of course, it’ll feature this urgent, live rendition of the gorgeous and moody “The Mercy Seat.”

Live Footage: Bülow Performs the Bitter Torch Song “You & Jennifer” on Vevo DSCVR

Earlier this year, I’ve written about Megan Bülow, an up-and-coming teenaged pop artist, who writes and records as Bülow, and as you may recall, she’s truly a citizen of the world, as she’s spent time living in the States, Canada, the UK, Germany and The Netherlands. With the release of viral singles like “Not A Love Song,” “Like This Guy” and “Lines,” off her debut Damaged, Vol. 1, Bülow received praise from NME, Vice Noisey, Pigeons and Planes and this site — and she cracked the Spotify Global Viral charts.
Vevo DSCVR is Vevo’s emerging artist platform that curates the best up-and-coming artists — acts that the site believes will have a significant impact on the future — to perform their best material. Unsurprisingly, Vevo has a lengthy history of promoting emerging artists and helping them break through to new and wider audiences; in fact, past alumni of the Vevo DSCVR series has included Jack Garratt, James Bay, Years & Years, Wolf Alice, Sam Smith, Jorja Smith, Maggie Rogers, Alessia Cara and Ella Eyre among others. Recently, Vevo DSCVR invited Bülow to perform some of her material, including the torch song/tell off “You & Jennifer,” a single that’s full of the up-and-coming pop artist bitter recriminations to a cheating, no good boyfriend over a sparse production centered around stuttering boom-bap beats and twinkling keys to create a song that bridges both old school R&B and contemporary electro pop. From the performance, the song comes from a deeply personal and lived-in place that should feel familiar to just about anyone. 

Live Footage: JOVM Mainstays Palace Winter Return with an Enormous Yet Intimate Ballad on Mortality

Over the couple of years, I’ve written quite a bit about Copenhagen, Denmark-based electro pop duo and JOVM mainstays Palace Winter, and the which is comprised of Australian-born, Copenhagen-based singer/songwriter Carl Coleman and Danish-born, Copenhagen-based producer and classically trained pianist Caspar Hesselager can trace its origins to the Coleman and Hesselager’s mutual familiarity and appreciation for each other’s work in a number of different projects, which eventually encouraged the duo to begin collaborating together. And while 2015 saw the release of their debut single, 2016 was a breakthrough year as their  EP Medication and their full-length debut Waiting for the World to Turn were released to critical praise from the likes of The Guardian, NME, The Line of Best Fit, and airplay from KCRW, KEXP, Norway’s P3, Denmark’s P6, as well as by BBC Radio personalities Guy Garvey, Lauren Laverne and Tom Ravenscroft. Adding to a growing profile, the duo have a Hype Machine #1 single under their belts, have opened for Noel Gallagher, and have made appearances across the European festival circuit, including sets at Guy Garvey’s curated Meltdown Festival, Roskilde Festival, Green Man Festival, Sziget Festival, Latitude Festival and Secret Garden Party among others.

Building upon a rapidly growing international profile, Coleman and Hesselager released their sophomore album together Nowadays earlier this year, and singles “Empire,”  “Come Back (Left Behind)” and “Baltimore,” the album reveals that the act has subtly expanded upon their sound and songwriting approach with Coleman and Hasselager pairing breezy, melodic and radio friendly pop with darker thematic concerns — in particular, the loss of innocence as one becomes an adult, with tough and often sobering life lessons; the recognition of the fear, the freedom and the power that comes as one takes control of their life and destiny. But along with that the material focuses on the grief of loss — after all, life is ultimately about accepting immense, inconsolable loss and somehow figuring out how to move forward, even if its fits and starts; and the confusing push and pull between love and lust and the resulting remorse, anxiety, and bitterness. 

“Take Shelter,” Nowadays’ latest single is centered by a dramatic and enormous piano riff, shimmering synths and a soaring hook — and interestingly, the song manages to accurately capture the dichotomy of intimately felt emotions and thoughts inspired by the enormity of life-altering situations; in fact, the song is a ballad about death and grief, and the emotional and mental shelters we make for ourselves as a way to cope with inconsolable loss. As the duo’s Carl Coleman says of the song  “It started with that beat and Caspar’s piano riff which felt kinda urban and like a place we hadn’t really explored yet. Then that droney vocal melody just kinda popped straight into my head. I felt the urgency immediately and knew it was a keeper. Some songs are like pulling teeth but this one was like a light-bulb moment.”

Coleman and Hasslelager, along with touring members Jacob Haubjerg (guitar) and Jens Bach Laursen (drums) went to The Village Recording to film an extensive life session of the entire band performing material off the album, and this version of “Take Shelter” is from that session — and each video has revealed that Coleman and Hasslelager have written earnest, swooning and heartfelt material that’s enormous yet intimate, and crafted in a way that brings 70s AM rock to mind.  

Live Footage: JOVM Mainstay Alice Merton Performs “Lash Out” on “Live with Kelly and Ryan”

Over the past 12-18 months or so, I’ve written quit ea bit about Alice Merton, a Frankfurt-am-Main, Germany-born, Berlin, Germany-based singer/songwriter and pop artist, and as you may recall Merton has lived a rather nomadic life: most of her formative years were spent in Canada but she finished high school in Germany before relocating to England. Unsurprisingly, music managed to be a major part of her life, no matter where she was; in fact, as the story goes, Merton started taking classical piano lessons when she was five, and when she was nine, she was introduced to formal, vocal training. After spending the better part of a decade in classical training, the Frankfurt-am-Main-born, Berlin-based pop artist and singer/songwriter discovered contemporary songwriting during one of her high school courses while in Germany. And from that point onward, Merton went on to study songwriting and began pursuing her dream of becoming a professional singer/songwriter.

Of course, while studying in school, Merton would wind up working with a number of producers on a variety of producers, and finding the right producer, who can both compliment and challenge a singer/songwriter as a true collaborator in the creative process is an increasing rarity. But when she met Berlin-based producer Nicolas Rebscher, Merton quickly recognized that she found a musical match, and so far their collaboration together has been wildly successful — the duo’s swaggering, hook-driven and attention grabbing smash hit debut single, “No Roots,” which was inspired by her nomadic youth held the #1 spot for 2 weeks on the Alternative Radio Charts in the States and held it for 8 weeks in Canada. The song cracked the Top 30 on the pop charts, the Top 15 on the Hot Adult Contemporary charts and entered Billboard Hot 100. Adding to a rapidly growing profile, the song has been synced in a Mini Cooper ad campaign — and earlier this year, she was featured in Rolling Stone‘s “One To Watch” and Billboard‘s “Chartbreaker” section, which has previously featured artists such as Cardi B and Khalid. Also, she’s made the rounds of national, late night TV with appearances on The Tonight Show Starring Jimmy Fallon and The Late Late Show with James Corden.

And now, building upon the buzz surrounding her since the release of “No Roots,” Merton’s latest single “Lash Out” is an incredibly hook-driven song centered around a young woman narrator, who feels the need to speak up boldly (and loudly!) about what she wants and needs, about what she’s ready to fight for — and perhaps, more important to confidently answer her needs as she felt fit, in her own way. It’s an earnest, empowering feminist anthem that says to its listener, you better go out there, be bold and get what you deserve because no one else is going to be paying attention or care.

Merton and her backing band were recently on Live with Kelly and Ryan. Check out the footage.

Live Footage: Up-and-Coming Teen Singer/Songwriter Billie Eilish Performs on Vevo LIFT

16 year old Los Angeles, CA-based singer/songwriter and pop artist Billie Eilish can trace the origins of her musical career to when she joined the Los Angeles Children’s Chorus whens he had turned 8. And while with the Children’s Chorus, Eilish perfected and honed her vocal talents. Interestingly, as the story goes, when she turned 11, she began writing and performing her own songs, much like her older brother Finneas, who had been writing and performing his own songs with a band he had formed some years before. In 2015, the sibling duo had written and released two songs SoundCloud — “sHE’s brOKen,” and “Fingers Crossed” for fun and to have their friends listen to.

As the story goes, late that year, Eilish’s older brother told his sister of a song he had been playing with his band “Ocean Eyes.” The up-and-coming Southern Californian singer/songwriter covered the song and sent it to her dance teacher, who she hoped would choreograph a dance routine to the song. The following year, Eilish released Ocean Eyes” and he single quickly became a viral hit. Building upon a rapidly growing profile, its follow up, “Six Feet Under,” led to Darkroom/Interscope Records signing her and officially releasing material to critical applause from major media outlets like Stereogum and others. 

Last year was a breakthrough year for Eilish, thanks in part to her critically applauded debut ep dont smile at me, which resulted in sold-out headlining tours across North America, Europe, Australia and New Zealand, a number of national daytime and late night television appearances in the States. Additionally. she was long listed for BBC’s Sound of 2018 , was profiled in Apple’s Up Next Artist campaign, and was named VEVO dscvr Artist To Watch 2018.
Eilish’s “bitches broken hearts” continues a run of sultry and self-assured tracks in which the up-and-coming singer/songwriter’s breathy coos ethereally float over a minimalist yet soulful production centered around bluesy guitar chords, stuttering beats and an infectious, radio friendly hook. Interestingly, while the song sonically nods at 90s neo soul and classic Quiet Storm-era R&B, it’s an unabashedly honest ode to the bitterness of a lost love and the inherent excitement of fresh starts and new love — even when that new love is dysfunctional and completely fucked up.  

Vevo has been championing Ms. Eilish for the better part of the past year or so, and they recently included the young singer/songwriter as part of their LIFT initiative, which connects today’s rising stars to global audiences with original creative content through the release of weekly installments of live performances and behind-the-scenes footage to bring fans closer to the artist than before, essentially pulling back the curtain and revealing the humanity of the artist. Directed by Ryan Booth, the second installment of the series is a live performance of “bitches broken hearts” shot in a ostentatious old mansion/performance space as Eilish seductively and self-assuredly performs the song with her backing band.  

Live Footage: Knife Knights on KEXP

If you’ve been frequenting this site throughout the course of this site you’ve been made familiar with Ishmael Butler, the founder of the critically applauded and groundbreaking hip-hop acts Digable Planets and Shabazz Palaces. A decade ago Butler was preparing to emerge from several years of near-complete silence. In the summer of 2009, Butler unveiled Shabazz Palaces through a pair of self-released EPs that quickly established the project’s unique sound — complex and hyper literate verses paired with psychedelic sonic textures and refracted rhythms. And from the start confidentiality was essential: Butler wanted Shabazz Palaces to stand on its own strength, and not on his established reputation, so he adopted a pseudonym for himself.

As the project’s profile and network expanded, Butler recognized that he needed new monikers for his creative pursuits and collaborations; in fact, Knife Knights, was the name that he devised for his work with the then-Seattle based engineer, producer, songwriter and film composer Erik Blood, who’s also a vital and important collaborator in Butler’s Shabazz Palaces. Interestingly, Blood and Butler’s collaboration and friendship can trace its origins to when the duo were introduced at a Spiritualized show in 2003 through a mutual friend, whom Butler was about to record with. As the story goes, Blood was a diehard and obsessive fan of Digital Planets, and naturally he passed along a bootleg copy Blowout Comb for the mutual friend to have signed — and Butler dutifully provided.

Over the course of the next few years, they’d run into one another by chance and sometimes they’d make small talk about possibly working together. When Butler finally sent Blood a few sons to mix, their creative chemistry was obvious and immediate. Interestingly, Butler, who grew up a student of hip-hop began absorbing shoegaze and ambient soundscapes while Blood, an ardent hip-hop fan had always been an inclusive and obsessive music listener; in fact, on every Shabazz Palaces album, Butler and Blood have specifically focused on and delighted at that artistic intersection, constantly indoctrinating hip-hop in new sonic territories. “He [Blood] takes my ideas and clarifies and pronounces them, helps me realize them,” explains Butler in press notes. “He helps me get to the essence.”

After a decade of collaboration together and the development of a very rich and dear friendships, Butler and Blood have written and recorded a proper full-length together as Knife Knights — 1 Time Mirage, an album that finds the duo and a cast of collaborators and friends creating and weaving a unique sound that meshes soul, shoegaze, hip-hop, bass, noise and chaos wth the album representing a free space for unfettered and radical exploration. Interestingly, the album’s material was recorded in the three sessions, interrupted by Shabazz Palaces and Digable Planets tour schedules and Blood’s recording projects.

Butler, Blood, and a cast of collaborators and friends were invited into Seattle’s KEXP for their live debut, where they performed material off their forthcoming album, slated for a September 14, 2018 release through Sub Pop Records. And while bearing a subtle similarity to their work together in Shabazz Palaces, Blood and Butler’s Knife Knights work manages to feel like a refinement of it while being altogether separate. Yes, they employ samplers and synths but there’s an organic and muscular heft through the use of bass and guitar. And as you’ll hear from the songs they performed during this live session are a bit of a subtle refinement of the duo’s acclaimed work with Shabazz Palaces  but while leaning closer to shoegaze — it’s lysergic but with a swaggering hip-hop vibe that can only be possible through this unique and thrillingly weird collaboration. 

Live Footage: Denmark’s ONBC Performs the Gorgeous and Ethereal “Copenhagen” at Tapetown Studios

ONBC is a Copenhagen, Denmark-based indie rock quartet, comprised of some of Denmark’s most acclaimed musicians — and the band can trace its origins to the formation and breakup of its earliest iteration Oliver North Boy Choir, an electro pop-leaning act, which featured founding members Camilla Florentz (vocals, bass) and Mikkel Max Jorn (guitar), who were both members of indie band epo-555. After releasing a number of EPs and singles, as well as covers of The Jesus and Mary Chain and The Boo Radleys, the Oliver North Boy Choir split up. In 2014 the members of Oliver North Boy Choir reunited but with the recruitment of Tanja Forsberg Simonsen (vocals, synths), who was a member of influential Danish indie pop act superheroes and Private; Ivan Petersen (drums), the frontman of The Boombox Hearts, and a radical change in sonic direction, the band was renamed ONBC.

In their native Denmark, the quartet has received attention for a cinematic sound and songwriting approach that some have compared to Low, Chris Issak and Julee Cruise — although as soon as I heard the gorgeous, shoegazer-like “Copenhagen,” I immediately thought of Malmo, Sweden’s Fredrik, Coco Beware and Caveman-era Caveman and Beach House as the harmonies of Forsberg Simonsen and Florentz ethereally float over a delicate and sparse arrangement of shimmering guitar chords and dramatic drumming.

Now, if you’ve been frequenting this site over the past 15-18 months or so, you’d recall that Aarhus, Denmark-based recording studio Tapetown Studios and Sound of Aarhus have been inviting national. regional and even internationally recognized touring bands to come into their studios for a live session, which they film and release through the interwebs. During the live session’s run, a number of bands have participated and been featured including British indie rockers Ulrika Spacek, the Gothenburg, Sweden-based trio Pale Honey, the Bay Area-based JOVM mainstay Tim Cohen and his primary project The Fresh & Onlys, the renowned British psych rockers The Telescopes, and a growing list of others.

ONBC’s Tapetown Studio session, much like Sista Bossen’s session is presented by their label, Crunchy Frog Records and was filmed during Aarhus’ popular Danish and Scandinavian indie music festival, Spot Festival — and it may arguably be one of the most stunningly beautiful ones they’ve shot to date.