Tag: mp3s

Single Review by William Ruben Helms

I’ve written a bit about the indie electro pop act DGTL CLR over the past few years and as you may recall, the project, which initially began as a the music project of a mysterious Southern California-based electronic music production and artist duo; however, the cloak of mystery has been gently pulled off, revealing its creative mastermind, the San Diego-born, Los Angeles-based singer/songwriter, multi-instrumentalist and producer Devereaux Jennings.

Since I’ve last written about Jennings and DGTL CTL, the act has developed a reputation for specializing in a relatively new subgenre of electro pop  next wave, which generally features a mix of vaporwave synths, electronic dance beats and organic instrumentation — i,e. guitars, saxophone and the like; but Jennings’ take finds him meshing elements of house music and indie rock to the mix, essentially adding a live aspect to the club. Interestingly, his latest single, the swaggering and glitchy banger “Carry On” is centered around a speak-sing vocal delivery reminiscent of Butthole Surfers, Cake, and Soul Coughing, industrial clang and clatter, tweeter and woofer rocking beats to create a sound that’s one part industrial electro pop, one part hip-hop and one part spoken word — all while focusing on an uplifting message to the listener. And while being a bold, new sonic direction for the JOVM mainstay, the new single manages to retain his uncanny ability to mesh avant-garde sounds within radio friendly pop bangers.

“‘Carry On’ is a blend of electronic, and indie. Taking that butthole surfer vibe and mixing it with some low dance bass,” Devereaux Jennings explained in an email to me. “The lyrics just plopped out, seeing as I did them on one take as improv about some shit I was going through. I have always felt like this outsider trying to do what I love and be who I feel I am, but always feeling like I am failing or just a lost cause. But we fail, we lose, we fuck up sometimes and we have to carry on. You are the only person that has the power to make something happen, no matter what holes or hills you face. The moment you give up, is the moment your dream dies. Don’t question your failures, learn from them and grow. Carry On…”

Single Review by William Ruben Helms

Formed back in 2005, the New York-based rock/punk act Baby Shakes — Mary  (lead vocals), Judy (guitar, vocals), Claudia (bass, vocals) and Ryan (drums) have released a handful of one-off singles, a singles compilation, a 10 inch heart-shaped EP and three full-length albums that have firmly established their sound — melodic vocals paired with fuzzy power cords that generally draws from the likes of Ramones, Chuck Berry, 60s Motown-era girl groups.

The members of the band have toured across the US, Japan, China, Ireland, the UK and the European Union and shared stages with the likes of The Romantics, The Boys, The Shadows of Knight, The Undertones, The Barracudas, Protex, Black Lips, Paul Collin’s Beat, Iggy Pop and a growing list of others. Interestingly, the New York-based punk act’s forthcoming album Cause a Scene is slated for a September 20, 2019 release, and the album is reportedly indebted to the original wave of punk — in particular, The Nerves, The Kids, early Bangles and The Go-Gos, The Runaways, as well as the Ramones.

Clocking in at exactly two minutes, “Nowhere Fast,” Cause a Scene‘s lead single is a breakneck bit of fuzzy, old-school punk with an infectious, power pop-like hook — and while clearly indebted to Ramones, Go-Gos and the like, the song is one part snotty and in your face, one part sweet, and one part cynical scowl, delivered with the self-assuredness of old pros.

 

Single Review by William Ruben Helms

Brooklyn-based grunge rock/punk rock-band Pom Pom Squad — Mia Berrin (vocals), Mari Ale Figeman (bass), Shelby Keller (drums) and Ethan Sass (guitar) — have quickly become staples in the local DIY scene for a modern take on the beloved 90s grunge sound that finds the band balancing solemnity and whimsy, old school punk aesthetics and emotional vulnerability — and for a raucous live show that they’ve honed playing alongside the likes of Soccer Mommy, Adult Mom, Long Neck and others.

The up-and-coming purveyors of what they’ve dubbed Quiet Grrl punk will be releasing their sophomore EP Ow on September 6, 2019. The EP will include the previously released, “Heavy Heavy,” a track that received attention from Stereogum, Paste, Under the Radar, Highsnobiety and Thrillist, as well as airplay on SiriusXM Alt Nation. Building upon a growing profile and momentum, Pom Pom Squad’s latest single “Honeysuckle” is an anthemic track, centered around fuzzy power chords, thunderous drumming and a big hook within a quiet, loud, quiet song structure. And while possessing a mosh pit friendliness, the track finds the band crafting boldly earnest material that accurately captures the mindset and emotions of a modern, young woman.

 

Single Review by William Ruben Helms

Caroline Kingsbury is an up-and-coming, 23 year-old,. Florida-born, Los Angeles-based pop artist, best known as Kingsbury. And with her latest single “U Take It Back,” the up-and-coming pop artist’s sound has evolved to an atmospheric, hook-driven 80s synth pop-like sound that recalls Kate Bush, which perfectly complements Kingsbury’s big, earnest vocal s and shimmering guitar work.

Kingsbury will be touring with Alex Lahey throughout August and the tour will include an August 23, 2019 stop at Music Hall of Williamsburg. Check out the tour dates below.

Tour Dates
8/13 – Los Angeles, CA – The Troubador
8/14 – Phoenix, AZ – Valley Bar
8/16 – Austin, TX – Antones
8/17 – Dallas, TX – Deep Ellum Art Co.
8/19 – Atlanta, GA – The Earl
8/20 – Nashville, TN – Exit/In
8/22 – Washington D.C. – U Street Music Hall
8/23 – Brooklyn, NY – Music Hall Of Williamsburg
8/24 – Philadelphia, PA – Johnny Brendas
8/25 – Allston, MA – Great Scott
8/27 – Chicago, IL – Lincoln Hall
8/28 – St. Paul, MN – Turf Club
9/1 – Vancouver, B.C. – Biltmore Cabaret
9/3 – Portland, OR – Doug Fir

 

Single Review by William Ruben Helms

 

I’ve spilled my fair share of virtual ink, covering Mark Lanegan, the Ellensburg, WA-born, Los Angeles, CA-based singer/songwriter and guitarist, who known as the frontman, and founding member of  Seattle-based grunge rock pioneers Screaming Trees, and an acclaimed solo artist, who has collaborated with an eclectic array of artists and bands — including  Nirvana’s Kurt Cobain on an unreleased Lead Belly cover/tribute album recorded before the release of Nevermind; as a member of the renowned grunge All-Star supergroup/side project Mad Season with Alice in Chains‘ Layne Staley and Pearl Jam’s Mike McCready; as a member of  Queens of the Stone Age featured on five of the band’s albums — 2000’s Rated R, 2002’s Songs for the Deaf, 2005’s Lullabies to Paralyze, 2007’s Era Vulgaris and 2013’s . . . Like Clockwork; with The Afghan Whigs‘ Greg Dulli in The Gutter Twins; as well as former Belle and Sebastian vocalist Isobel Campbell on three albums. Additionally, Lanegan has contributed or guested on albums by Melisa Auf der Maur, Martina Topley-Bird, Creature with the Atom Brain, Moby, Bomb the Bass, Soulsavers, Greg Dulli’s The Twilight Singers, UNKLE and others.

Lanegan’s solo career has seen him release ten, critically applauded albums that have seen a fair amount of commercial success. (Ironically,. his solo work has actually seen more commercial success than any of his work with Screaming Trees.) The Ellensburg-born, Los Angeles-based singer/songwriter and guitarist’s tenth solo album Gargoyle found him collaborating with British-born and-based musician Rob Marshall, who’s best known for stints with  Exit Calm and Humanist and his longtime collaborator, multi-instrumentalist and producer Alain Johannes. Interestingly, the album’s material was both an expansion and refinement of the Krautrock-tinged blues of his two previously released albums 2012’s Blues Funeral and 2014’s Phantom Radio.

Now, as you may recall, Lanegan’s 11th full-length album Somebody’s Knocking is slated for an October 18, 2019 release though Heavenly Recordings, and the album reportedly less the tale of a brooding rock veteran and more that of someone consumed by a lifelong love affair with music and words. Interestingly, much of the album’s material finds Lanegan turning to some of his most formative musical influences and loves — electronic music.

“I’ve always been into electronic music since I was a kid,” Lanegan says in press notes. “I think the reason those elements have become more obvious in my music is that my tastes have changed as I’ve grown older. The bulk of what I listen to now is electronic. Alain Johannes and I had actually written “Penthouse High” for Gargoyle but then it didn’t really fit on that record. I have been a huge fan of New Order and Depeche Mode forever and have wanted to do a song along those lines for a long time – a blatantly catchy, old-school dance-type song.”

Although Lanegan’s forthcoming 11th album came together during an eleven day session in Los Angeles, many of the album’s deepest musical influences are decidedly European, including some newer, murkier forms provided by Martin Jenkins. who records as Pye Corner Audio or Rob Marshall, a collaborator on Gargoyle and on his own, forthcoming debut album as Humanist. In each case, Lanegan approached working with each of the writers from the perspective of a fan.

Lyrically speaking, the album purportedly sets the listener down multiple rabbit holes, as Lanegan paints psychedelic pictures inspired by the music. “I feel like I write lyrics instinctively. I let the melody come first and then it tells me what the words are going to be and I write whatever feels appropriate,” Lanegan says in press notes. “That said, I’m also influenced by everything I’m into. I don’t usually like to talk about what a song means to me; I prefer that the people who connect with a song do so with their own interpretation. It never crossed my mind what Neil Young meant by After The Gold Rush, only the personal movie it created in my head. My entire life, all the music that I’ve connected to has drawn me in like that. Joy Division, Nick Drake, Son House, The 13th Floor Elevators, The Gun Club… all the music that meant the most to me, the music that saved my life was the music that told my own story back to me.”

Naturally, some aspects of the real world can’t help but seep their way into the album’s material. “It seems to me that the entire world is in a weird, precarious place right now,” the Ellensburg-born, Los Angeles-based singer/songwriter says in press notes. “I try to not be someone in a constant state of worry and alarm but watching the massive divide that is taking place and the political situations, especially in the US and UK makes me think, ‘what the fuck are these idiots thinking?’ The hatred, racism and all this other fear-driven shit, these “adults” that continually drive the machine that perpetuates this ignorance to their own ends should all be in the prison cells instead of the non-violent drug “offenders” in them now. I can’t specifically say how any of this effects my writing but I know that most of the things that occupy my thoughts have a way of coming back out in a song.”

Centered around a motorik groove, shimmering guitar lines and a tight hook, “Letter Never Sent,” the album’s latest single manages to bear an uncanny resemblance to Heaven Up Here-era Echo and the Bunnymen but imbued with a bluesy tinge.

 

Single Review by William Ruben Helms

 

I’ve written quite a bit about the Brooklyn-based JOVM mainstays Russian Baths over the past couple of years, and as you may recall the act — Luke Koz, Jess Ress, Evan Gill Smith and Jeff Widner — received attention both locally and elsewhere for a sound that has been described by the band and by some critics as nodding at Big Black, 70s space rock, Big Muff and British post punk. Although with the release of their debut EP Penance, an effort that featured singes like “What’s In Your Basement,” “Slenderman” and “Poolhouse,” the Brooklyn-based JOVM mainstays — to my ears, at least —  established a reputation for crafting a brooding 120 Minutes-era alt rock-like sound.

Slated for release later this year, Russian Baths’ forthcoming debut finds them pushing their sound — a sound centered around juxtapositions to its most extreme, as feedback and dissonance manage to swallow softly whispered harmonies; arpeggiated synths and booming 808s are paired with angular, shrieking guitars and propulsive drumming. Thematically the material touches upon personal regret, cultural guilt, reflections and observations on systems on the verge of collapse and a growing sense of unease and anxiety. The album’s first single “Parasite” was a decidedly muscular and grunge-like single that brought Nirvana, The Breeders and others to mind — but while evoking someone on the verge of destroying themselves.

“Tracks,” the forthcoming album’s latest single is an an aggressively abrasive song that’s one part shoegaze, one part post-punk, one part noise rock and one part grunge, as fuzzy and distorted power chords are paired with thunderous drumming and plaintive, falsetto vocals. And while being one of the most feral and mosh pit friendly songs they’ve released in their growing catalog, the song finds the band asking some important questions. “If a friend takes something very personal, very private from you, do you forgive them? If you see someone’s worst self, how do you react? Would you choose yourself to be yourself? Is self respect something you feel because you’re good or does self-respect make you good?” The band says in press notes. As a result, the song possesses the uneasy, claustrophobic air of paranoia and distrust.

 

 

 

Single Review by William Ruben Helms

Over the past few years, I’ve written a bit about the Vancouver, British Columbia-based dream pop act FRANKIIE, and as you may recall the act — Francesca Carbonneau, Nashlyn Lloyd, Samantha Lancaster, and Zoe Fuhr — can trace its origins to when its members met and rehearsed for what was initially meant to be a one-off gig in December 2013. However, as the story goes. each individual member felt such an instant and undeniable creative chemistry that they decided that they should make it a permanent band, one that eventually wound up touring across much of North America, including an East Coast tour opening for The Charlatans.

Interestingly, the past year or so has been a whirlwind for the Canadian dream pop act — and it included the recording sessions with Jason Corbett for the band’s forthcoming album Forget Your Head. The album’s latest single “Compare” is a lush and shimmering track with an anthemic hook that recalls (to my ears, at least) 80s New Wave and JOVM mainstays Wax Idols. And while continuing a run of carefully crafted singles, FRANKIIE’s latest may arguably be the most boldly ambitious and populist of their growing catalog — all while being grounded in a psychological realism.

“We have become normalized to a world of voyeurism, but often what we see is merely a projection of a life that isn’t even truly real,” the members of the band explain in press notes. “We can get lost in the illusion of beauty and success of others – of strangers – and, in turn, feel like our own life doesn’t measure up.   ‘Compare’ is inspired by the negative yet constant relationship one can form with social media. It’s human nature to compare yourself to others, but it’s important to be aware of how unhealthy it can be. Especially when it’s being thrust at you nonstop through Instagram, Twitter, Facebook, whatever. We hope that ‘Compare’ can remind you to just stop and celebrate yourself. We are all special and are all amazing.

Single Review by William Ruben Helms

New Video: Up-and-Coming British Act Second Hand Poet Releases an Intimate and Playful Visual for “Honeycomb”

Jamie Tipson is a Surrey, UK-born singer/songwriter, multi-instrumentalist and co-founder of Pretty Thing Records, a label and promotions company, specifically created to help other like-minded artists — and he’s also the creative mastermind behind the up-and-coming British indie rock project Second Hand Poet.

Last year, Tipson released his Second Hand Poet debut Songs for the Pyre, and he quickly followed that up with the January release of “I’ll Be Yours,” a track that received airplay from BBC Introducing, Amazing Radio and BBC 6, and was featured in the Unsigned Guides Spotlight and Richer Sounds Artist of the Month.  Building upon a growing national profile in his native UK, Tipson’s latests ingle “Honeycomb” is a hook-driven and  anthemic track that recalls 120 Minutes-era alt rock, The Silversun Pickups and others, as its centered around jangling power chords, a propulsive rhythm section and Tipson’s plaintive vocals. 

Interestingly, Tipson’s new Second Hand Poet is a decidedly upbeat track that finds him straying a bit from his self-described band of gloom folk. In fact, the track finds Tipson employing the use of a full band — and it required a much more collaborative creative process than much of his previously released work. “‘Honeycomb’ is a weird one,” Tipson explains in press notes. “It’s completely the opposite sound and style to my usual work but I just had to get it out in this way. I still play it acoustic when live but the intention was to almost sound as if I was singing over a Smashing Pumpkins’ track on the recorded version.” “The song itself is about people, about connecting material things with feelings or certain memories in time, soundtracking moments,” Tipson says of his latest single. “After all, that’s what music is isn’t it?” 

Edited by Alex Thomas, the recently released video for “Honeycomb” stars Tipson, his backing musicians for the song’s creation and a series of friends, loved ones and supporters from around the world. “I just wanted to create something a bit immersive, music is relatable regardless of taste and opinion and the idea of bringing people I care about in all senses of the word felt really special to me,” Tipson says of the video. “I’ve never met some of the people in the video, and some of them that are featured even helped fuel the need for me to create in the first place. ”

Single Review by William Ruben Helms

 

Sophie Colette is an up-and-coming Brooklyn-based indie pop artist. Initially relocating to New York to pursue fashion design, Colette pivoted her ambitions to music after being scouted at a high school reunion by The Party Faithful‘s bassist. About month later, Colette wound up contributing vocals, keys and synth for the band, playing with the band at venues across the New York metropolitan area. Interestingly, during that time she met Degraw Sound producer Ben Rice, who she later presented with a stack of sketchbooks filled with lyrics and visual palettes, which eventually became the genesis of her solo work.

“Tonite,” off her debut EP Strangers and Lovers was featured at Jasmine Chong’s runway presentation to the editors of Vogue, WWD, Elle and others during 2017’s New York Fashion Week. Selected footage from her Stephen Dirkes-directed music video for “Get Close’ was nominated for Best Creative Concept, Art Direction and Visual Effects at the La Jolla International Fashion Film Festival. And building upon a growing profile, Colette supported Strangers and Lovers with a European tour with Berlin-based indie-folk project The Crystal Elephant.

Since then the New York-based indie pop artist has released a handful of shimmering pop singles that have caught the attention of the blogosphere, including my dear friends at Glamglare and elsewhere, as well as airplay on French radio station Déclic Radio 101.1FM. Her latest single “Would You Like It?” continues an ongoing run of dreamy synth pop centered around Colette’s plaintive and vulnerable vocals, a sinuous bass line and a soaring hook. But underneath the slick disco-tinged production, the song’s narrator is plagued by a familiar self-doubt — the self-doubt that comes about when you’ve fallen for someone and you can’t quite figure out if you should tell that person how you feel. Putting your heart on the line is nerve racking in itself; but the possibility of rejection seems like the end of your world. 

“I fell in love – again. It took me a while to admit that to myself, and even longer to figure out how to handle it,” Colette explains in press notes. “It’s such a vulnerable, intense, confusing, and heart-shaking experience, compounded by the risk of rejection. What if it’s just a fabricated mind game and completely unrequited? When should I say something, if at all? I was overwhelmed and having conversations with myself on what to do and how to say it, and writing this song was a way to get out of my head and connect with reality. No more hiding.” 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Sophie Colette’s single “Would You Like It?” – slated for July 19, 2019 release – explores the emotional dilemma of deciding whether or not to tell someone how you feel – namely, that you’ve fallen in love. Produced by Ben Rice (The Candles, Elliot & The Ghost, Queue) at Degraw Sound in Brooklyn, New York, the track builds from a simple chord progression to a dreamy holographic soundscape, supporting Colette’s lyrical love letter with layers of vocal effects, electronic keys, guitars, and a driving pulse. 

“I fell in love – again. It took me a while to admit that to myself, and even longer to figure out how to handle it. It’s such a vulnerable, intense, confusing, and heart-shaking experience, compounded by the risk of rejection. What if it’s just a fabricated mind game and completely unrequited? When should I say something, if at all? I was overwhelmed and having conversations with myself on what to do and how to say it, and writing this song was a way to get out of my head and connect with reality. No more hiding.” 

Sophie will support “Would You Like It?” with a music video directed by Karina Vidal, and performances at festival showcases this summer – Independent Venue Week in July in New York City, and Degraw Fest Unplugged at Brooklyn Bridge Park in Brooklyn, New York on August 2 at 6:00pm. 

“Would You Like It?” is the latest in a series of singles from Colette. Her most recent release “Version,” an intimate cinematic track inspired by a toxic relationship, premiered on Asymmetric Magazine for its “dreamy, lush sound [and] captivating vocals,” and has been compared to Tangerine Dream by Sound Thread Music Blog for its “gently pulsing, down-tempo atmosphere.” “Version” was added to TuneCore’s Spotify playlist, “TuneCore Presents: Music Made Me,” and aired on indie French radio station Déclic Radio 101.1FM alongside Dido, upon release. Her live debut at New York City’s Rockwood Music Hall cemented “Version” as “Colette’s most stunning work to date.” (glamglare) 

Colette’s former releases have premiered on influential blogs such as Popdust, glamglare and CelebMix. Her single “Run Around,” released in late 2018 about challenging lip service in relationships, was selected as glamglare’s “song pick of the day,” and lauded by Emerging Indie Bands as an emotionally intense track with a “wistful melancholic…romantic demeanour…a testament to both composition and vocal ability.” 

Her single “That Kind Of Love,” which Colette released to coincide with her summer performance at Degraw Fest 2018, has been featured by media platform ULTRA as the exclusive soundtrack for their videos. 

Previous tracks have aired on indie French radio station Déclic Radio 101.1FM and playlisted at New York Fashion Week, and her accompanying short films have received nominations and acclaim from fashion film festivals including the La Jolla International Fashion Film Festival.

 

Single Review by William Ruben Helms

 

Madison, WI-based punk act The Hussy formed back in 2008 as a duo fronted by Bobby Hussy (guitar, vocals) and Heather Hussy (drums, vocals). The duo quickly developed a reputation for a trashy and scuzzy take on punk and for a chaotic live show that wound up with the duo playing shows alongside a who’s who list of indie rock and punk — including Mudhoney, Ty Segall, Thee Oh Sees, Twin Peaks, Reigning Sound, Spectrum, Black Bananas, Black Lips, King Khan & BBQ, White Fence, The Faint, Tenement and countless others. All of that helped the band gain a cult-like following across the Midwestern underground scene.

During the incredibly prolific period of 2009 and 2015, in which the band released material material through over 20 different labels and in countless different formats, the duo relentlessly toured across the US and Europe, even playing Gonerfest after the release of their beloved sophomore album 2012’s Weed Seizure. Interestingly, also during that period, the band pulled double duty as the opener and backing band for NOBUNNY through tours of the States, Australia and New Zealand. And since then, the band’s founding duo have split time between The Hussy and other creative pursuits. Bobby Hussy has continued to tour with NOBUNNY off and on as his touring bassist.  He plays in Fire Heads with Tyler Fassnacht, who recently joined The Hussy to help further flesh out their live sound.  And lastly, Bobby Hussy is also a member of synth wave post-punk act Cave Curse, who released a full-length in 2017. Heather Hussy’s side project Proud Parents released their full-length album through Dirtnap Records last year.

At the end of last year, the members of the newly constituted trio began tracking their forthcoming full-length album Looming, the follow-up to 2015’s Galore. Galore saw the and moving into a much more focused direction with their songwriting that included much more complex arrangements paired with mid-fi production — and while this was  decided evolution in their sound, they managed to retain their knack for crafting infectious pop-leaning hooks. Looming however, finds the band thematically going in a defiantly darker direction as it touches upon death and sudden loss, divorce, addition and our depressing and horrifying political moment.

The album’s latest single “Coast” begins with a deceptive and upbeat intro featuring plinking and chiming chords before quickly turning into a scuzzy, power-chord based ripper — with an infectious, shout along worthy hooks and a playful melody underneath it all. Interestingly, the song is a perfect example of the album’s darker thematic concerns as it’s a pissed off tell off toward someone you want to just leave you alone.

The new album is slated for a September 27, 2019 release through Dirtnap Records and the band will be embarking on US and European tours to support it. Check out the current tour dates and be on the lookout for more.

Tour Dates

August 17th Madison, WI @ Crystal Corner (w/ Sweet Jap, Choke Chains, Dumb Vision)
September 13th Minneapolis, MN at 7th Street Entry
September 14th Madison, WI @ Mickeys (w/ Werewolf Jones)
September 21st Fayetteville, AR @ Backspace
September 23rd Austin, TX @ Hotel Vegas
September 24th New Orleans, LA @ Circle Bar
September 25th Hattiesburg, LA @ House Show
September 26th – Memphis, TN at Hi Tone – Gonerfest 16
More Dates TBA!

 

 

 

 

Single Review by William Ruben Helms

New Audio: JOVM Mainstays Warish Release a Menacing Mosh Pit Friendly Ripper off Their Forthcoming Full-Length Debut

I’ve written quite a bit about the Southern California-based punk trio Warish over the past 18 months or so and the act, which features founding members Riley Hawk (guitar, vocals) and Bruce McDonnell (drums) formed last year when its founding duo wanted to try their hand at something a bit more distinct than what they had previous done.“We wanted to do simpler riffs and a fun live show,” Hawk explains in press notes. “A little more punk, a little bit of grunge… a little evil-ish.” Their sound reportedly draws from a variety of things — early Butthole Surfers, Scratch Acid, Incesticide-era Nirvana, Static Age-era Misfits and others, and with the release of their first two EPs, the band quickly established themselves for crafting scuzzy, mosh pit friendly rippers with an aggressively sleazy Troma Films-inspired vibe.

Building upon a rapidly growing profile, the members of Warish will be releasing their highly-anticipated full-length debut, Down In Flames through RidingEasy Records on September 13, 2019. Down In Flames’ first single “Healter Skelter” isn’t a Beatles cover. but rather the title refers to the Manson Family’s misspelled blood scrawl at the site of the group’s second murder in 1969. Centered around thunderous drumming, scuzzy power chords and howled vocals — and while clearly recalling Bleach and Incesticde-era Nirvana, the song may arguably be among the most menacing of their growing catalog of mosh pit friendly rippers. 

Single Review by William Ruben Helms

Julien Chang (pronounced Chong) is an up-and-coming Baltimore-born 19-year-old, multi-instrumentalist, singer/songwriter, producer and current university student, who surprised his peers when he began quietly releasing music during his senior year in high school. Interestingly, only thought of as a trombone player, Chang’s early material found him playing multiple instruments and meshing pop-leaning melodies, psych rock and jazz fusion experimentation and improvisation — with a sophistication that belies his relative youth.  Those early releases caught the attention of Transgressive Records, the label home of SOPHIE, Let’s Eat Grandma and JOVM mainstay Neon Indian, who will be releasing his forthcoming full-length debut.
Self-recorded and self-produced in his bedroom, “Of The Past,” Chang’s debut single is a sleek bit of early 80s-like synth-led funk that’s centered around carefully crafted pop melodicism, a sinuous bass line and plaintive vocals — but interestingly, the track reveals a dexterous songwriter and musician, who can effortlessly bounce and dart between funk, jazz and pop in a mesmerizing fashion.
Chang will be embarking on his first ever tour in October — and the tour begins with an October 15, 2019 stop at Baby’s All Right. Check out the rest of the tour dates below.
Tour Dates
10/15 – Brooklyn, NY @ Baby’s All Right
10/28 – London, UK @ Bermondsey Social Club
10/29 – London, UK @ Servant Jazz Quarters
10/31 – Brussels, BE @ Botanique Witloof Bar
11/01 – Berlin, DE @ Musik & Frieden
Single Review by William Ruben Helms

Last year, I wrote quite a bit about the Brooklyn-based shoegaze duo Parrot Dream. And as you may recall, the act which is comprised of Santiago, Chile-born, Brooklyn-based Christina Hansen Appel (vocals, keys) and Gonzalo Guererro (guitar) was formed back in 2013 — and after relocating to Brooklyn, the duo developed a reputation for crafting sprawling and shimmering and hazy soundscapes that have amassed more than 500,000 Spotify streams. 

Good Eye Records released the Chilean-born, Brooklyn-based duo’s full-length debut, Light Goes last year. Written and recorded over a two year period, the material on the duo’s full-length debut touched upon themes of connection, love, memory and clarity.  “Woven,” the first bit of new material from the band since the release of their full-length debut was originally written and recorded during the Light Goes sessions but was cut from the album. However, it’ll be included on the album’s follow-up effort, Light Goes: B-Sides EP. Centered around shimmering synths, towering layers of reverb-drenched guitar, propulsive drumming, Hansen Appel’s plaintive and longing vocals and an enormous hook, the towering, classic shoegaze-inspired track finds the band writing some of their most ambitious material of their growing catalog. Thematically, the song is a love song full of aching longing that simultaneously finds the band asking some of life’s larger questions.

 

 

 

 

 

 

Single Review by William Ruben Helms

New Audio: Up-and-Coming British Post-Punk Act Squid Releases an Explosive and Expansive New Single

With the release of a series of critically applauded singles, an incendiary live show, and three packed Glastonbury Festival sets, the up-and-coming disco post-punk, disco funk act Squid — Ollie Judge (vocals, drums), Lous Borlase (guitar, vocals), Arthur Leadbetter (keys, strings), Laurie Nankivell (bass, drums) and Anton Pearson (guitar, vocals) — have quickly developed a growing national profile. 

Building upon that momentum, the act which splits its time between Brighton, where it initially formed and London will be releasing the Dan Carey-produced EP Town Centre through Carey’s Speedy Wunderground Records digitally on September 6, 2019 — with a physical release on November 15, 2019. Clocking in at seven and a half minutes, the EP’s  new single “The Cleaner” will likely remind listeners of Q: Are We Not Men? A: We Are Devo-era Devo, Talking Heads, Entertainment!-era Gang of Four and LCD Soundystem  as the track is centered around a slinky, disco funk bass line, explosive blasts of squiggly synths, cowbell led drumming, angular guitar lines, explosive feedback and shouted lyrics within an expansive song structure that’s one part post-punk, one part art punk, one part No Wave freak out. And as a result, the song manages to evoke the uncontrolled, neurotic frustration of someone who’s at the end of their rope. 

“‘The Cleaner’ is a lost acquaintance, one that we’ve spent the past year trying to get to know . . . tirelessly working and turning up whenever needed,” the band says about their latest single. “We work for the money to spend out time doing other things. ‘The Cleaner’ imagines the divided work and play structure and thinks about breaking from it.”