Tag: New Single

Inspired by The CureTame Impala and others, Istanbul, Turkey-based quartet The Away Days have developed a reputation in their homeland for being at the forefront of a contemporary and extremely Western-inspired indie music scene — and interestingly enough, the How Did It Start? EP, the Turkish indie rock band was released to critical praise from internationally recognized media outlets including The GuardianSPIN Magazine,Noisey and received airplay from renowned indie station KEXP. Adding to a growing international profile, the band has toured the UK, made appearances at two consecutive SXSW And with a growing international profile, the quartet went on a tour of the UK and made appearance at two consecutive SXSW Festivals and have opened for the likes of Portishead, Massive Attack, Belle and Sebastian and others.

 

Over the past couple of years, the Istanbul, Turkey-based quartet have released a batch of singles that have received attention across the blogosphere, including this site; however, the band has been working on the material which, will comprise their highly-anticipated full-length debut effort. Much like the album’s lush and atmospheric first single “Less Is More,” the album’s latest single “World Horizon” is a slow burning, moody and atmospheric ballad consisting of plaintive vocals paired with ethereal and shimmering synths, stuttering, four-on-the-floor drumming and equally shimmering guitars that’s largely inspired by the band members’ own lives in Istanbul,  living in “never ending lies . . .” And as a result, the song possesses a mournful air, as the song’s recognizes a loss of innocence and belief in innocence and goodness.

 

 

 

 

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Initially begun as a solo side project from her then-primary projects  Vivian Girls and All Saints Day, singer/songwriter and guitarist Katy Goodman has developed a burgeoning national profile with the release of her first three critically applauded albums with La Sera — including, the project’s self-titled debut, her sophomore effort Sees the Light and her third effort Hour of the Dawn. And with each successive album found Goodman experimenting and expanding upon her sound with Hour of the Down revealing an 80s guitar pop influence, in particular The Smiths, The Pretenders, and others.

Now, if you’ve been frequenting this site for a while, you’d know that Goodman released her fourth La Sera album, Music For Listening To Music To earlier this year, and the material on the album revealed an artist, who has gone through a series of personal and artistic transitions including  Goodman’s newlywed husband Todd Wisenbaker, who may be best known as a member of Music For Listening To Music To‘s producer  Ryan Adams‘ backing band, and as the producer of Goodman’s third album Hour of the Dawn joined his wife’s project as a cowriter, guitarist and collaborator. Sonically, the material continues along the veins of its predecessor — sounding deeply indebted to the aforementioned The Smiths and The Pretenders while at times also nodding at Johnny Cash (in particular, think of “Folsom Prison Blues,” “Jackson” and countless others.) And lyrically, the material focused on romantic relationships — whether our desire to be and feel loved, the raw and bitter ironies exposed during the breakup of a relationship and more. Of course, adding to the retro feel and tone of album was the fact that the material frequently employed the use of male/female vocals on top of a familiar and beloved sound featuring shimmering guitars played through reverb as you’ll hear on album singles “High Notes,” and “I Need an Angel.”

Beginning in October, Goodman Wisenbaker and company will be embarking on a month-long national tour — and just before the tour, the members of the project will be releasing the digital-only release Queens EP. The EP’s title track is a propulsive and upbeat bit of shimmering guitar pop that was written while Wisenbaker was on a leisurely stroll through East Hollywood at dusk one night. And as Goodman adds, “To me, the song stands for being an important, passionate, loving person in your own life, every day.” While sonically the song continues to cement the act’s reputation for crafting swooning nd shimmering, 60s and 80s inspired guitar pop, the song lyrically deals with the passing of time and the experience of small yet profound joys with someone you love.

As I mentioned the band will be on tour throughout October and it includes two NYC area dates — October 22, 2016 at the Mercury Lounge and an early October 23, 2016 at Baby’s All Right. Check out the rest of the tour dates below.

TOUR DATES: 

10/07 Pomona, CA @ Glasshouse
10/08 San Diego, CA @ The Hideout
10/09 Phoenix, AZ @ Valley Bar
10/10 Santa Fe, NM @ Meow Wolf
10/12 Austin, TX @ Sidewinder
10/13 Dallas, TX @ Club Dada
10/14 Kansas City, MO @ Riot Room
10/15 St Louis, MO @ Firebird
10/16 Nashville, TN @ High Watt
10/18 Atlanta, GA @ Masquerade
10/19 Chapel Hill, NC @ Pinhook
10/20 Washington, DC @ Song Byrd
10/22 New York, NY @ Mercury Lounge
10/23 Brooklyn, NY @ Baby’s All Right (early)
10/25 Boston, MA @ Brookline Teen Center
10/26 Buffalo, NY @ Mohawk
10/28 Toronto, ON @ Silver Dollar
10/29 Detroit, MI @ El Club
10/30 Chicago, IL @ Empty Bottle
11/01 Denver, CO @ Lost Lake
11/02 Salt Lake City, UT @ Kilby Court
11/03 Reno, NV @ Holland Project
11/04 San Francisco, CA @ Swedish American Hall
11/05 Los Angeles, CA @ Bootleg Theater

Over the past couple years, Memphis, TN-based punk band Ex-Cult emerged into the national scene and became a JOVM mainstay with the release of their sophomore effort 2014’s Midnight Passenger and its follow-up, 2015’s Cigarette Machine EP, two efforts which cemented the act’s reputation for a furious, bruising sound — and an equally intense, bruising live show. 2016 may arguably be the biggest years to date in the band’s history as Famous Class Records released the “Summer of Fear”/”1906” 7 inch last month and the band’s highly-anticipated third full-length Negative Growth is slated for a September 23, 2016 release through  In The Red Records.

As the band’s frontman Chris Shaw explains in press notes, “In the year of the snitch, there are forces beyond your control that keep you up at night. Ghost notions that swirl around your room while you sleep. Your own pillow laughing right in your face while you fight for an hour of rest. There are voices that whisper from the corner, telling you everything you never wanted to hear. Negative Growth, our third album , is dedicated to fear and deception.

“This collection of songs were conceived in Memphis and finalized in Los Angeles with the help of our family doctor, Ty Segall. It was created in February 2016, when we traded Memphis misery for a week of California sunshine. Negative Growth is a nine-track nightmare, a death trip in the crystal ship.” Now, if you were frequenting this site last month you may recall that I wrote about Negative Growth‘s first single “Attention Ritual,” a tense, bilious and abrasively paranoid song that evokes the narrator’s desperate, self-flagellating, self-doubting and fucked up psyche, and the inner voices that fuel one’s anxious nightmares — and on another level, it evokes the absolutely mad times we live in.  The album’s second and latest single “Let You In” is a urgent, desperate howl into an unceasing, cold and uncaring void with all the fury and anger within every sinew and figure of your body.

 

Earlier this year, I wrote about Kestrels, a Halifax, Nova Scotia-based indie rock/noise rock trio comprised of  Chad Peck (guitar/vocals), Devin Peck (bass) and Paul Brown (drums). And with the 2014 release of The Moon Is Shining Our Way EP, the Canadian indie rock trio emerged both nationally and internationally as the EP’s title track received radio airplay on CBC Radio 3  and as a result of touring with internationally renowned acts including Speedy OrtizRingo DeathstarrBeliefs, Grays and Ash. Reportedly, the sessions that produced The Moon Is Shining Our Way laid the groundwork for the songwriting approach and sound the band would then take into the studio for their self-titled, third full-length effort, slated for a September 30, 2016 release through Hamilton, Ontario-based label Sonic Unyon.

The album’s first single “No Alternative” was a decidedly pedal effects-led power chord- are paired with thundering and propulsive drumming, a tight bass line, an anthemic hook you can hear kids shouting along to in a sweaty club and Chad Peck’s plaintive falsetto as the song reminded me quite a bit of Siamese Dream-era Smashing PumpkinsSilversun PickupsMy Vitriol and others, complete with a swooning urgency. The album’s latest single “Waiting” sounds as though it owes a sonic debt to Brit Pop and shoegaze; in fact, to my ears, I’m reminded quite a bit of RIDE, as a motorik-like groove is paired with psych rock-leaning guitar chords, propulsive drumming, ethereal vocals and an anthemic hook.

Fronted by multimedia artist and vocalist Laura Peters, along with Max Harrison (guitar) and Liam McCormick (bass), Psychic Love is a Los Angeles-based indie rock trio, who describe their sound as “dream grunge” and “as if Nancy Sinatra had a love child with Frank Black.” Now if you had been frequenting this site towards the end of last year, you may recall that I wrote about “Nancy,” a bluesy, psych rock song with menacing lyrics that seemed like threats, recriminations and sexual come ons simultaneously while evoking a slowly unfolding and uneasy dread and horror. “Ultralight,” the first single off the trio’s recently released full-length debut The Hive Mind is a propulsive and jangling guitar pop ballad that sounds as though it owes a debt to Phil Spector‘s Wall of Sound with a rousingly anthemic hook paired with Peters’ plaintive and tender vocals. Sonically, the song sounds as thought it nods at La Sera‘s latest effort Music For Listening To Music To and Rilo Kiley but with a coolly, self-assured swagger.

As the band’s frontman Laura Peters explains in press notes, “Oddly, I first wrote ‘Ultralight’ while taking care of a friend, who was having a bad acid trip. Apparently the guitar lines were so soothing that every time I stopped playing, he looked horrified and pukey. I ended up writing about nine verses. Obviously they all didn’t make it into the final cut.”

 

 

 

 

 

With the release of their first two tracks “Margarita” and “Dark ‘N’ Stormy,” the mysterious production and electronic music artist duo The Modern Strangers quickly emerged into the blogosphere. Building on the buzz the mysterious electronic music duo have received, the duo recently released their latest single “Vanilla,” a densely layered, slickly produced track that features handclap and cowbell-led percussion, enormous boom bap beats, a sinuous and ridiculously funky bass line, angular, Nile Rodgers-like guitar and a rousingly anthemic hook comprised of buzzing power chords, swirling electronics paired with falsetto vocals in an arena rock-friendly bit of electro pop that’s reminiscent of Big Data and The Crystal Method among others.

 

 

Motorama is a Russian indie rock quintet from Rostov-on-Don, a port city at Russia’s southwest corner, near the Caucasus. Formed in 2005, the band self-produced their records for several years before they got signed by French label Talitres Records in 2012 – and with their forthcoming effort Dialogues, which is slated for an October 22, 2016 release, the band reportedly expanding upon and cleaning up the sound that first won them international attention without removing the melancholy feel of the material.

Dialogue‘s latest single “Tell Me” has the band pairing atmospheric synths, a strutting and bopping bass line and plaintive vocals in a song that sounds as though it could have been released during 4AD Records heyday, complete with a wistful melancholy and an urgent, swooning Romanticism.

 

 

 

Born in California, New York-based singer/songwriter and guitarist Shana Falana spent time in San Francisco‘s D.I.Y. scene and and in a Bulgarian women’s choir before relocating to New York. By 2006, Falana had been struggling through drug addiction and money woes when she lost part of her index finger in a work-related accident. And while under most normal circumstances that might be considered extremely unlucky, the settlement money the California-born, New York-based singer/songwriter received actually provided her a period of financial stability that allowed her the much needed time and space she needed to overcome her addictions and find a new focus in her life and music. Reportedly, much of the music on Falana’s much-anticipated second full-length effort Here Comes the Wave was conceptualized both during one of the most difficult periods of her life and in the subsequent years that followed, and has been continually refined — and as a result, the album manages to thematically be centered around the duality of “then and now,” while sonically covering diverse moods and possessing elements of shoegaze, gothic pop and indie rock.  Of course, thematically speaking the material focuses on change, transformation and emotional turmoil; in fact as Falana says in press notes ““Somehow, I knew those songs would serve me well later,” and at least one of Here Comes the Wave‘s songs reportedly foreshadows its creator’s eventual sobriety while other songs reportedly accept the passing of youth, the death of her father and other themes that come up as one gets older.

Interestingly, Here Comes the Wave also manages to be the second collaboration with producer D. James Goodwin, best known for his work with Bob Weir, Whitney and Kevin Morby and with her long-time partner, collaborator and drummer Mike Amari. And the album has Goodwin and Amari playing much larger roles than on Falana’s debut as the collaborative trio went for audacious sounds and heightened moments — and for being bold as possible.  The album’s first single “Lie 2 Me” has Falana and Amari pairing enormous and buzzing power chord-heavy riffs and thunderous drumming with Falana’s anguished howls before ending with an explosive blast of feedback before slowly fading out. Lyrically, the song is full of bitter recrimination, accusation, self-doubt, self-flagellation and dysfunction –and as a result, the song feels bilious and fucked up while sonically nodding at L7, PJ Harvey and others.

 

 

Perhaps best known as a touring and session guitarist for the likes of renowned pop acts such as Charli XCX and BØRNS,  Los Angeles, CA-based singer/songwriter and guitarist Cecilia Della Peruti has been receiving attention across the blogosphere over  the past few months for her New Wave and post-punk leaning solo recording project, Gothic Tropic. And if you’ve been frequenting this site over those past few months, you may recall that I wrote about her Peruti’s first two singles as a solo artist, “Stronger,” a single that sounded as though it owed a debt to the Go-Gos The B52s and others, and “How Life Goes,” a lush and atmospheric song in which shimmering guitar chords played through reverb and delay pedal are paired with a propulsive and driving rhythm, gently buzzing synths and a bluesy guitar solo that made the song sound as though it drew from Phil Spector’s “Wall of Sound” production, 80s New Wave, shoegaze and power pop.

“Don’t Give Me Up,” is the third and latest single off Peruti’s forthcoming Gothic Tropic full-length debut effort, Fast or Feast, which is slated for an October 28, 2016 release, and the single continues along a similar vein of “How Life Goes” as shimmering guitar chords, atmospheric synths, a funky and sinuous bass line and Peruti’s sultry (yet ethereal) come hither vocals in what may arguably be the project’s slinkiest and sexiest song released to date while drawing from R&B and New Wave in a way that to my ears, reminds me a bit of Mligares‘ “IDYNL” and “Urban Eunuchs” off Violent Light, complete with a plaintive ache at its core.

 

 

 

 

 

 

 

As a music blogger and as a fan, the Internet has proven to be a wonderful place to discover both new music and extremely rare, lost music — and with ease. It’s also contributed to the proliferation of independent labels across the world, competing against the major conglomerates for your ears, attention and your hard-earned money. Unsurprisingly, smaller, indie labels have been more willing to take the sort of risks that their larger, monied rivals wouldn’t and couldn’t — including re-introducing artists, whose work was so wildly ahead of its time that audiences at the time of its initial release just couldn’t and didn’t accept, and yet historically speaking, filled in a gap that explains a contemporary trend; re-introducing regionally favored artists from a time when hit songs in Milwaukee were often different than hit songs in AtlantaBaltimore, Des MoinesMinneapolis or New York.

Sadly, before the Internet, bulletin boards and the blogosphere much of this seemingly forgotten material was only known to cultish and obsessively dedicated insiders and collectors, who were known to spend their time seeking and collecting long-lost and long-forgotten albums, hoarding them in private collections or selling them at exorbitant prices at collector’s shows.  Thankfully in many ways, the Internet and blogosphere have democratized the process, allowing the average listener and fan a chance to listen and to love some of these long-forgotten wonders; however, because of the money involved, labels

Unfortunately, because of the money involved, labels have mined beloved, popular and influential genres to exhaustion through endless compilations — in particular, psych rock, AM rock, doo wop, folk, soul and a few others immediately come to mind. Strangely enough up until last year, there hadn’t been many proto-metal, pre-stoner rock compilations when the Chicago, IL and Los Angeles, CA-based distributor Permanent Records released  two compilations of incredibly rare singles from the 60s and 70s on Brown Acid: The First Trip and Brown Acid: The Second Trip.

With the help of Daniel Hall of RidingEasy Records, Permanent Records co-owner Lance Barresi spent time not just collecting and compiling the singles on each volume of the  compilation, they also spent a great deal of time tracking down the songs creators, often bands who haven’t been together in over 30 or 40 years, and encouraging them to take part in the entire process.  As Barresi explained in press notes for the two compilations, “All of (these songs) could’ve been huge given the right circumstances. But for one reason or another most of these songs fell flat and were forgotten. However, time has been kind in my opinion and I think these songs are as good now or better than they ever were.“ And by having the artists participate it can give the songs and the artists a real second chance at success, if not some kind of attention.

The third compilation of proto-metal and pre-stoner rock from the 60s and 70s, Brown Acid: The Third Trip is slated for release on October 31, 2016 and the third compilation’s first single, Grand Theft’s “Scream (It’s Eating Me Alive)” features enormous power chords, guitar pyrotechnics, thundering drumming, a propulsive bass line and howled vocals in a song that sounds as though it were channeling Led Zeppelin III and IV, Rush and The MC5 — in particular think of “Immigrant Song” “When the Levee Breaks”  “Working Man” and “Kick Out the Jams” as the song possesses a bristling, swaggering fury.