Tag: Los Angeles

New Video: Tei Shi and Blood Orange Team Up on a Shimmering and Slow Burning 80s Synth Funk-Inspired Ballad

With the release of her critically applauded full-length debut, Crawl Space, the Vancouver, British Columbia, Canada-born, Los Angeles-based singer/songwriter, electronic music artist and electronic music producer Valerie Teicher, a.k.a Tei Shi quickly established her sound — slow-burning and shimmering, ethereal pop.

Since the release of her debut, Teicher has been rather busy — she’s collaborated with Blood Orange and Diddy on the viral hit song “Hope,” which has amassed over 10 million stream and appears in the accompanying video along with Diddy, A$AP Rocky, Tyler the Creator and Empress Of. And early this year, she joined Blood Orange in a performance of the song at this year’s Coachella Festival. She’s also been busy working on her highly-anticipated and long-awaited sophomore album La Linda, which is slated for a November 15, 2019 release through Downtown Records.

After spending several years in New York, Teicher relocated to Los Angeles last year, and as a result she quickly shifted course on her path as an artist. “I felt like I was closing a chapter in my life that was tied up in a lot of negativity, and reconnecting with open space and my own creativity in a way that I hadn’t in a very long time,” she says. “I wanted this whole project to reflect the feeling of stepping into another world that’s almost surreal or fantastical in its beauty.”

The album’s material reflects that change in artistic path with the album thematically and tone-wise is a purposeful departure. While her full-length debut was centered around emotional claustrophobia and confusion, the material off La Linda was written in the yard outside of her Elysian Park home — a sun-drenched space with roes bushes and berry patches, a herb garden and apple tree. Unsurprisingly, the album, which is Spanish for “the beautiful” also finds Teicher connecting to her Latin roots and cultural identity, with the acclaimed singer/songwriter writing and singing lyrics in her native Spanish. “Moving to L.A. made me feel much more connected to my Latin roots and my cultural identity, in a way that feels really loving,” says Tei Shi, who grew up between Colombia and Vancouver.

While creating La Linda, Teicher took on the role one executive producer and assembled an all-star team of producers that included Blood Orange, who has also worked with Sky Ferreira, Solange Knowles and FKA Twigs; Stint, who has worked with Santigold, HEALTH and Gallant; TV on the Radio’s Dave Sitek; Noah Breakfast, who has worked with Christine and the Queens, Carly Rae Jepsen and Ty Dolla $ign, among a list of others. For Teicher, working with such an eclectic array of musicians and producers helped to shake her free from creative stagnation. “Part of the motivation to move to L.A. was wanting to be a part of a community of people who were excited to collaborate,” Teicher says in press notes. “I felt like I’d gotten to the point where I wasn’t learning as much or picking up new things, so I wanted to work with lots of different people and take in as much as I could from their processes.”

Sonically, the album was also influenced by a disparate array of artists including German choreographer Pina Bausch and acclaimed Japanese filmmaker Akira Kurosawa. “With Kurosawa, I was so inspired by how each frame is so well-composed that it almost looks like a painting, and how he used these very simple things like rain or a gust of wind to create emotion,” the acclaimed Los Angeles-based singer/songwriter explains in press notes. Interestingly, she also found nature inspiring the album’s material as well. I think I took nature for granted for a long time, but making this album I was so drawn to the mountains and trees and water—I realized how much nature is another form of art,” Teicher says. ““For me this album is about letting go of the past and moving willingly into the future,” Teicher continues. “I hope it can give people a glimpse of something beautiful, and help them look out into the world in a more loving and intuitive way.”

La Linda’s latest single is the slow-burning, 80s synth soul-inspired, Noah Breakfast-produced single “Even If It Hurts.” Continuing Teicher’s ongoing collaboration with acclaimed synth pop artist and producer Blood Orange, the track is centered around thumping 808-like beats, shimmering and arpeggiated synths and Teicher’s and Hynes plaintive vocals trading verses on love — particularly how pain in some way or another is always part of love.  And while being a soulful synthesis of Teicher’s and Hynes work, the song also manages to sound as though it were drew from the likes of Cherelle’s “Saturday Love” and Mtume’s “Juicy Fruit”

“I made this song with two of my closest collaborators — Dev Hynes (Blood Orange) and Noah Breakfast,” Teicher shares in press notes. ” It came together in pieces between LA and New York but sprouted from the lyrics Dev and I kept on singing – ‘even if it hurts…I just don’t mind’. The concept is really the realization and acceptance that pain is a natural consequence of love. It’s a duet about the ways in which we make ourselves vulnerable to those we love, sometimes at a high cost. The video was directed by Cara Stricker and with an incredible and almost exclusively female creative crew. It features a multitude of amazing designers like Collina Strada, Vaquera, Christopher John Rogers, Mugler, Maryam Nassir Zadeh . I wanted to capture the romantic and melancholic elements of the song but put them in a world that feels removed from the every day, its own little odd paradise where Dev and I existed parallel to one another but never really together.”

The video’s director Cara Stricker adds, “I wanted to explore the iconography of love in art history through a modern yet romantic lens. Creating stillness and emotive movement to reflect the physical or emotional space in love… vulnerability, numbing immersion, knowing the truth, becoming closer, fighting for it, letting them in…even if it hurts. It’s a conversation between opposing perspectives in a relationship.”

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Live Footage: Up-and-Coming Danish Duo Mavoureen Performs “Bliss” at Tapetown Studios’ Spot Festival Special

Over the past couple of years, I’ve written quite a bit about Aarhus, Denmark-based recording studio Tapetown Studios and their longtime partnership with Sound of Aarhus. Together, the studio and the website have invited national, regional and internationally recognized touring bands to stop by Tapetown for a live session, which they film and then distribute to all of your favorite social media and streaming sites. During the live series’ history, they’ve invited British indie rockers Ulrika Spacek, Gothenburg, Sweden-based trio Pale Honey, the Bay Area-based JOVM mainstay Tim Cohen and his The Fresh & Onlys, renowned British psych rockers The Telescopes,  Malmo, Sweden-based punk rock act Sista Bossen, Copenhagen, Denmark-based indie rock quartet ONBC, up-and-coming, Los Angeles-based post punk rock act Moaning, Oslo, Norway-based punk trio  Dark Times

Tapetown Studios recently teamed up with Drowned in Sound and the folks at Spot Festival for another series of live sessions in which three internationally touring acts were invited to Tapetown to perform. The second act invited to Tapetown was the mysterious Danish post-punk duo Mavoureen. The act is putting the finishing touches on their forthcoming full-length debut, an effort recorded at Echo Canyon Studios with Sonic Youth’s Steve Shelley contributing drums. Interestingly, the act performed the blistering, Nirvana-like “Bliss,” a song that frenetic and furious track that features fuzzy power chords, howled vocals, thunderous drumming and a mosh pit friendly hook. Much like its predecessor, play this one as loudly as humanly possible. 

With the release of 2015’s debut effort, The Great Sun, the post-punk duo VOWWS, comprised of Sydney, Australia-born, Los Angeles-based duo of Rizz and Matt quickly received attention for a sound that drew upon a diverse array of influences including classic Western, electronica, surf rock, metal, film soundtracks, post-punk and industrial rock. Now, if you’ve been frequenting this site, you may recall that earlier that the duo’s highly-anticipated sophomore effort, Under the World continues their ongoing collaboration with longtime friend, mentor and renowned Kevin S. McMahon, and finds the Australian-born, Los Angeles, CA-based duo reportedly eschewing much of the familiar post-punk and industrial tropes of their previously recorded material to focus on a razor sharp hooks, direct vocals and richer, more nuanced textures.

Forget Your Finery” found the duo pairing angular guitar and bass chop Yrds played through layers of fuzz and other distortion pedals, thumping and propulsive drumming and while still sounding to me as though it were influenced by 80s New Wave, there’s a deliberate attention to melodicism and to infectious, arena rock friendly hooks. “ESSSEFF” their sophomore effort’s latest single sonically will remind some listeners of Depeche Mode‘s “Policy of Truth” and U2′s “Mysterious Ways” as it finds the duo pairing layers of buzzing industrial-like synths, stomping and propulsive drum machine, bluesy guitar chords  — but just like it’s predecessor the duo continue with a deliberate attention to melodic, razor sharp and rousingly anthemic hooks.

VOWWS’ sophomore effort is slated for a March 2, 2018 release through the band’s own Anti-Language Records, and throughout the mid-March and early April, the Sydney, Australia-born, Los Angeles, CA-based duo will be embarking on a North American tour that will include a March 22, 2018 stop at Saint Vitus. Check out the tour dates below.

Tour Dates 

3.19 – 529 – Atlanta, GA
3.20 – Strange Matter – Richmond, VA
3.22 – Saint Vitus – Brooklyn, NY
3.23 – Meatlocker – Montclair, NJ
3.24 – Geno’s – Portland, ME
3.25 – Kung Fu Necktie – Philadelphia, PA
3.26 – Cafe Nine – New Haven, CT
3.27 – O’Brien’s – Boston, MA
3.28 – Casa Del Popolo – Montreal
3.29 – Coalition – Toronto
3.30 – Now That’s Class – Cleveland, OH *
3.31 – Deluxx Fluxx – Detroit, MI *
4.1 – Empty Bottle – Chicago, IL *
4.3 – Reverb Lounge – Omaha, NE *
4.4 – Hi Dive – Denver, CO *
4.5 – Metro Music Hall – Salt Lake City, UT *
4.6 – Neurolux – Boise, ID *
4.7 – Barboza – Seattle, WA *
4.8 – Tonic Lounge – Portland, OR *
4.10 – Old Nick’s – Eugene, OR *

* w/ Soft Kill and Choir Boy

New Video: NVDES Returns With Another Off-Kilter and Anthemic Dance Punk-Inspired Track

Earlier this week, I wrote about the Los Angeles-based collective NVDES, an act that I’ve written a bit about over the past 12-18 months or so. And if you may recall, with the release of 2016’s Life With Lobsters, an album consisting of glitchy, summery indie dance pop, the collective fronted by founding member and primary songwriter Josh Ocean received over 10 million streams across all digital platforms, landed on Spotify’s Global Viral Chart, and as a result of rapidly growing buzz, the project’s 2016 effort received praise from The Fader, Nylon and others.

You’ll also remember that I’ve written about the first two singles off NVDES’ recently released La NVDITÉ EP, the breakneck Sound of Silver-era LCD Soundsystem-like “Turning Heads” and the breezy, yet anthemic “Dancer From New York,” and of course, as a blogger, who has run this site for the past seven years, I can tell you that the blogosphere forces artists to strike while the iron is red hot and while the buzz surrounding them is at its apex. And to celebrate the release of the EP, Ocean and company released  La NVDITÉ EP’s latest single, the glitchy and angular “Sugar,” a track that continues along the lines of its predecessors thanks to a breezy yet anthemic vibe but interestingly enough, through the batch of singles they’ve released off the EP, the act have revealed themselves to specialize in off-kilter, global-spanning and genre-smashing yet danceable pop reminiscent of Gorillaz. 
Directed by Jenna Josepher and Guilia Marisco, the recently released for “Sugar” manages to smash the two artists’ unique and varying aesthetics in a way that’s mischievous and disturbing. 

Over the past couple of months, I’ve written about the Los Angeles, CA-based quartet Sextile. And interestingly enough, the band which is comprised of Melissa Scaduto, Eddie Wuebben, Sammy Warren and Brady Keen derives their name from the classic, astrological definition of sextile, an astrological aspect that’s made when two planets or other astrological bodies are 60º apart in the night sky.

Now, as you may recall, “One Of These,” off the band’s forthcoming sophomore effort, Albeit Living, managed to sound as though it were influenced by The Jesus and Mary Chain, A Place to Bury Strangers, Wire, Public Image, Ltd., early Ministry and early Nine Inch Nails as it featured the band pairing a propulsive stomp with scorching feedback, chilly synths, a dance floor-worthy hook with a feral intensity.  The album’s subsequent signal “Who Killed Six” featured angular guitar chords, punchily delivered lyrics and industrial clang and clatter to create a song that sounded as though it were influenced by   Pink Flag-era Wire and Joy Division; but with a scuzzier and grittier feel.

Albeit Living‘s latest single “Situation” finds the band pairing a propulsive and throbbing synths with whirring and grinding electronics, persistent beats and laconically delivered vocals in a song that sounds like a dryly ironic cover of Elastica‘s “Connection.” And although the song manages to draw from some of the same influences and time period, the new single reveals a band playfully and restlessly experimenting with their sound to the point of being musical chameleons while retaining elements of the sound and aesthetic that captured the blogosphere’s attention — namely an ability to craft a rousing hook.

 

New Video: Real Gone Music to Re-Issue a Two Critically Successful Paisley Underground-era Albums

Founded in 1981 as The Sidewalks by founding members and college roommates Matt Piucci (guitar, vocals) and David Roback (guitar ,vocals) Rain Parade expanded to a quintet with the addition of Roback’s brother Steven (bass, vocals), Will Glenn (keys, violin) and then Eddie Kalwa (drums). And with the release of their debut single “What She’s Done to Your Mind” in 1982, the members of Rain Parade quickly established themselves within Los Angeles’ Paisley Underground psych rock scene in the early 80s, a scene which also included The Bangles, one of the more famous and commercially successful bands of the entire scene.

Building on the attention they started to receive, the members of the quintet released their debut effort 1983’s Emergency Third Rail Power Trip, an album that renowned music critic Jim DeRogatis would later write in Turn on Your Mind: Four Decades of Great Psychedelic Rock that “Emergency Third Rail Power Trip is not only the best album from any of the Paisley Underground bands, it ranks with the best psychedelic rock efforts from any era,” as the band’s sound was largely inspired by The Byrds, early Pink Floyd, and others, but with dark and introspective themes.

Shortly after Rain Parade’s debut, David Roback left the band to form a new band Opal, and the band continued as a quartet, releasing 1984’s mini-LP Explosions in the Glass Palace, an album which NME would later praise for its “mind-meltingly beautiful guitar sounds, employed sparingly and dynamically amid dark, dizzy tales of murder, madness and drug paranoia.”

Eddie Kalwa left the band after the release of “You Are My Friend” and was repalced by Marc Marcum (drums) and John Thoman (guitar, vocals) was recruited to fill out the band’s second lineup, just as they were signed to Island Records. The reconstituted quintet released two more albums — Beyond The Sunset, a live album recorded in Japan and 1985’s Crashing Dream before breaking up. And unsurprisingly, the various members of the band went on to other creative pursuits with David Roback later forming Mazzy Star with Hope Sandoval.

In 2012, members of Rain Parade’s original lineup, Matt Piucci, Steven Roback and John Thoman, along with Mark Hanley, Alec Palao and Gil Ray, formerly of Game Theory played a reunion/comeback gig at Cafe Du Nord in San Francisco and that lineup played a number of live shows over the next two years, before Gil Ray’s departure due to cancer. Stephan Junca replaced Ray, who died earlier this year.

Almost 35 years after their initial releases, Real Gone Music will be re-issuing Rain Parade’s seminal and critically applauded first two efforts — Emergency Third Rail Power Trip and Explosions in the Glass Palace both digitally and on CD, with “Look Both Ways,” a track that was cut from the original Stateside release. Remastered by SonicVision’s Mike Milchner and approved by the band’s Matt Piucci and Steve Roback, the remastered re-issue is the first remastering of both efforts since they were initially released on CD back in the early 90s. And along with that the re-ssiue will include expanded liner notes from Paisley Underground critic and history Pat Thomas based on interviews and reminisces from the band’s founding members.

The re-issue’s first single is the jangling and anthemic “This Can’t Be Today,” a track that manages to be anachronistic — while we may know that the band was inspired by 60s psych rock, and it was released in the early 80s, it feels as though it could have been recently released by a contemporary act — i.e. Elephant Stone and others; however, its served with a sobering reminder of the fact that for every Susanna Hoff and The Bangles, there are countless bands, who receive some relative level of success before quickly disappearing. Should Rain Parade have been bigger? Perhaps but the re-issue is a key document of what was going on in the Paisley Underground scene. 

New Video: Pom Poms Return with Sultry and Psychedelic Visuals for “Gimme You”

With the release of their debut single “Betty” and “123” the Los Angeles-based duo Pom Poms, comprised of singer/songwriter and frontwoman, the mononymic Marlene and Grammy-nominated producer, songwriter and multi-instrumentalist Billy Mohler, who is known for his work with Awolnation, Liz Phair, Kelly Clarkson, and Macy Gray, were quickly thrust into the national spotlight for a sound that owes a debt from classic garage rock and pop such as Connie Francis, Pasty Cline, Roy Orbison, Johnny Cash, the girl groups of the early 60s and others; however, lyrically, the material drew from Marlene’s own personal experiences, covering a wide spectrum of emotions from yearning, loss, perseverance, lust, desire, coquettish flirting and just wanting to have a good time with a very modern, unguarded frankness while possessing a loose, off-the-cuff, improvised feel. And as a result, of the early buzz the band received, they opened for The Psychedelic Furs and went on a West Coast tour with The Mowgli’s.

That off-the-cuff, loose feel has filtered into the duo’s highly-anticipated full-length debut Turn You Out, as you’ll hear on the album’s first official single, the sultry, late night, come hither, come on “Gimme You,” a song that’s essentially about being desperately lonely and lusting for someone so badly that you crave them and their loving– to the point that you’re trying to set up a booty call; but in the case, of “Gimme You,” Marlene’s vocals posses a subtle hint of menace, that conveys the idea that the song’s narrator gets what she wants — by any means necessary, if possible. Sonically, the single will further cement the duo’s reputation for crafting soulful and gritty 60s-inspired pop reminiscent of Amy Winehouse, thanks in part to its incredibly transgressive feel.

The recently released video for “Gimme You” is deeply indebted to both the mod 60s and psych 60s as it features Pom Poms frontwoman broodingly posing, dancing and singing in front of a projection screen featuring psychedelic imagery — and in a some way, the video feels voyeuristic, as though the viewer is watching the act’s frontman putting on a burlesque-like tease for someone else, who’s off-screen.

New Video: The Girl Power Visuals for Gothic Tropic’s “Stronger”

Perhaps best known as a touring and session guitarist for Charli XCX and BØRNS, Los Angeles, CA-based guitarist and vocalist Cecilia Della Peruti is also the creative mastermind behind up-and-coming act Gothic Tropic, a band whose New Wave-leaning sound is indebted to the likes of the Go-Gos The B52s and others as angular and punchy guitar chords are paired with a propulsive rhythm section, Peruti’s sultry vocals and an infectious hook as you’ll hear on their latest single “Stronger.”

Interestingly, the recently released music video cuts between footage of Peruti and her backing band performing the song in a studio and splices it with footage of a series of badass, confident women doing their thing, which naturally will instill the fact that the song is a modern feminist anthem about inner strength and resolve, determination and empowerment. You go, girl, indeed.

Sibling is a somewhat mysterious Los Angeles, CA-based electro pop duo who first came to the attention of the blogosphere with the release of their debut “Easy” earlier this year. Building on the buzz they’ve received so far, the mysterious Southern California duo’s latest single “Westside” has the duo pairing an atmospheric production consisting of industrial clang and clatter, sparse yet shimmering cascades of synth and pop star belter vocals with an rousingly earnest, anthemic hook — but just underneath the song’s breezy and radio-friendly air is a swooning and bittersweet longing as the song lyrically is based on lead vocalist’s Elodie’s estrangement from her sisters.

New Video: Israeli Superstar Ninet Tayeb is Set to Take Over the World with Ass-Kicking Visuals for “Superstar”

With a relocation to Los Angeles and the forthcoming Stateside release of her fifth full-length release this fall, Tayeb hopes to become an international superstar — and with the aptly titled first single “Superstar” Tayeb may well be the next big thing. Although some have said that the Israeli-born singer/songwriter and actress seems to take cues from Yeah Yeah Yeahs’ Karen O., The Kills’ Allison Mossheart, sonically her sound reminds me quite a bit of Garbage — namely the self-titled debut and Version 2.0 — as the song is comprised of buzzing power chords, propulsive and thundering drumming, rousingly anthemic hooks and a towering self-assuredness that simply says “I’m here and I ain’t fucking around.”

The recently released music video directed by Yoni Ronn features Tayeb in action movie-like music video that features the singer/songwriter as a vengeance-seeking assassin, following her enemy through the streets of New York.