Tag: New Wave

SPECTRES  is a Vancouver-based post-punk act founded in 2005 by Brian Gustavson. And since the band’s formation, they’ve been popularly cited as being one of acts responsible for kicking off Canada’s renewed interest in the post-punk sound. Interestingly, the band was initially inspired by the British anarcho-punk scene of the late 70s and early 80s, the Vancouver-based post-punk meshed that scene’s ethos with post punk stylings and an uncanny knack for crafting hook driven, catchy material. But over the years, the band’s sound has evolved, increasingly incorporating elements of New Wave and punk.

“The band started as a way to creatively explore 1980s British anarcho-punk and while creatively we have drifted in new directions, this core influence still holds a lot of inspiration for us,” the band’s Zach Batalden  (guitar) says in press notes. Bands like The Mob, Crisis, Crass and Zounds are all still very important for us. From there we took a deep interest in ’80s post-punk and new wave with bands like The Sound, The Chameleons, Theatre of Hate and Modern English, central to the way our sound has developed.”

Slated for release this Friday, through Artoffact Records, the Vancouver-based post-punk act’s soon-to-be released Jason Corbett-produced album Nostalgia lyrically finds the band touching upon the alienation of modern life and the search for hope in an increasingly terrifying world. “Deepening political partisanship, aging, and finding one’s own way through alienating times are common themes the on the Nostalgia LP,” says Batalden. Sonically, the material fnds the band continuing their ongoing exploration of a decidedly post-punk like sound with Gustavon’s plaintive and melodic vocals ethereally floating over chiming guitars and propulsive beats. “For the new album, Nostalgia, we were listening to a lot of Flying Nun bands like The Bats, The Verlaines and The Clean as well,” Batalden adds.

“Years of Lead,” Nostalgia’s latest single is a decidedly New Order-like take on post-punk as its centered around jangling and shimmering angular bursts of guitars, four-on-the-floor drumming and rousingly anthemic hook. Interestingly, much like “Northern Towns” off the band’s “Provincial Wake” 7 inch, “Years of Lead” features a pitch perfect, deceptively anachronistic, era specific production paired with a bittersweet and nostalgic air.

 

 

 

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Over the past couple of years, I’ve managed to write a bit about JOVM Matthew Messore, who’s an Orlando, FL-born and-based singer/songwriter and multi-instrumentalist. best known as the creative mastermind behind the rapidly rising bedroom recording project Cathedral Bells. Since the release of 2018’s self-titled EP, which received support from David Dean Burkhart and praise from The Line of Best Fit, Messore has released a handful of singles from his highly-anticipated Cathedral Bells full-length debut Velvet Spirit, which is slated for a March 6, 2020 release through Good Eye Records.

The JOVM mainstay begins 2020 with “Disconnected,” the latest single off his forthcoming debut, and much like its predecessors, the new single continues to cement the sound that has won the attention of the blogosphere, including this site: centered around Messore’s ethereal vocals, delicately shimmering and reverb-drenched guitars and a motorik groove, “Disconnected” is a shoegazer-like take on New Wave that recalls early 4AD Records and others but while possessing a swooning urgency.

 

New Audio: British Indie Act Beat Hotel Releases a Shimmering 80s New Wave-Inspired Single

Split between Brighton, UK and Plymouth, UK, the rising British indie rock act Beat Hotel, which features current and former members of The June Brides, The Loft, The Weather Prophets, Distractions, Mudlow, Mojo Fins and Lolita Storm can trace its origins to when its founding members — The June Brides’, The Distractions’ and The Granite Shore’s Arash Torabi and Paul Pascoe met after a 1988 The Jasmine Minks show.  (Interestingly, many years later, the first Beat Hotel single featured a guest vocal spot from The Jasmine Minks’ frontman Jim Shepherd.) 

Developing a strong live presence in their local scene, the act managed to record a number of demos,  but they didn’t officially release anything until 2013 — the “Best of Our Years”/”The Fire,” double A-side 7 inch, which featured The Loft’s and The Weather Prophets’ Dave Morgan (drums), who then became a permanent member of the band. 

Slated for a January 31, 2020 release through Occultation Records, the band’s long-awaited self-titled EP was recorded at Hove, UK’s Church Road Studios by the band’s Paul Pascoe and features five originals written by Pascoe and a cover of The Wishing Stones’ “Beat Girl.” The EP features guest spots from The June Brides’ Frank Sweeney, who contributes strings and piano and former Mojo Fins member Stephen Brett (guitar), who releases material as a solo artist under the moniker SJ Brett. “Every now and again, we produce something that’s very special to us. These forays into the physical world are usually inspired by a collaboration,” Beat Hotel’s Paul Pascoe says in press notes about the band’s self-titled EP. “This time it was driven by an unexpected creative surge due to the sudden and shocking end of a relationship. I felt like I had to relearn everything about how to be in the world and look seriously at who I actually am. I found comfort in the music that had given me a sense of belonging the first time around. The Jesus & Mary Chain, Echo & The Bunnymen, The Weather Prophets…these songs and songwriters, so familiar to my psyche, were there again to drag me to safety.”

“This collection of songs is about love and near-death and confronting the very worst aspects of ourselves, facing down those inner demons, the fears that haunt us and our deepest, darkest secrets,” Pascoe says of the EP’s material. “And… with one of the tracks beginning its recording journey in 1997 and getting its final guitar overdub and mix in 2019 (in all its 3 minutes 14 seconds of rock’n’roll glory), this record is also a tribute to the awesome power of getting shit done.”

The EP’s latest single “Bury It Deep” is a propulsive and upbeat, hook-driven song centered around layers of shimmering guitars that immediately brings Starfish-era The Church, early-to-mid 80s Echo and the Bunnymen (i.e., Crocodiles, Heaven Up Here and Ocean Rain), The Dream Syndicate and others, as it hints at radio psych rock, New Wave and post-punk in an uncanny period specific fashion. But the song isn’t just another  soulless homage to a classic and beloved sound we’ve grown up with; at its core, the song finds it narrator trying to maneuver a confusing and uncertain world while facing their own demons.

New Video: Night Dreamer’s Contemporary Take on New Wave and Goth

Deriving their name from a composition written and recorded by the legendary jazz saxophonist Wayne Shorter, Night Dreamer is a new collaborative project that combines the divergent talents and musical voices of Smashing Pumpkins’ Jeff Schroeder and Southern California-based classically trained, New Wave multi-instrumentalist and vocalist Mindy Song into one unified, artistic vision. Introduced to each other through mutual friends, the duo can trace the origins of their latest project back to early 2017 when they met up for an experimental session at Schroeder’s Chicago-based studio. . “I had no plan other than to just get together with Jeff and see where things might go,” Night Dreamer’s Mindy Song recalls in press notes. “But then once we got going, it was an immediate explosion of sound and inspiration.”

As the story goes. about an hour into their first time working together, Song and Schroeder came up with “Treasure,” the title track off their forthcoming debut EP, Treasure. Slated for an October 11, 2019 release, the EP was mainly recorded at The Cave Studio with Josiah Mazzaschi, a producer, mixer and engineer, who’s worked with The Jesus and Mary Chain and Built to Spill among others — and the EP’s material reportedly finds the band meshing elements of dream pop, noise, heavy metal, goth and New Wave among others. Interestingly, each individual track is imprinted with a singular sonic aesthetic that came about roughly halfway through the Treasure EP recording sessions.“At first we went down a more traditional route in the recording, with live drums and live bass, but then Mindy asked if she could mess around with those tracks and take it in a different direction,” Schroeder recalls.

Working on her own after Schroeder returned to Chicago for tour rehearsal, Song started to reshape the material through the use of drum machines and synths, which managed to amplify the intensity of Schroeder’s guitar playing. “Usually it’s difficult to blend guitar with electronic music in a way that works,” says Schroeder. “But what Mindy sent back to me was so much more exciting than what we’d done before, and put us on a completely different trajectory.”

Treasure’s first single is the shimmering and mesmerizing “Another Life.” Centered around buzzing guitars, tweeter and woofer rattling 808-like beats and Mindy Song’s expressive and plaintive vocals, the song feels like a subtle modernization of the work of New Wave/goth titans like Sixousie and the Banshees and The Cure — but instead of wallowing in the darkness, the song manages to have an upbeat message of rising above one’s currently shitty circumstances, that things do get better in time.

Directed by John Isberg, the recently released video finds the members of Night Dreamer performing the song in an abandoned loft. Shot in warm yet simultaneously soft light, the video finds the duo escaping into the emotion and message of the song.

New Audio: Reykjavik’s Kælan Mikla Releases Live Concert-based Visual for Industrial Synth Wave-Inspired Single

Over the past handful of months this year, I’ve written a bit about the up-and-coming Reykjavik, Iceland-based synth-based post-punk trio Kælan Mikla. Last year was a breakthrough year for the Icelandic act: they played a set at The Netherlands’ Roadburn Festival, were championed by The Cure’s Robert Smith and toured with King Dude, and as you may recall, all of that happened before the release of Nótt eftir nott. 

The members of Kælan Mikla are currently in the middle of a lengthy Stateside tour that included a New York area stop last night. (You can check out the remaining tour dates below) Sadly, I had to miss that one — but in the meantime, the trio’s latest single off Nótt eftir nott is the brooding  “Hvernig kemst ég upp.” Centered around layers of arpeggiated synths, a motorik-like groove, tweeter and woofer rocking low end, thumping beats, the industrial-leaning, synth-driven track finds the Icelandic act employing a sound that will likely bring early Depeche Mode and New Order immediately to mind. 

New Video: METZ Releases an Explosive Take on a Gary Numan Classic

I’ve written quite a bit about the Toronto-based punk trio and JOVM mainstays METZ over the years and if you’ve been frequenting this during that same period, you may recall that their third album, 2017’s Strange Peace found the band pushing their songwriting in new directions with their most personal and politically charged work to date — and while retaining the furious and blistering energy of their live sets, the material managed to capture the anxiety, uncertainty, fear and outrage that many of have felt over the past couple of years. 

Earlier this year, Sub Pop Records released Automat, a collection of METZ’s non-album singles, B-sides and rarities dating back to 2009 on vinyl for the first time — including, the band’s long out-of-print (pre-Sub Pop) recordings. Essentially, the album is designed as a chronological trip through the acclaimed Canadian JOVM mainstays lesser-known material. Interestingly, the vinyl version of Automat included a bonus 7′ single of the band covering three very diverse songs, which will offer fans and listeners a glimpse into their wide-ranging tastes — a cover of Sparklehorse’s “Pig” off a very limited 2012 Record Store Day split single, originally released by Toronto-based record store, Sonic Boom; a cover of The Urinals’ “I’m a Bug” originally released on YouTube in 2014′; and lastly, a previously unreleased cover of Gary Numan’s “M.E.” Today, the three bonus tracks were made available to all digital services. So with that in mind, check out METZ’s explosive, feedback-driven take on Gary Numan’s classic “M.E.” 

Featuring a three-headed Pleasure Principle hydra illustrated by Kirin Booth and animation by Martin MacPherson, the recently released video for “M.E.” is a mesmerizing and hallucinogenic romp.

Manchester UK-based singer/songwriter and multi-instrumentalist Nathan Till is the creative mastermind of the buzz worthy dark wave recording project Ghosts of Social Networks. Citing the likes of The Cure, Bauhaus, Echo and the Bunnymen, Nick Cave, The National and Radiohead, the project according to Till upcycles old-school forms of songwriting while applying a fresh sonic veneer to them, reportedly pairing innovation with a timeless sense of melodicism.

Till’s Ghost of Social Networks debut single “Love Potion” began a string of acclaimed singles praised for their production and overall sound from the likes of BBC Introducing, several zines across the UK and the blogosphere — and he’s received airplay from Steve Lamacq‘s program and BBC 6 Music. All of this built up quite a bit of buzz before the release of his debut EP, My Lucifer.  Interestingly, Till’s latest Ghost of Social Networks single “Don’t Let Me Down” manages to effortlessly recall Heaven Up Here-era Echo and the Bunnymen, as its centered around a brooding and forceful rhythm section, angular guitar lines, an anthemic hook, the song captures a tempestuous and swooning love affair — the sort in which the song’s narrator may recognize will end in disaster.

 

New Audio: JOVM Mainstays Plague Vendor Releases a Shimmering and Sci Fi Take on Post Punk

Over the past few years, I’ve written quite a bit about the Whittier, CA-based post-punk/ punk rock quartet Plague Vendor. And as you may recall, the act which is comprised of f Brandon Blaine (vocals), Luke Perine (drums), Michael Perez (bass) and Jay Rogers (guitar) formed back in 2009, quickly developing a reputation locally and regionally for frenetic and raucous live sets. Eventually, they began playing an increasing number of live shows across California with those shows leading to 2014’s full-length debut  Free to Eat, an album that some critics described as terse, dark and thrashing post-punk.

Bloodsweat, the JOVM mainstays’ 2016 Stuart Sikes-produced sophomore album landed at number 2 on that year’s Best of List, thanks in part to frenetic and anthemic album singles  “ISUA (I Stay Up Anyway)“, “Jezebel” and “No Bounty,” which were delivered with a blistering and forceful swagger. Two years passed before the band released two singles “I Only Speak in Fiction,” and “Locomotive,” which were recorded with Epitaph Records’ head and Bad Religion’s Brett Gurewitz and Morgan Stratton, which served to revitalize the band and restore their focus before joining  acclaimed producer John Congleton for the By Night sessions.

The band’s third full-length album, which is slated for a June 7, 2019 release through Epitaph Records finds the band stretching and warping their sound to evoke a merciless and unrelenting sense of tension and apprehension that should feel familiar in our current sociopolitical moment. “New Comedown,” the third album’s first single was an explosive roar, centered around a propulsive rhythm section, thunderous drumming, layers upon layers of power chords, a mosh pit friendly hook and Blaine’s howled vocals — and while bearing a resemblance to the singles recorded with Gurewitz and Stratton, the song reveals some of the most confident and self-assured songwriting and playing of their growing catalog.

Sonically, the album finds the band meshing the powerful but polished sound of contemporary rock with the countless reinterpretations of classic punk and post punk — while being encouraged by Congleton to push their sound and approach in new directions: in fact, the band employs the use of chorused band in endless waves, lighting strike flashes of synth, motor man-machine drums and even a string section.

Interestingly, By Night‘s second and latest single is a shimmering yet brooding and tense bit of post-punk centered around motorik-like drumming, buzzsaw-like guitars and a shout-along-worthy hook — and while bearing an uncanny resemblance of The Cars, the futuristic, sci-fi punk song captures a narrator, who has partied and fucked around to the point of losing what’s left of the sanity.

New Video: Introducing the Moody Joy Division-like Synth Pop of Turkey’s Jakuzi

Istanbul, Turkey-based synth-wave duo Jakuzi, which is comprised of Kutay Soyocak and Taner Yücel can trace its origins to when Soyocak and Yücel started the act in 2015 as a way for them to move away from their previous punk rock-leaning projects. When they released their debut cassette in 2016 Fantezi Muzik  no one seriously expected it to leave their immediate circle of friends and associates; however, the tape caught the attention of City Slang Records, who re-released the debut with new tracks the following year — and the album began to receive praise from internationally recognized media outlets, including The Quietus and The Guardian, and the band played sold-out shows with their musical idol John Maus. 

Fantezi Muzik’s material found the band going against the grain of what’s  expected from a male-fronted Turkish act. While most male-fronted acts from the duo’s homeland aren’t typically known for being introspective, Soyocak and Yücel’s work, which has been centered by a gothic sensibility, addressed the personal and psychological issues they were facing. 

Ironically, despite achieving the sort of success that most indie bands would probably kill for, the duo found themselves dealing with a number of challenging issues. Being musicians in their homeland is extremely challenging economically and personally  — and because their songs are written and sung entirely in their native Turkish, the language that Soyocak feels he can best express himself, the opportunities are limited. Currently, there aren’t playlists for Turkish DYI dream pop/dark wave/synth wave acts, their songs aren’t played on traditional radio shows and there isn’t a mass market for attending punk rock shows.  And although they’ve been frustrated and even demoralized, they have refused to give in; in fact, their long-awaited and forthcoming sophomore album Hata Payi (which literally translates as “part of the mistake”) reportedly finds the band delving deeper and making further explorations into the feelings and thoughts they touched upon in their debut — namely, what it’s like to be a young adult in Istanbul, having success and then having to live up to expectations, being an artist in a country that doesn’t quite get or support your work, managing personal relationships as you get older and mental health; but with a refined, darker sound. “I think my melancholy comes partly from where I live,” the band’s Kutay Soyocak says in press notes. “This can be seen in the lyrics. I sometimes feel dark, lost and lonely as everyone. Here, the economy and politics make me feel hopeless sometimes. The future seems blurry but we try to keep our hopes high and continuing what we do. The audience is getting bigger every day and they support us and it is just pure love in our gigs.’’

Interestingly, “Toz,” the second and latest single off Hata Payi immediately brings Joy Division to mind, as the song is centered around shimmering and arpeggiated synths, stuttering beats, an angular and propulsive bass line, a big hook and Kutay Soyocak’s sonorous yet achingly sad baritone — and although the lyrics are completely in his native Turkish, the song evokes a loneliness that is deeply universal. 

Directed by Eli Kasavi, the recently released video for “Toz” stars a brooding and lonely Kutay Soyocak dancing alone in a room with flickering spotlight. As Kasavi explains in press notes. “It’s connected to the band’s previous video “Şüphe” where the main character watched a dancing couple with a feeling of doubt. That character has left that place now and is dancing by himself.”

New Video: Fawns of Love Return with a Trippy and Bittersweet Rumination of Permanence

Last October, I wrote about the Bakersfield, CA-based indie act Fawns of Love, and as you may recall, the act, which is comprised of married duo and full-time educations Joseph and Jenny Andreotti have performed together for the past 16 years (and married 13 of those 16), writing, recording and touring under various names with releases through several different labels. Back in 2013, Jenny Andreotti enrolled in a graduate school history program, and as a result the duo went on a lengthy hiatus from music; but by 2017, The Andreottis decided it was time to get back into music, starting anew with a brand new band name. 

The duo’s latest album Permanent was released earlier this week through Test Pattern Records, and the album is the follow-up to their EP documenting their Part Time Punks live session, which featured a cover of The Chills‘ “Rocket Science.” However, the material on Permanent is inspired by deeply personal experience. “For the past year, my life has been in a complete flux,” the duo’s Jenny Andreotti explains in press notes. “People have moved away, relationships have changed, and this has challenged my belief that people’s love for you is permanent.”

Album single “Someday” was a chilly and woozy 4AD Records-like track centered around shimmering synths and guitars, four-on-the-floor beats and a motorik groove paired with Jenny Andreotti’s ethereal falsetto. “Mournful Eyes,” continues in a similar vein as its predecessor as the song features arpeggiated synths, thumping beats, shimmering New Order-like guitar chords, while Jenny Andreotti’s vocals float over the icy mix. Sonically, the song is a slick and seamless synthesis of New Wave, psych pop, and goth, but with a bitter recognition — that nothing is permanent, that nothing lasts forever. As Jenny Andreotti explained in an interview on HighClouds, “‘Mournful Eyes’ fits into the LP theme of ‘permanency’ or realizing that nothing really is. To help represent this theme we used the 1970s psychedelic film, Life is Flashing (Before Your Eyes) by Vincent Collins to help illustrate this visually. Nothing is permanent in Collins’ films. Shapes and characters are constantly morphing and warping into new psychedelic shapes and colors throughout his film.”