Tag: Nirvana

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. 

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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. 

New Video: JOVM Mainstays Russian Baths Return with a Disturbing Visual for “Parasite”

Over the past 18 months or so, I’ve written quite a bit about the the Brooklyn-based JOVM mainstays, Russian Baths. And as you may recall, with the release of their debut single “Ambulance,” the act comprised of Luke Koz, Jess Ress, Evan Gill Smith and Jeff Widner quickly received attention locally and elsewhere for a sound that the band has described by some as nodding at Big Black, 70s space rock, Big Muff and British post punk among others. The Brooklyn-based JOVM mainstays released their debut EP Penance last year through Good Eye Records and from EP singles “What’s In Your Basement,” “Slenderman” and “Poolhouse,” the band established a sound that recalled brooding, 120 Minutes-era alt rock. 

Russian Baths’ full-length debut is slated for release later this year, and the album’s first, official single”Parasite” may arguably be the one of the most muscular and grunge-like songs of the band’s growing catalog, as the song is centered around distortion pedal-drenched power chords, thundering drumming, a mosh pit friendly hook and male-female harmonizing within a tried-and-true, alt rock, alternating quiet, loud, quiet song structure. And while bringing Nirvana, The Breeders and others mind, the song has a deeply unsettling and violent air, capturing someone on the verge of destroying themselves.

Interestingly, the recently released video for “Parasite” follows an incredibly dysfunctional and parasitical relationship between two women, one who has just left a hospital for some unknown treatment or procedure.  Throughout their day together, the healthier woman takes her friend’s medication, frequently teasing and mocking her friend, who by the end of the video collapses. “Have you ever had an insect burrow into your brain and force you to drown yourself? Cured a headache with a hand grenade?” Koz says in press notes about the single and the accompanying video. “This song is about these legitimate questions.”

New Audio: Warish Returns with Two Mosh Pit Friendly Rippers

Over the past 14 months or so, I’ve written a bit about the Southern California-based punk trio Warish, and as you may recall, the trio which features founding members Riley Hawk (guitar, vocals) and Bruce McDonnell (drums) formed earlier this year, when its founding duo wanted to try their hand at something a bit more distinct than they’d previously 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 self-titled debut EP, earlier this year the band quickly established themselves for crafting scuzzy, mosh pit friendly rippers with an aggressively sleazy Troma Films-inspired vibe. 

Building on a growing profile, the Southern California-based punk trio will be releasing their sophomore EP through RidingEasy Records –and while we’re waiting for the specifics, Warish has released the “Runnin’ Scared”/”Their Disguise” double single, which I think will further cement their growing reputation for crafting scuzzy, power chord-based, eardrum destroying, mosh pit rippers — but these two latest singles may be among the most furious tracks they’ve released to date. 

Comprised of Titus Brown, Matt Lambert and Jim Crook, the Atlanta, GA-based indie rock All The Saints can trace their origins back to Alabama, where they were raised on a diet of Crimson Tide/SEC football and loud “college rock.” In the early aughts, Brown, Lambert and Crook relocated to Atlanta, where they were signed by Touch & Go Records; in fact, they have the distinction of being the last band signed to the label before it shut down daily operations.

Over the next decade, the members of All The Saints honed their craft while developing an expansive, explosive sound, which made their live show a must-see; however, over the past few years, live gigs became infrequent. Interestingly, the folks at Chunklet Industries contacted the Atlanta-based act and suggested that the band should work on a full-length album with Jason Kingsland, an acclaimed producer, who has worked with Deerhunter, Band of Horses and others.

Slated for release next month, the Atlanta-based indie rock trio’s long-awaited third full-length album Look Like You’re Going Somewhere was recorded over the course of three days at Maze Studios, and the album reportedly at parts finds the band sounding like Spacemen 3, The Jesus Lizard, Sonic Youth and Sleep simultaneously — all while capturing their live sound.

“Creak,” Look Like You’re Going Somewhere‘s expansive and thunderous lead single is a smoldering and murky track centered by a a serpentine bass line, a slow, driving rhythm and shimmering guitars, snarled and howled vocals before ending in scorching feedback reminiscent of Nirvana’s “Radio Friendly Unit Shifter” — but at its core is a uneasy, sinister vibe.

 

New Video: Two from Grunge Legends L7

Currently comprised of founding members Donita Sparks (vocals, guitar) and Suzi Gardner (guitar, vocals) along with Jennifer Finch (bass) and Demetra Plakas (drums), the acclaimed and pioneering, Los Angeles-based grunge act L7 can trace their origins back to 1985, a full year after Gardner had contributed backing vocals to Black Flag’s “Slip It In.”

Once Sparks and Gardner formed the band, they were added by Finch and Roy Koutsky (drums). Koutsky left shortly after and was briefly replaced by Anne Anderson (drums) in 1988. After Anderson left the band, Plakas became the band’s permanent drummer. Although they formed Rock for Choice, a pro-choice women’s rights group that was supported by the likes of Pearl Jam, Red Hot Chili Peppers, Nirvana, and Rage Against the Machine, they’re best known for their third album, 1992’s Butch Vig-produced Bricks Are Heavy, which featured their seminal track (and smash hit) “Pretend We’re Dead.” “Pretend We’re Dead” spent 13 weeks on the US Alternative Charts, peaking at #8 and reached #21 on the UK Singles Chart.

After the release of 1994’s Hungry for Stink, which was supported by that year’s Lollapalooza tour with Smashing Pumpkins and The Breeders, the band went through a number of lineup changes: Finch left the band during the recording of 1997’s The Beauty Process: Triple Platinum, an album that featured bass playing by Sparks and Greta Brinkman; however, Belly’s Gail Greenwood joined the band.

1999’s Slap-Happy didn’t chart on either side of the Atlantic, and sometime after the release of that album, the Los Angeles-based grunge band went through yet another lineup changes with Greenwood leaving the band to be replaced by Stone Fox’s Janis Tanaka, who later played bass in Pink’s and Bif Naked’s backing bands.

By 2001, the members of L7 weren’t touring and were on an indefinite hiatus. During that time Sparks formed a new band, Donita Sparks and The Stellar Moments while Finch was a member of punk rock act The Shocker. Simultaneously during that period, Sparks was working on a documentary on the band, which was rumored to have a 2014 release date. And interestingly enough, by the end of 2014 the band announced that they would reuniting featuring the lineup with which they achieved their biggest success — Sparks, Gardner, Finch and Plakas.

The reunited L7 toured Europe and North America with a number of stops across the international circuit in 2015 including Germany’s Rock am Ring, Riot Fest stops in Denver and Chicago, and Austin’s Fun Fun Fun Festival.  The Sarah Price-directed L7 documentary, L7: Pretend We’re Dead was released in 2016 while the band was on a busy tour schedule throughout both 2016 and 2017.

Building upon the growing buzz surrounding the reunited band, the members of the Los Angeles-based grunge outfit released “Dispatch from Mar-a-Lago,” their first new song in almost 18 years in September 2017. They followed that up with “I Came Back to Bitch,” which was released in February 2018. The band’s recently released seventh album Scatter the Rats is the first album from the Los Angeles-based grunge outfit in 20 years and from album singles “Burn Baby” and “Stadium West,” the new album is sort of a return to form: scuzzy and distorted power chords, thunderous drumming, snarled lyrics and rousingly anthemic hooks. And interestingly enough, both singles reveal that the members of L7 have had a massive influence on contemporary indie rock — you can hear L7’s influence in the work of JOVM mainstays The Coathangers, Sharkmuffin, Dream Wife and others. 

New Video: Dublin’s Submotile Releases a Lysergic “120 Minutes”-like Visual for “Eastern Sky Sundown”

Comprised of Irish-born, Dublin-based Michael Farren (guitar) and Italian-born, Dublin-based Daniela Angione (vocals), the Dublin-based indie act Submotile initially began as an experimental, ambient project. The project’s sound evolved considerably when Angione began to add vocals to Farren’s guitar experiments, which eventually resulted in their first proper collaborative track “Signs of My Melody.”

The duo’s debut EP We’re Losing The Light was released to significant interest in shoegazer circles. Farren and Angione were encouraged to pursue their long-held dream — writing and recording a proper full-length album. Released digitally a few weeks ago, the duo’s full-length debut Ghosts Fade on Skylines finds the duo blurring the lines between shoegaze, noise rock, ambient, post-rock and pop — all while drawing from Slowdive, Warpaint, Smashing Pumpkins, Swans, Spiritualized, Nirvana and others. “We wanted an album that ebbed and flowed, with nine diverse songs that complimented each other without being too different from each other. The idea behind the music is to express the dualism of warmth over hostility, passion over frustration, all these dynamics projected onto a sense of hope and renaissance. I’m not sure if we succeeded, but hopefully it works,” Daniela Angione says in press notes.

“Having quit music in 2009 due to the frustration of never having been able to translate the sounds in my head to tape, Ghosts Fade on Skylines was recorded during a wonderful period of rebirth and rejuvenation, a period where I was discovering all the great new music that was out there, whilst simultaneously finding out just how far music production technology had evolved,” Michael Farren explains in press notes. “This evolution allowed us to come that bit closer to the sound in our heads, enabling us to labor over songs, adding hundreds of tracks and experimenting with samples, guitar pedals and tones – many a happy hour was whiled away tracking this music. If someone out there enjoys listening to it a fraction as much as we enjoyed making it, then to me it’ll be a success.”

Interestingly, the album’s latest single, the immersive and enveloping “Eastern Sky Sundown” is centered by layers upon layers of buzzing and reverb-drenched guitars, four-on-four-like drumming, a rousingly anthemic hook and Angione’s ethereal vocals floating over the lysergic and oceanic mix — and while bearing an uncanny resemblance to The Jesus and Mary Chain and Smashing Pumpkins, the track bristles with the newfound self-assured of a band that found their sound. Unsurprisingly, the recently released video for “Eastern Sky Sundown” features appropriately psychedelic imagery while recalling 120 Minutes-era MTV alt rock.

Look for a limited edition run of Ghosts Fade on Skyline through Midsummer Madness Records this summer.