Tag: Mexico City Mexico

New Video: La Femme Shares Breezy “No Pasa Nada”

Paris-based JOVM mainstays La Femme have spent quite a bit time touring across Latin American and Spain. Those experienced helped inspired the band’s first song entirely in Spanish, “Le Jardin,” which appeared on their third album, last year’s Paradigmes.

“Le Jardin” led the band down the path to write Teatro Lucido. Deriving its name from a mythic theater, where the band has played many times while touring in Mexico, the album, which is slated for a Friday release will be their first album with lyrics written and sung entirely in Spanish. Teatro Lucido will also be the first of a planned thematic series of albums that the band has dubbed Collection Odyssèe.

Teatro Lucido is informed by their adventures in SevilleGranadaMadridMexico CityCuautepecPadul — all of which hold important places in their hearts, because they had a ton of laughs, joys, tears and disappointments in each. The album also reportedly draws from a number of different inspirations including Spain’s Semana Santa — or holy week; pasodoble, reggaeton, Brazilian and Andalusian rhythms, classical guitars and 80s Movida among others. Much like their previous releases, the members of French JOVM mainstays wrote, composed and produced the album entirely by themselves, while inviting numerous female vocalists to participate in the process. 

In the lead-up to the album’s release on Friday, I’ve managed to write about two of the album’s singles:

Sacatela,” a breezy, Tropicalia-like take on psych pop centered around an infectious, call-and-response vocal-led hook paired shuffling Latin rhythms and lyrics sung entirely in Spanish. 

Y Tu Te Vas,” a track centered around cinematic, flamenco-inspired guitars and a tweeter and woofer rocking reggaeton beat that might bring RosalíaBad Bunny, and others to mind. The song features a sultry, Shakira-like turn from Los Angeles-based singer/songwriter Tatiana Hazel. “Tatiana is an artist living in Los Angeles where I recorded the track in 2019,” La Femme’s Marlon Magnée says of their collaboration. ‘Y Tu Te Vas’ is one of the more powerful tracks voice-wise on the album. Tatiana brings the track to another dimension, she really is one of the new artists to follow on the American scene.”

Written when La Femme’s Sacha Got was living at Adios Amores’ Iman Amar’s place in Grenada Spain, Teatro Lucida’s third and latest single “No Pasa Nada” centered around ’60s and ’70s Brazilian rhythms, strummed guitar, woozy synths and ethereal vocals from Amar. But the song’s seemingly breezy and easygoing nature is superficial; the song’s lyrics focus something far more menacing and fucked up — a night out in a foreign country gone horribly wrong.

Directed by the band, the accompanying video for “No Pasa Nada” was shot in the streets of Grenada, Spain — and features the band partying and having a wild night on the town that includes the familiar drunken, late night, zombie lurch thought town and the collapse into a queasy heap of limbs. The video was innspired by a night on the town the band had back in 2018, which ended with the members of the band blacking out. It was the kind of night that ends in the morning at 8AM when kids are going to school,” La Femme’s Sacha Got says.That kind of night where you drink to forget, and you end up forgetting what you drank… or you just don’t want to remember. And when you wake you’re like ‘No problem, nothing happened!’”

New Video: JOVM Mainstays La Femme Share Deliriously Creepy Visaul for Sultry “Y Tu Te Vas”

Founded back in 2010, Parisian psych pop act and longtime JOVM mainstays  La Femme — currently, founding members Sacha Got and Marlon Magnée, along with Sam Lefévre, Noé Delmas, Cleémence Quélennec, Clara Luiciani, Jane Peynot, Marilou Chollet and Lucas Nunez Ritter — managed to hoodwink the French music industry by lining up a DIY Stateside tour as a then unknown band, with $3,000 Euros and their debut EP, that year’s Le Podium #1

After playing 20 gigs across the States, the members of La Femme returned to their native France with immense interest from the Parisian music scene. “The industry was like, ‘What the fuck? They have an EP out and they are touring in the US and we don’t know them?” Marlon Magnée told The Guardian. “So the buzz began to start. When we came back to France, it was red carpet. Fucking DIY.” 

2013’s critically applauded and commercially successful full-length debut Psycho Tropical Berlin found the Parisian JOVM mainstays making a wild, creative and sonic left turn incorporating krautrock and synths to their unique take on surf rock and psych pop. The album eventually earned a Victoires de la Musique Award

Building upon a rapidly growing national and international profile, La Femme’s sophomore album, 2016’s Mystére to praise by Sound Opinions, The Line of Best FitThe GuardianAllMusic, BrooklynVegan and a lengthy list of others. 

The French JOVM mainstays long-awaited, third album Paradigmes was released last year through the band’s own Disque Pointu and distributed through IDOL. And if you’ve been frequenting this site over the course of this year, you’d recall that it’s been a very busy on for the Paris-based outfit: In April, La Femme released Paradigmes: Le Film, a full-length film co-directed by the band’s Sacha Got and Marlon Magnée and Aymeric Bergada du Cadet that highlights the band’s humor and creativity while being primarily centered around Paradigmes‘ material. (You can watch it on YouTube here: https://www.youtube.com/watch?v=N8Wnil2ipf0)

The also released an exclusive, vinyl Record Store Day edition of ParadigmesParadigmes: suppléments, a deluxe edition of their critically applauded third album. To celebrate the one-year anniversary of Paradigmes, La Femme announced the release of a limited collection of NFTs made from the original frames used for the animated video for “Foutre le Bordel.” The NFTs were released by  by Ballad(r), an NFT launchpad for artists and institutions in the music industry. These unique digital works of art included a unique audio track made from stems of the original song and unlocked exclusive content and numerous real-life perks for each lucky NFT holder. 

During the JOVM mainstays’ time touring across Latin America and Spain, the band wrote their first song entirely in Spanish, “Le Jardin,” which appeared on the aforementioned Paradigmes. “Le Jardin” led the band down the path to write Teatro Lucido. Deriving its name from a mythic theater, where the band has played many times while touring in Mexico, the album, which is slated for a November 4, 2022 release will be their first album with lyrics written and sung entirely in Spanish. Teatro Lucido will also be the first of a planned thematic series of albums that the band calls Collection Odyssèe.

Teatro Lucido is informed by their adventures in SevilleGranadaMadridMexico CityCuautepecPadul — all of which hold important places in their hearts, because they had a ton of laughs, joys, tears and disappointments in each. The album also reportedly draws from a number of different inspirations including Spain’s Semana Santa — or holy week; pasodoble, reggaeton, Brazilian and Andalusian rhythms, classical guitars and 80s Movida among others. Much like their previous releases, the members of French JOVM mainstays wrote, composed and produced the album entirely by themselves, while inviting numerous female vocalists to participate in the process. 

Just before the JOVM mainstays last North American tour, La Femme shared “Sacatela,” a breezy, Tropicalia-like take on psych pop centered around an infectious, call-and-response vocal-led hook, snuggling Latin rhythms and lyrics sung entirely in Spanish. 

The album’s second and latest single “Y Tu Te Vas” is centered around cinematic, flamenco-inspired guitars and a tweeter and woofer rocking reggaeton beat that might bring RosalíaBad Bunny, and others to mind. The song features a sultry, Shakira-like turn from Los Angeles-based singer/songwriter Tatiana Hazel

“Tatiana is an artist living in Los Angeles where I recorded the track in 2019,” La Femme’s Marlon Magnée says of their collaboration. ‘Y Tu Te Vas’ is one of the more powerful tracks voice-wise on the album. Tatiana brings the track to another dimension, she really is one of the new artists to follow on the American scene.”

Directed by JF Julian and the members of La Femme, the accompanying video for “Y Tu Te Vas” continues a remarkable run of gorgeous, cinematically shot visuals that display their unique sense of style and fashion, along with their eccentric and deliriously campy sense of humor. Fittingly, the new videos is full of creepy season motifs — we see Tatiana Hazel dressed as though she were in mourning in a dense fog-filled forest; Hazel with two flamenco styled guitarists sitting in front of a roaring fireplace and so on.

New Video: La Femme Share a Hilarious and Summery Visual for Breezy “Sacatela”

Founded back in 2010, Parisian psych pop act and longtime JOVM mainstays  La Femme — currently, founding members Sacha Got and Marlon Magnée, along with Sam Lefévre, Noé Delmas, Cleémence Quélennec, Clara Luiciani, Jane Peynot, Marilou Chollet and Lucas Nunez Ritter — managed to completely hoodwink the French music industry by lining up a DIY Stateside tour as a then unknown band, with only $3,000 Euros and their debut EP, that year’s Le Podium #1

After playing 20 gigs across the States, the members of La Femme returned to their native France with immense interest from the Parisian music scene. “The industry was like, ‘What the fuck? They have an EP out and they are touring in the US and we don’t know them?” Marlon Magnée told The Guardian. “So the buzz began to start. When we came back to France, it was red carpet. Fucking DIY.” 

2013’s critically applauded and commercially successful full-length debut Psycho Tropical Berlin found the Parisian JOVM mainstays making a wild, creative and sonic left turn incorporating krautrock and synths to the mix. The album eventually earned a Victoires de la Musique Award. Building upon a rapidly growing national and international profile, La Femme’s sophomore album, 2016’s Mystére to praise by Sound Opinions, The Line of Best FitThe GuardianAllMusic, BrooklynVegan and a lengthy list of others. 

The French JOVM mainstays long-awaited, third album Paradigmes was released last year through the band’s own Disque Pointu and distributed through IDOL. And over the course of 2021, I managed to write about five of the album’s nine — that’s right, nine! — released singles: 

  • Cool Colorado,” a coolly bombastic single that seemed indebted to Scott Walker and Ennio Morricone soundtracks while being an “ode to the San Francisco of the 70s — and to Colorado, the first American state to legalize cannabis. 
  • Disconnexion,” a surreal what-the-fuck fever dream centered around pulsating Giorgio Moroder-like motorik grooves, a fiery banjo solo, atmospheric electronics, twinkling synth arpeggios, a philosophic soliloquy delivered in a dry, academic French and operatic caterwauling. 
  • Foutre le Bordel,” a breakneck freak out that meshed Freedom of Choice-era DEVO and Giorgio Moroder with ’77 punk rock nihilism. 
  • Le Jardin,” an achingly sad lullaby written and sung in Spanish — the band’s first song in Spanish. Inspired by a trip to Spain that the band took a few years ago, the song as the band explains is a kind of an old-school slow dance, which underlines how fragile and random fate is. 
  • Pasadena,” a slow-burning, woozy ballad that sounds — and feels — like a narcotic-induced haze. Written as an informal response and continuation of the story told in “Septembre,” off the band’s sophomore album, “Pasadena” features the main character of “Septembre” as a teenager. And as a result, the song is about budding romances — primarily their seemingly carefree nature at the time, their eventual difficulties and confusions, and the weight of peer pressure. 

So far, 2022 has been very busy for the Paris-based JOVM mainstays: Back in April, La Femme released Paradigmes: Le Film, a full-length film co-directed by the band’s Sacha Got and Marlon Magnée and Aymeric Bergada du Cadet that highlights the band’s humor and creativity while being primarily centered around Paradigmes‘ material. (You can watch it on YouTube here: https://www.youtube.com/watch?v=N8Wnil2ipf0)

The also released an exclusive, vinyl Record Store Day edition of ParadigmesParadigmes: suppléments, a deluxe edition of their critically applauded third album. Along with the Record Store Day exclusive vinyl release of Paradigmes: suppléments, the band released yet another single off Paradigmes, the album closing track “Tu T’en Lasses,” a slow-burning and atmospheric fever dream, centered around skittering beats, glistening synths and a distorted yet mournful horn solo paired with dreamily delivered vocals.

To celebrate the one-year anniversary of Paradigmes, La Femme announced the release of a limited collection of NFTs made from the original frames used for the animated video for “Foutre le Bordel.” The NFTs were released by  by Ballad(r), an NFT launchpad for artists and institutions in the music industry. These unique digital works of art included a unique audio track made from stems of the original song and unlocked exclusive content and numerous real-life perks for each lucky NFT holder.

During the JOVM mainstays’ time touring across Latin America and Spain, the band wrote their first song entirely in Spanish, “Le Jardin,” which appeared on the aforementioned Paradigmes. “Le Jardin” led the band down the path to write Teatro Lucido. Deriving its name from a mythic theater, where the band has played many times while touring in Mexico, the album, which is slated for a November 4, 2022 release will be their first album with lyrics written and sung entirely in Spanish. Teatro Lucido will also be the first of a planned thematic series of albums that the band calls Collection Odyssèe.

The album is informed by their adventures in Seville, Granada, Madrid, Mexico City, Cuautepec, Padul — all of which hold important places in their hearts, because they had a ton of laughs, joys, tears and disappointments in each. The album also reportedly draws from a number of different inspirations including Spain’s Semana Santa — or holy week; pasodoble, reggaeton, Brazilian and Andalusian rhythms., classical guitars and 80s Movida among others. Much like their previous releases, the members of French JOVM mainstays wrote, composed and produced the album entirely by themselves, while inviting numerous female vocalists to participate in the process.

Now, as you may recall just before the JOVM mainstays last North American tour, La Femme shared “Sacatela.” Inspired by their tours across South American and Spain, “Sacatela” is a Tropicalia-take on psych pop featuring shuffling Latin rhythms and lyrics sung entirely in Spanish paired with an infectious call-and-response vocal-led hook.

Directed by Ilan Zerrouki and starring Itziar Guardamino Sanchez, Marlon Magnée, Sacha Got, Ysé Grospiron, Samantha Quealy, Sam Lefèvre, Daniel Barda and Francesco Mocchia Di Coggiola, the accompanying visual for “Sacatela” was shot in Nice, France and is a breezy, stylish blast of seemingly carefree, easy-going summer, full of frolicking at the beach, rooftop parties and the like. But things quickly go hilariously wrong with some of the video’s cast getting violently ill. As the band explains the video is about unacknowledged desires and un-pursued dreams, which is also called “sacatelaism.”

Founded back in 2020 by Little Jesus bassist Carlos Medina, the Mexico City-based psych pop act Petite Aime expanded into a full-fledged band when Aline Terrein (vocals), Isabel Dosal (vocals), Santiago Fernández (bass) and Jacobo Velazquez (guitar) joined to write and record last year’s critically applauded self-titled full-length debut.

Drawing from an eclectic array of influences including The BeatlesPink FloydBig Thief, Magic PotionUnknown Mortal Orchestra and Crumb, the self-titled album saw the Mexican psych pop outfit crafting an album’s worth of material that fluctuates between different genes and styles based on psych pop and psych rock. Lyrically and thematically, the album was an expression of the existential angst entered by the speech of the
“self” in an increasingly impersonal world, a world where the line between what’s real and what’s virtual continually blurs.

Building upon a growing profile, the members of Petite Aime released an EP of remixes of album title track “Elektro,” which featured contributions from Okey Dokey, BOYO, and Lucia Tacchetti.

The Mexican psych pop outfit’s newest single “Otra Vez” sees them pushing their sound in a much more experimental direction while preserving the melodic essence that won them international acclaim. Clocking in at a little under 6:30, “the slow-burning Otra Vez” is centered around an expansive song structure that features a lengthy introduction with an atmospheric and glistening synth arpeggios, explosive hi-hat driven rhythms, a sumptuous bass line paired with ethereal harmonies for the verse, a dreamier section with strummed acoustic guitar, followed by a lengthy coda featuring electronic blips and bloops and a funky, motorik groove. The song is an exercise in restraint and subtle repetition. But it’s also a little taste of what to expect from the band’s highly-anticipated sophomore album.

While being simultaneously mesmerizing and trippy, “Otra Vez,” as the band explains is a song that . . . “reminds us how exhausting trying to adjust reality to your exceptions can be. In it, a conversation between two people takes place, or perhaps it is an internal conversation, which has been revisited time and again. Thus, the very structure of the song alludes to that repetitive cycle in which one finds oneself until reaching a breaking point. There is no reason to talk about the same things over and over, if nothing changes and even less if there is no desire to change. The only thing left to do is to accept other people, oneself and the universe as they are.”

Petite Aime will be embarking on a Stateside tour this summer. The tour includes a handful of dates with both Wild Wild Wets and Hooveriii — and a handful of headlining dates including August 28, 2022 at Berlin Under A. As always, all tour dates are below.

Tour dates

8/3 – Casbah /Soda – San Diego, CA *

8/4 – The Echo – Los Angeles, CA *

8/5 – Amados – San Francisco, CA *

8/6 – The Holland Project – Reno, NV *

8/7 – Starlet Room – Sacramento, CA **

8/9 – Fixin’ To – Portland, OR

8/10 – The Shakedown – Bellingham, WA

8/12 – Substation x Freakout Presents – Seattle, WA 

8/13 – Neurolux – Boise, ID

8/15 – Vultures – Colorado Springs, CO **

8/16 – Lost Lake – Denver, CO

8/17 – miniBar – Kansas City, .MO

8/18 – Amsterdam – St. Paul, MN

8/21 – Landline Presents @ The Burl – Lexington, KY **

8/22 – The Blue Room @ Third Man – Nashville, TN **

8/23 – 529 Bar – Atlanta, GA

8/24 – El Rocko @ Dog Day Presents – Savannah, GA

8/25 – Snug Harbor – Charlotte, NC

8/26 – Pie Shop – Washington, DC

8/27 – World Cafe – Philadelphia, PA 

8/28 – Berlin Under A – New York, NY 

* = w/ Wild Wild Wets

** = w/ Hooveriii

Lyric Video: Chicago’s Así Así Shares a Hypnotic New Single

Chicago-based indie outfit Así Así — Fernando de Buen (vocals, guitar), Ben Geissel (drums), Celeen Rusk (vocals, keys) and Sam Coplin (bass) — can trace their origins back to 2018, as the continuation of a previous project, El Mañana, which was originally founded in Mexico City before the band’s members relocated to Chicago. Whether as El Mañana or Así Así, the Chicago-based band is a part of the city’s growing Latin rock scene — and has played at a number of venues across the Chicago area. 

Así Así’s sound sees the quartet and blending elements of rock, dance and Latin with arrangements that feature acoustic and electronic drums, synths, guitars paired with propulsive grooves frequently create material that’s haunting yet upbeat and catchy. 

Their debut single “Carne Molida” was released back in 2020 and received coverage in RemezclaFilter Mexico and Indie Rocks, as well as airplay on Mexico City’s Reactor, 105.75FM.

Recorded at Palisade Studios, the Chicago-based outfit’s Fernando de Buen and Marcus Reese co-produced album Mal Otras is slated for release later this year. Last month, I wrote about album single “Yo La Sé” is a dreamy and expansive track featuring a driving, motorik-like groove, glistening guitars, de Buen’s plaintive vocals and an uneasy bass outro. While the song evokes the sensation of waking up from an unpleasant and incredibly vivid dream, the song thematically focuses on a familiar sensation of all of us now — a deep-seated frustration over the seemingly never-ending stream of terrible news.

The Chicago-based quartet’s latest single “Me Quedo Ahí” is a trippy song heavily indebted to 70s and 80s psychedelic cumbia with hints of the indie rock that they band has been known for with the song featuring glistening keys, reverb-drenched guitars, a strutting bass line, and shuffling rhythms paired de Buen’s dreamy vocals and a glistening guitar solo. The end result is a song that may arguably be their trippiest yet most danceable song to date.

New Audio: Chicago’s Así Así Shares an Uneasy and Feverish Single

Chicago-based indie outfit Así Así — Fernando de Buen (vocals, guitar), Ben Geissel (drums), Celeen Rusk (vocals, keys) and Sam Coplin (bass) — can trace their origins back to 2018, as the continuation of a previous project, El Mañana, which was originally started in Mexico City. Whether as El Mañana or Así Así, the Chicago-based band is a part of the city’s growing Latin rock scene — and has played at a number of venues across the Chicago area.

Así Así’s sound sees them and blending elements of rock, dance and Latin with arrangements that feature acoustic and electronic drums, synths, guitars paired with propulsive grooves frequently create material that’s haunting yet upbeat and catchy.

Their debut single “Carne Molida” was released back in 2020 and received coverage in Remezcla, Filter Mexico and Indie Rocks, as well as airplay on Mexico City’s Reactor, 105.75FM.

Recorded at Palisade Studios, the Chicago-based outfit’s Fernando de Buen and Marcus Reese co-produced album Mal Otras is slated for release later this year. The album’s first single “Yo La Sé” is a dreamy and expansive track featuring a driving, motorik-like groove, glistening guitars, de Buen’s plaintive vocals and an uneasy bass outro. While the song evokes the sensation of waking up from an unpleasant and incredibly vivid dream. Thematically the song focuses on a familiar sensation for all of us — a deep-seated frustration over the seemingly never-ending stream of terrible news.

Live Footage: LEVITATION Sessions: Mint Field Performs “Contingencia” at Centro Cultural Otomí

Initially founded in Tijuana, Baja California, Mexico, by founding members Estrella del Sol Sanchez and Amor Amezcua, the Mexican shoegazer outfit  Mint Field exploded into the international shoegaze and psych rock scenes with their debut EP Primeras Salidas.

The Mexican shoegazers supported Primeras Salidas with stops at Coachella and SXSW and others across the North American festival circuit, as well as venues across their native Mexico and the states. Building upon a rapidly growing international profile, their full-length debut, 2018’s Pasar De Las Luces found the then-duo imbuing material drawing from dream pop, krautrock, stoner rock and shoegaze with sorrow and nostalgia.

The two year period after Pasar de Las Luces were extremely eventful: Mint Field toured extensively across North America, Mexico and the European Union, playing over 100 shows to support their debut. 2019 saw the release of the Mientras Esperas EP, which they supported with further touring across the States, Canada and Mexico — with two sold-out shows in Mexico City .

During that period, the band relocated to Mexico City. And upon relocating to the Mexican capital, the band went through a massive lineup change: Amor Amezcua left the band. But the band then expanded into a trio with the addition of Sebastian Neyra and Ulrika Spacek’s Callum Brown. They then signed to  Los Angeles-based post punk label Felte Records, who released their last full-length effort, 2020’s Syd Kemp-produced Sentimiento Mundial.

Recorded at  London-based Wilton Way Studio, the band’s third album saw the band’s sound shifting towards decidedly minimal, rhythmically focused approach. “Contingencia,” the album’s second single features a a propulsive and relentless motorik groove, shimmering guitars and del Sol Sanchez’s ethereal cooing to create a trance-inducing song that gently rises upward with an achingly plaintive yearning.

The trio filmed a LEVITATION Sessions at Centro Cultural Otomí, a monumental cultural complex in Temoaya, Mexico. It’s a gorgeous and fitting location for their sprawling, cosmic take on shoegaze and dream pop. And it may arguably be the most beautiful setting for a LEVITATION Session to date.

New Video: Mexico City’s Howless Shares a Trippy Visual for Anthemic “Unlucky”

Rising Mexico City, Mexico-based noise pop/shoegaze quartet Howless, led by co-lead vocalists Dominique Sanchez and Mauricio Tinejro, will be releasing their highly anticipated, full-length debut To Repel Ghosts on Friday through Static Blooms Records.

To Repel Ghosts will reportedly see the Mexican shoegazer outfit grappling with big themes, striking different levels of consciousness throughout the album’s eight crafted and dynamic songs while also hinting at nervous foreboding. The album’s eight songs were specifically written and recorded so that they seamlessly transition into the next one — and are performed with the sort of self-assuredness and effortless aplomb of grizzled, old pros.

In the lead up to the album’s release, I’ve written about two of the album’s previously released singles:

  • Levels,” which saw the Mexican shoegazers pairing old-fashioned pop craftsmanship and textured soundscapes with an uncanny knack for razor sharp hooks.
  • Rain and Ice,” s a slick synthesis of Garlands era Cocteau Twins-like atmospherics and A Storm in Heaven-like textures that manages to be the one of the album’s heaviest and darkest songs — both sonically and thematically.

To Repel Ghosts‘ third and latest single “Unlucky,” is a punchy and rousingly anthemic song centered around relentless thump, driving bass lines, glistening keys, shimmering guitars and Sanchez’s plaintive and ethereal vocals paired with enormous, crowd-pleasing hooks. The song lyrically makes reference to self-sabotage and the manifestation of one own’s bad luck — primarily based on terrible decision making.

Directed and edited by Azael Arroyo, the recently released video for “Unlucky” follows three young Mexicans — a Blossom outfitted young woman, who we first see roller skating and hanging out at a skateboard park, a young man wearing almost all black and a third young woman with a camcorder and old iPhone. The action goes both forward and backwards as we see each of these young people going through their day. They wind up at the same skate park but never interact with each other — but they all seem plagued by the possibility of shitty luck if one thing or another goes wrong.

New Video: Howless Shares a “120 Minutes” MTV-like Visual for Brooding “Rain and Ice”

Led by co-lead vocalists Dominique Sanchez and Mauricio Tinejro, the rising Mexico City, Mexico-based noise pop/shoegaze quartet Howless will be releasing their highly-anticipated full-length debut, To Repel Ghosts on February 18, 2022 through Static Blooms Records.

Reportedly, To Repel Ghosts will see the Mexican shoegaze outfit grappling with big themes, while hinting at nervous foreboding and striking different levels of consciousness throughout the album’s eight crafted and dynamic songs. Sonically, the album’s songs seamlessly transition into the next — and are performed with the self-assuredness and effortless aplomb of a group of old pros.

Late last year, I wrote about album single “Levels.” Lyrically inspired by William Garvey’s “Goodbye Horses,” “Levels” saw the members of Howless pairing old-fashioned pop craftmanship and textured soundscapes with an uncanny ability to write a razor sharp hook.

“Rain and Ice,” To Repel Ghosts‘ brooding, new single is a slick synthesis of Garlands era Cocteau Twins-like atmospherics and A Storm in Heaven-like, painterly textures with the song featuring a glistening synth intro, layers of chiming, reverb-drenched guitars and forceful chug and thunderous drumming paired with Sanchez’s and Tinejro’s languid and beguiling harmonies. Perhaps one of the Mexican outfit’s heaviest and darkest songs — both sonically and thematically — of their growing catalog, “Rain and Ice” further establishes the band’s ability to craft melodic and hook-driven material while evoking the sensation of a flop sweat inducing fever dream.

The recently released video for “Rain and Ice” was shot on a VHS camcorder — for that grainy, analog quality. And as a child of of the 80s and 90s, the video reminds me of 120 Minutes MTV alt rock, complete with the band members standing and/or moving in front of trippy projections.

New Video: Mexico City’s Howless Releases a Nostalgia Inducing Visual for Anthemic Single “Levels”

Rising Mexico City, Mexico-based noise pop/shoegaze quartet Howless is led by co-lead vocalists Dominique Sanchez and Mauricio Tinejro. The Mexican indie outfit’s highly-anticipated full-length debut, To Repel Ghosts is slated for a February 18, 2022 through Static Blooms Records.

Thematically, To Repel Ghosts sees the rising Mexican quartet grappling with big themes, while hinting at nervous foreboding and striking different levels of consciousness throughout the album’s eight crafted and dynamic songs that seamlessly transition into the next. And they manage to do so with the self-assuredness and effortless aplomb of a group of old pros.

“Levels,” To Repel Ghosts‘ latest single was lyrically inspired by William Garvey’s “Goodbye Horses” and centered around chiming guitars, booming 808 tom fills, arpeggiated synths, alternating boy-girl vocals and a rousingly anthemic chorus. “Levels” sees the rising Mexican indie outfit pairing old fashion pop craftsmanship with textured soundscapes and an uncanny ability to write a razor sharp hook.

The recently released video for “Levels” is features VHS shot footage of an early 90s club night and dance competition, And while being goofy and nostalgia-inducing, the video — for me, at least — captures young people at their most carefree and fun, and when things seemed far simpler.