Tag: Moaning

New Video: JOVM Mainstays Death Valley Girls Release a Hallucinatory and Menacing Visual for “Dream Cleaver”

Over the past handful of years, I’ve written quite a bit about the Los Angeles-based garage rock/psych rock/proto metal act Death Valley Girls, and as you may recall the act which is currently comprised of founding duo Larry Schemel (guitar) and Bonnie Bloomgarden (vocals, guitar) and a rotating cast of collaborators that includes Alana Amram (bass), Laura Harris (drums), Shannon Lay, members of The Make Up, The Shivas and Moaning, as well as The Flytraps Laura Kelsey can trace their origins to when they were formed by Schemel, Bloomgarden, Rachel Orosco (bass) and Hole‘s Patty Schemel (drums). 

Although they’ve gone through a series of lineup changes, the band’s sound and overall aesthetic throughout their recorded output has largely been influenced by The Manson Family and B movie theatrics while thematically their work has touched upon the occult. Last year’s Darkness Rains may arguably be among the most menacing and darkest of their growing catalog. The band has been busy touring over the past year or so since the release of their third album, but they’ve managed to set some time aside to write and record — with their latest single “Dream Cleaver,” being the first batch of new material from the act this year. 

Interestingly, the hook-driven new single finds the band’s sound subtly moving to a New Wave-like sound along the lines of The Psychedelic Furs and Echo and the Bunnymen, as you’ll hear brief blasts of bluesy saxophone floating over jangling guitars, gorgeous girls group-like harmonies paired with a motorik-like groove. And while possessing a newfound sheen, the manages to retain the menace and unease of their previously released material. 

Directed by Casey Rup, the recently released video for “Dream Cleaver” is a nightmarish and anxiety-including hallucination that follows three murderous witches as they search for materials for a neon-colored and bubbling potion. 

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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. 

Live Footage: Oslo’s Dark Times Performs “Give” at Tapetown Sessions’ 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 and Stockholm, Sweden’s Les Big Byrd among a growing list of others.  

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. One of the invited acts was the Oslo, Norway-based trio Dark Times. Comprised of Ann Kristen Traaen (guitar, vocals), Sebastian Rusten (baritone guitar) and Rikke Fjell Jørgensen (drums), the Norwegian act quickly amassed a profile within their hometown’s underground scene for crafting a unique blend of punk, noise rock and fuzzy guitar pop. Since their formation, the band has been praised by the likes of NME and BrooklynVegan for their live shows — and interestingly, they became the first Norwegian act to be profiled in Maximum Rocknroll. 

Building upon a growing profile the act’s 2014 full-length debut Give, which was released through Sheep Chase Records was nominated for a Norwegian Grammy (Spellemannprisen). They also played SXSW back in 2017 and released their sophomore full-length album in 2018. 

The members of the acclaimed Norwegian indie act played a 10 song, 30 minute set — but the recently released video for the sessions is the feral and blistering “Give.” Centered around fuzzy power chords, thunderous drumming and howled vocals, the song will remind some listeners of Fever to Tell-era Yeah Yeah Yeahs and classic 90s grunge. Play this one as loud as possible. 

New Video: JOVM Mainstays Beverly Kills Release an 80s Rom Com-Inspired Visual for Swooning and Anthemic “In This Dim Light”

Over the past year or so, I’ve written a bit about the Gothenburg, Sweden-based indie rock quartet Beverly Kills, and as you may recall with the release of singles like “Fourteen,” “Melodrama,” and “Dreamless” the band quickly received attention across the blogosphere and elsewhere for a shimmering, anthemic hook-based 4AD Records era take on dream pop. In fact, last year was a huge year for the rising Swedish dream pop quartet: they were named one of the Best Swedish Indie Debuts of 2018” by HYMN, received a Gaffa Awards nomination for Breakthrough of the Year, and played a Viva Sounds Festival showcase in their hometown.

Building upon a growing profile, the band played several by:Larm Festival sets opening for Agent bla, Moaning and Vasterbron earlier this year — and they signed to Australian indie label Hell Beach and Swedish label Welfare Sounds, both of whom released “Revellers” earlier this year. The Gothenburg-based dream pop quartet and JOVM mainstays have been rather busy this year as they promptly followed the release of “Revellers” with the limited edition double single vinyl “In This Dim Light”/”Melodrama,” which was released last month. “In This Dim Light” continues a run of shimmering and anthemic singles — but unlike their predecessors, the song conveys the tumultuous and desperately urgent quality of young love. 

Directed by Jakob Ekvall, the recently released video features the band playing at a high school prom in front of a rom full of young people, who are trying to navigate the turbulence of being a teenager — and that of being in a relationship. Most of the video focuses on a prototypical nervous and anxious nerd, who shoots his shot and eventually wins the attention of the prom queen. With the heavy use of pastels and some clearly 80s-like outfits, the video seems indebted to John Hughes films and other classic 80s films. 

With the release of singles like “Fourteen,” “Melodrama,” and “Dreamless” the Gothenburg, Sweden-based indie rock quartet Beverly Kills quickly received attention across the blogosphere last year for a shimmering, 4AD Records era take on dream pop, complete with rousing and enormous hooks. Adding to a big year for the Gothenburg-based quartet was named one of the “Best Swedish Indie Debuts of 2018” by HYMN, received a Gaffa Awards nomination for Breakthrough of the Year, and played a Viva Sounds Festival showcase in their hometown. Later this month, the band will play several by:Larm Festival sets for Agent bla, Moaning and Vasterbron.

Building upon a rapidly growing, buzz-worthy profile, the band recently signed to Australian indie label Hell Beach and Swedish label Welfare Sounds, both of whom have released the band’s latest single “Revellers” will further cement the band’s reputation for crafting 4AD Records-inspired guitar pop with enormous hooks — but the song arguably features one of the tightest rhythm section playing I’ve heard from the band yet.

Hell Beach and Walfare Sounds will be releasing a limited edition double single vinyl record “In This Dim Light”/”Melodrama” in late April.

 

 

 

New Video: Introducing the Soaring and Earnest Synth Pop of Norway’s Chain Wallet

With the release of their self-titled debut, the Bergen, Norway-based dream pop act Chain Wallet, featuring core members Stian Iversen, Christian Line and Frode Boris, quickly received attention both nationally elsewhere for material that was infectious yet hazy and melancholic synth-based pop. Written in and by inspired by the trio’s hometown, their full-length debut is centered around a narrative structure in which a deeply conflicted protagonist is followed throughout — while thematically, the album focused on unresolved ambition and the desperate attempt to let go of the past. 

The trio’s highly-anticipated sophomore album No Ritual which is slated for a February 15, 2019 release through Jansen Records found the members of the up-and-coming Norwegian dream pop act retreating to a small cabin on a remote beach in southwestern Norway. And while walking the beaches and hanging out among surfers, the members of the band were inspired by the surroundings — and interestingly enough, the album continues to follow the protagonist of their self-titled debut but thematically speaking, the album finds him in a state of spiritual limbo, desperately reaching out and trying to establish new symbolic meanings.  Interestingly, the album’s first single “Ride” is a gorgeous and cinematic bit of synth pop featuring an arrangement of shimmering synths, equally shimmering guitar lines, a motorik groove and a soaring hook that to my ears reminds me a little bit of John Parr’s “St. Elmo’s Fire (Man in Motion)” and contemporaries like Moaning and others; but with an earnest yet effortless slickness. As the members of the band explains in press notes, “Ride” was the first song they wrote for their sophomore album, and “thematically, the song evokes elements of ‘the drifter on a cook bike’ trope. It’s about riding away from something, not realizing that you can’t outride your own demons.” 
Directed by the members of the band, the recently released video finds the members of the band literally riding different modes of transportation but juxtaposed with shots in static environments. The video is decidedly DIY in nature, but as the members of the band explain, “To be honest, the idea for this video would be too complex to capture with the technology we had at hand (a VHS camera and iMovie),” the band continues. “We adjusted the artistic vision, and went for a literal interpretation of the title. This is why the video ended up being a neat collection of shots of the band riding different means of transportation, juxtaposed with shots in static environments.” 

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. 

New Video: Moaning Releases Amorphous and Dada-esque Visuals for Slow-burning Album Single “Misheard”

Over the first couple of months of this year, I wrote about the Los Angeles, CA-based indie rock trio Moaning, and as you may recall, the band comprised of Sean Solomon, Pascal Stevenson and Andrew MacKelvie have spent the past few years crafting  and refining a moody and angular post-punk sound that manages to draw influence equally from shoegaze and slacker rock. During that same period of time, the band has received attention both nationally and internationally from a number of major media outlets including The Fader, The Guardian, DIY Magazine,Stereogum, and others.

The trio’s highly-anticipated, self-titled, full-length debut was released earlier this year through  Sub Pop Records, and album singles like the Joy Division/Interpol/Preoccupations-like “Artificial” and the moody and shimmering “Tired,” further cemented their reputation for moody post-punk with enormous, arena rock-like hooks. Unsurprisingly, the mid-tempo ballad “Misheard” continues in a similar vein, as it features angular guitar chords and enormous hooks but finds the band decidedly pushing their sound towards shoegaze and 120 Minutes MTV-era alt rock, centered around lyrics that vacillate between self-loathing, confusion and regret — all familiar emotions that are engendered in the aftermath of an equally confusing and embittering relationship.

Directed by Steve Smith, the recently released video for “Misheard” continues the band’s string of accompanying their songs with surreal visuals — this time with some amorphous, neon-colored imagery that’s like a Dada-esque nightmare.