Tag: Machines With Magnets Studio

New Video: JOVM Mainstays METZ Release a Cinematic and Epic Visual for Euphoric Single “Blind Youth Industrial Park”

Throughout the course of this site’s 10-plus year history, I’ve spilled a lot of virtual ink covering the Toronto-based punk trio and JOVM mainstays METZ. Now, if you’ve been frequenting this site over the last couple of months, you might recall that he longtime JOVM mainstays fourth album Atlas Vending is slated for an October 9, 2020 release through their longtime label home Sub Pop Records.

Their previously released material found the band thriving on an abrasive relentlessness but before they set to work on Atlas Vending, the Canadian punk trio set a goal for themselves and for the album — that they were going to make a much more patient and honest album, an album that invited repeated listens rather than a few exhilarating mosh-pit friendly bludgeonings. Co-produced by Uniform’s Ben Greenberg and mastered by Seth Manchester at Pawtucket’s Machines with Magnets, the album finds the band crafting music for the long haul, with the hopes that their work could serve as a constant as they (and the listener) navigated life’s trials and tribulations.

Reportedly, the end result is an album’s worth of material that retains the massive sound that has won them attention and hearts across the world but while arguably being their most articulate, earnest and dynamic of their growing catalog. Thematically, the album covers disparate yet very adult themes: paternity, crushing social anxiety, addiction, isolation, media-induced paranoia and the restless urge to just say “Fuck this!” and leave it all behind. Much like its immediate predecessor, Altas Vending offers a snapshot of the the modern condition as they see it; however, each of the album’s ten songs were written to form a musical and narrative whole — with the album’s song sequencing following a cradle-to-grave trajectory.

Naturally, the album’s material runs through the gamut of emotions — from the most rudimentary and simplistic sensations of childhood to the increasingly nuanced and turbulent peaks and valleys of adulthood. And in some way, the album finds the back taking what’s inevitable for all of guys — getting older, especially in an industry seemingly suspended in perpetual youth. “Change is inevitable if you’re lucky,” METZ’s Alex Eadkins says of the band’s fourth album Atlas Vending. “Our goal is to remain in flux, to grow in a natural and gradual way. We’ve always been wary to not overthink or intellectualize the music we love but also not satisfied until we’ve accomplished something that pushes us forward.”

As it turns out, METZ’s currently mission is to faithfully mirror the inevitably painful struggles of adulthood while tapping into the conflicting relationship between rebellion and revelry — particular in a period of profound and seemingly unending bleakness. I’ve written about two of the album’s singles so far: “A Boat to Drown In,” the album closing track, which finds the band moving away from their long-held grunge influences and crafting one of the most expansive, oceanic tracks of their catalog — and “Hail Taxi,” a deceptive return to form centered around an aching and deeply adult sense of regret, as the song features a narrator, who attempts to reconcile who they once were and who they’ve become.

“Blind Youth Industrial Park,” Atlas Vending’s third and latest single is a rapturous and euphoric ripper done in true METZ style — enormous, rousingly anthemic hooks, Eadkins urgently howled vocals, pummeling drumming and towering feedback drenched power chords. But at its core, the song is an ode to the naivety of youth and the blissful freedom of being unburdened by the world around you with a novelist’s attention to psychological detail.

Directed by Dylan Pharazyn, the recently released and cinematically shot visual for “Blind Youth Industrial Park” was shot in Queenstown, New Zealand as is set in a dystopian and futuristic planet with futuristic technology that may be derived from aliens. We follow the videos protagonist Ayeth on a nomadic walk through an epic landscape with a severely wounded companion. The video’s protagonists are followed by an armed militia. “I started thinking of the feeling of war or samurai films, beautiful but dark and violent… but then I had this idea to work up a more unique world… I started to think of a more futuristic setting — more unusual and dream-like with the story set on a distant planet where there is future technology and some kind of alien magic… like a futuristic fable,” Pharazyn says of the new video. “I loved the idea of the hero Ayeth on this nomadic walk through an epic landscape… I loved the strength in her and the pairing of her with a wounded companion, something really human and vulnerable… I wanted that emotive warmth countering the cold military images.”

Initially started as a loving homage and tribute band to legendary Japanese guitarist Takeshi “Terry” Terauchi, the Montreal-based collective TEKE: TEKE – Yuki Isami (flute, shinobue and keys), Hidetaka Yoneyama (guitar), Sergio Nakauchi Pelletier (guitar), Mishka Stein (bass), Etienne Lebel (trombone), Ian Lettree (drums, percussion) and Maya Kuroki (vocals, keys and percussion) —  features a collection of accomplished Montreal-based musicians, who have played with the likes of Pawa Up First, Patrick Wilson, Boogat, Gypsy Kumbia Orchestra and others. The Montreal-based act quickly came into their own when they started to blend Japanese Eleki surf rock with elements of modern Western music including shoegaze, post-punk, psych rock, ska, Latin music and Balkan music. Adding to a bold, genre-defying sound, the band’s arrangement meshes rock instrumentation with traditional Japanese instrumentation.

Last November, I caught the Montreal-based genre-bending act play at an M for Montreal showcase at the Cafe Cleopatre, one of the oddest venues I’ve ever been in — and while playing one of the most energetic sets I had seen in several months, the act’s sound reminded me a bit of The Bombay Royale; in other words, mischievously anachronistic yet cinematic sound that somehow seems to be part of the soundtrack of a Quentin Tarantino.

Since the release of their debut EP, 2018’S Jikaku, the Canadian genre-bending act have melted faces — including mine — at festivals across Canada. Recorded and mixed by Seth Manchester at Pawtucket, RI-based Machines with Magnets Studio and mixed by Heba Kadry, the band’s self-released latest single “Kala Kala” is the first taste from the band’s highly-anticipated full-length debut. Roughly translating to clattering, “Kala Kala” captures the band’s frenzied energy and difficult to pigeonhole sound: the song features distorted, rock-based guitar power chords, gorgeous fluttering flute, trombone blasts in  a slow-burning and atmospheric intro before quickly turning into a full fledged psychedelic freak out, centered by Maya Kuroki howling and crooning in Japanese.  The end result is a song that feels simultaneously familiar and alien.

 

 

New Video: The Creepily Cinematic Visuals for Holy Golden’s “Seven of Diamonds”

Comprised of Leslie Schott and Andrew Valenti, the acclaimed indie duo Holy Golden can trace their origins to a serendipitous meeting on Martha’s Vineyard — during a lunar eclipse. As the story goes, Schott decided to take a ferry to the island and happened upon the record store where Valenti was working at the time. After chatting a bit, Valenti wrote down his band’s email address on a business card, gave it to Schott, suggesting that she should come to a show that night. Schott purchased a few CDs and left, assuming that she’d probably never see Valenti again, but as the ferry back to the mainland was about to depart, she ran off the boat and found the show. Since then, Schott and Valenti have traveled back and forth between Martha’s Vineyard and Los Angeles, where they’re currently based, creating mythological, multi-media based mini-worlds through music, music videos, short films and photography. Sonically speaking, the duo have developed a reputation for a sound that blends dream pop and 90s alt rock — while being inspired by their deepest sorrows and brightest fantasies, Maya Deren, David Lynch, Edward Gorey, and the lonely terrain of gilded Americana.

Wallflower Records’ founder Corey Savage signed the duo after catching them play in Houston during their first tour, and the label released their critically applauded full-length debut Wax Castle, an album that was written and recorded in various locations across the country. Building upon a growing profile, The Licking River EP was recorded, produced and mixed at Providence, RI-based Machines With Magnets Studio, and the EP was named by a number of blogs across the blogosphere as one of the top indie EPs of 2017. The duo’s sophomore album, the Steve Rizzo-produced Otherworld was a concept album inspired by a recurring childhood daydream of Schott’s — and it was recorded in a historic ballroom in Newport, RI. Interestingly, the duo frequently record while traveling and as a result, their work is affected by the rapidly changing landscapes, as well as the changing external and internal environment; in fact, they’ve had stints in Los Angeles, Detroit, Rhode Island and Cape Cod. 

Released earlier this year, the duo’s Sleepwalkers in the Milky Way EP will further cement their growing reputation for crafting atmospheric and cinematic dream pop — and while the band’s sound has been described as if Dolly Parton were backed by The xx, their latest single “Seven of Diamonds” to my ears, sounds as though it were influenced by the now-defunct Denver-based act Ending People and the classic 4AD Records heyday roster. In other words you’ll hear an arrangement of shimmering and angular guitar chords, dramatic drumming, a sinuous bass line and a soaring hook paired with Schott’s ethereal and plaintive vocals. 

Directed by Beatrice Pegard, the recently released video for “Seven of Diamonds” is a fever dream that seems influenced by Roger Corman’s Edgar Allen Poe films and the work Dario Argento among others — and as result, it has a palpably tense and uneasy creepiness.