Tag: Oasis

New Video: SSHH Returns with a Club Banging Industrial Electronica-Influenced New Single Paired with Trippy Visuals

Comprised of Bondi, Australia-born, London UK-based Sssh Liguz (vocals) and Zak Starkey, the son of Ringo Starr, a multi-instrumentalist, best known as a touring drummer for The Who and Oasis (guitar), the London-based electro punk duo SSHH received attention with the release of their 2016 debut effort, Issues, which featured the duo collaborating with some of rock’s most renowned rhythm sections, including members of The Sex Pistols, Mott the Hoople, the backing bands of Marilyn Manson and Peter Tosh — to benefit charity.

The propulsive, industrial techno-like single “Rising Tide” which features heavily arpeggiated synths with thumping, tweeter and woofer rocking beats and an infectious hook is the duo’s first bit of new material since Issues and the club banger was born, as Liguz told Earmilk “from a fiery argument” while “driving in a heavy rainstorm.” “I remember being furious beyond belief. Not only because we were having a huge fight, but because even though we were acting like assholes to each other, I couldn’t stop thinking how much I loved him,” Liguz recalled. “Just like I couldn’t stop the rain from falling, or the stars from shining, I just can’t stop loving this man!” Liguz continued, “There is anger in the happiness and a little hate in the love. At the end of the day, passion rules.” And as a result, the song possesses a raw and unbridled tension at its core, influenced by the tempestuous push and pull between love and hate in a fiery and passionate relationship.

BMG released the single globally today, and the single comes with 7 additional remixes and re-workings of the tracks, including re-workings by the likes of YOUTH, Sondrio, Acaddamy, Secret Space, Jevo,  and the members of SSHH.

Co-directed by the band and Billy Zammit, the recently released video for the song manages to subtly draw from rave and electronica culture, as well as psych rock, as it features the duo performing the song in strobe lights and projections.

 

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New Video: Watch Game of Thrones’ Lena Headley Party with King Richard III in Hilarious Visuals for Kasabian’s Swaggering New Single Ill Ray (The King)”

Currently comprised of founding members Tom Meighan (vocals), Sergio Pizzorno (guitar, vocals), and Chris Edwards (bass) with Ian Matthews (drums), the Leicester, UK-based indie rock/dance punk act Kasabian initially formed under the name Saracuse and  derive their name from Linda Kasabian, a member of the infamous Charles Manson cult. As the band’s Chris Edwards explained in an interview with Ukula, their former guitarist Chris Karloff had been reading up on Charles Manson, and the name Kasabian just stuck with him. “He thought the word was cool, it literally took about a minute after the rest of us head it . . . so it was decided.”  And although the band has gone through several lineup changes — at one point being a quintet before settling on its current lineup, the band can trace its origins to when its founding trio met while attending Countesthorpe Community College. 
The founding trio along with a rotating cast of studio drummers recorded their Scott Gilbert-produced demo EP,  which was finished in December 1998 and featured three songs “What’s Going On,” “Life of Luxury” and “Shine On.” After making their first live appearance to celebrate Edwards’ 18th birthday, the band was signed to BMG by London-based DJ and producer Sam Young, who took over managerial duties for a period of time before both sides had a massive falling out. Since then the band has released six studio albums — 2004’s self-titled debut, 2006’s Empire, 2009’s Pauper Lunatic Asylum, 2011’s Velociraptor!, 2014’s 48:13 and For Crying Out Loud, which was released earlier this year — all of which have further cemented the Leicester-based act’s reputation for crafting a sound that’s been described as a mix between The Stone Roses, Primal Scream and Oasis and for a critically applauded live show. Along with that, the band has managed to be commercially successful in the UK as they received a Brit Award for Best British Group in 2010, won two Q Awards for Best Act in the World Today in 2010 and 2014, as well as one Best British Band at 2007’s NME Awards. 

Produced by the band’s Sergio Pizzorno and recorded at his Leicester-based studio the Sergery, For Crying Out Loud has proven to be commercially successful, as it’s the band’s fifth #1 album on the UK Album Charts, thanks to the success of its first two singles “You’re In Love With A Psycho” and “Bless This Acid House,” both of which continue the band’s reputation for crafting swaggering, arena-friendly rock with shout worthy, crowd rousing hooks. Interestingly, album opening track and latest single “Ill Ray (The King)” is full of hip-hop inspired swaggering braggadocio paired with club-banging beats, buzzing guitars, rousing shout and stomp friendly hooks with a surprisingly disco/psychedelic house-inspired bridge — and as a result, it possesses a riotous “we’ll stomp the shit of you” vibe, reminiscent of Queen’s “We Will Rock You.” 

The recently released video was written and conceived by the band’s Sergio Pizzorno and features three-time Emmy Award-nominated actor Lena Headley, who’s best known for playing Queen Cersei in Game of Thrones. The video follows Lena’s character as she meddles with the occult in a weird ploy to bring King Richard III, who was buried in Leicester, back from the dead. And in case you ever wondered what it might be like to drink way too much with a British royal, who has been dead for over 500 years, this video may be your primer. 

With the release of the attention grabbing single “Rose Coloured Glasses” off their debut EP, Melbourne, Australia-based indie rock quintet Smoke Rings saw a rapidly growing national profile, thanks to airplay and praise from Triple J‘s Richard Kingsmill and Dom Alessio, along with airplay on Triple J’s sister station Double J and community radio stations. Adding to a growing profile, the band has played shows with a number of nationally recognized bands in their homeland including Northeast Party HouseMoses Gunn Collective, Green Buzzard, Jarrow and Good Boy — and they have upcoming tour dates with Siamese and Ali Barter throughout September and October.

 

Produced by Malcolm Besley, who has worked with City Calm Down and The Creases, the Aussie quintet’s latest single “Happiness” off their double A side 7 inch “Go To Hell” will further cement their reputation in Oz for crating anthemic, power chord-based, Brit Pop-inspired tunes, complete with the same sort of swaggering bombast and bitter irony.  And while being warmly familiar — the track will remind some folks of Blur, Oasis and others — the Melbourne-based quintet have a subtle yet unique take to it, as the song carries an earnest yearning within its core.

 

New Video: JOVM Mainstays The Veldt Return with Hallucinogenic Sounds and Visuals for “One Day Out of Life”

Now, if you’ve been frequenting this site over the course of the past 12-18 months or so, you’ve likely come across a handful of posts featuring the pioneering, Raleigh, NC/NYC-based sheogazer rock quintet The Veldt. Currently comprised of founding members, primary songwriters and identical twin brothers Daniel Chavis (vocals, guitar) and Danny Chavis (guitar) and Martin Levi (drums), along with along with Hayato Nakao (bass) and Frank Olsen (guitar), the band can trace their origins back to the Chapel Hill, NC music scene of the late 80s and early 90s — a scene that included Superchunk, arguably the most commercially successful and best known of the acts from that region, Polvo, Dillon Fence, and others.

With the band’s initial lineup featuring the Chavis Brothers and Levi, along with Joseph “Hue” Boyle (bass) and later David Burris, the members of The Veldt managed to be a rarity as a shoegazer rock band that prominently featured black men in a place and time, in which it was considered rather unusual, if not extremely uncommon — and they hailed from the South. Interestingly enough, the band quickly attained “must-see” status and with the 1992 release of their full-length debut Marigolds, the band saw a rapidly expanding national profile as the members of the band were profiled by MTV as a buzz-worthy act. And as a result, the then-Chapel Hill-based band earned a much more lucrative recording contact with Polygram Records, who in 1994 released their highly-acclaimed Ray Shulman produced sophomore effort Aphrodisiac. Thanks in part to being on a major label and to a pioneering sound that meshed elements of old-school soul, shoegaze, Brit Pop and early 90s alt rock, the band found themselves on the verge of international and commercial success opening for the likes of The Jesus and Mary Chain, Lush, Oasis, Cocteau Twins, Pixies, Fishbone, Corrosion of Conformity and others; however, the members of the shoegazer quintet experienced embittering difficulties and infighting with both their label and their management, who repeatedly told the band that they found them “too difficult to market.” And as a result, the band was dropped from Polygram and subsequently from two other labels.

While going through a series of lineup changes, the band released two albums, Universe Boat and Love At First Hate before officially going on a lengthy hiatus in 1998. Now, here’s where things get rather interesting: Several years later, the Chavis Brothers had resurfaced in New York with a new project Apollo Heights, which began to receive attention locally for a sound that effortlessly meshed soul, trip-hop and electronica with shoegazer rock — and for their Robin Guthrie (of Cocteau Twins)-produced debut effort, White Music for Black People, which featured the band collaborating with Guthrie, Mos Def, Deee- Lite‘s Lady Kier, TV on the Radio‘s Dave Sitek, and Mike Ladd. And although the members of The Veldt have toiled in varying amounts of relative obscurity over the past 20+ years, the Chavis Brothers’ and their bandmates’ work has managed to quietly reverberate, becoming much more influential than what its creators could have ever imagined as members of internationally renowned acts Bloc Party and TV on the Radio’s Dave Sitek have publicly claimed the band as influencing their own genre defying sound and aesthetic.

Last year may have been arguably one of the bigger years of the band’s history as the members of the recently reformed band released several singles off the first batch of new original material in almost 20 years, The Shocking Fuzz of Your Electric Fur: The Drake Equation Mixtape — in particular the swooning “Sanctified” and the sultry and moody “In A Quiet Room” which revealed a subtle yet noticeable meshing of the early shoegazer sound of The Veldt with the trip-hop and electronic-leaning sound of Apollo Heights. Building upon the buzz of those singles, the members of The Veldt went on several tours, including one in which they opened for The Brian Jonestown Massacre and others — and much like the resurgence of Detroit-based proto-punkers Death, the Chavis Brothers and company firmly reasserted their place within both Black musical history and within musical history in general, making a vital connection between The Jesus and Mary Chain, The Cocteau Twins, The Verve, Fishbone, Marvin Gaye, Prince and TV on the Radio among others.

The Raleigh and New York-based band began 2017 with the “Symmetry”/”Slow Grind” 7 inch vinyl single, which North Carolina-based indie retail store and label Schoolkids Records will be releasing exclusively for Record Store Day. “Symmetry” was a slow-burning Quiet Storm soul meets shimmering and moody shoegaze single in which Daniel Chavis’ ethereal crooning placidly floats over a stormy mix of swirling electronics, stuttering beats, a propulsive bass line and shimmering guitar chords — and throughout the song there’s a urgent and plaintive yearning that’s forcefully visceral. “Slow Grind” was a swaggering yet dreamy and slow-burning bit of shoegaze featuring staccato bursts of stuttering beats, deep low end, swirling electronics, shimmering guitar chords and distorted vocals to create a sound that evokes the sensation of being submerged in a viscous substance — or being enveloped by sound. Building on the growing attention they’ve received, the band released their third single of 2017 and The Drake Equation Mixtape’s third single “One Day Out of Life” continues in a similar vein as its a atmospheric, slow-burning and soulful bit of shoegaze in which live instrumentation — namely effect pedaled guitar is paired with shimmering undulating synths and swirling electronics over which Daniel Chavis’ plaintive falsetto float over. And much like their previously released material since their reformation, their sound seamlessly meshes Quiet Storm-era R&B sentiment with moody shoegaze.

Produced and directed by Neoilluionsist artist Niilarty De Osu is an equally hallucinogenic day in the life of a woman, as she walks through a subway corridor — based on its length, it could be a few stops, 14th and 7th Avenue? 4th Avenue and 9th Street, Brooklyn? 42nd Street? It’s a haunting and trippy visual compliment to the song.

Preview: Secret Solstice Festival 2017

With its inaugural run back in 2014, Reykjavik, Iceland’s Secret Solstice Festival has quickly become one of Iceland’s largest music festivals, featuring a diverse and eclectic array of established and internationally recognized artists, locally renowned acts and up-and-coming artists from all over the globe, performing in one of the most unique backdrops in the entire world – the roughly 72 hour period of near constant daylight Iceland experiences during the Summer Solstice, because of its proximity to the Arctic Circle. (After all, Reykjavik is the northernmost capital and administrative region of the northernmost country in the entire world.) Building upon its growing reputation as one of the world’s most unique music festivals, the fourth edition of the festival may arguably be one of the biggest and most diverse lineups to date as it includes Foo Fighters, Rick Ross, the UK electronic act The Prodigy, The Verve’s former frontman Richard Ashcroft, Pharoahe Monch, Chaka Khan, Foreign Beggars, Dubfire, Novelist, Rhye, Dusky and Chicago house music artist Kerri Chandler. Along with those artists, some of Iceland’s renowned acts, including Högni, Úlfur Úlfur, Amabadama, Emmsjé Gauti, GKR, Tiny, Aron Can, KSF, and Alvia Islandia will be performing. And adding to the 72 hour party vibe, the festival’s organizers have planned a series of electronic dance music takeovers and showcases featuring some of the world’s best party crews – including Ibiza’s Circoloco, Above & Beyond Records’ deep house imprint Ajunadeep Records’ dance floor collective Crew Love, ATG and Dubfire’s SCI+TEC among others.
Interestingly, for the second consecutive year, Secret Solstice is currently the only major music festival in the world to be certified CarbonNeutral®, as the festival sources almost all of their power needs from the use 100% renewable geothermal energy, hybrid vehicles provided by Toyota Iceland – and from offsetting any residual emissions through the purchase of high quality, verified carbon credits. Unlike any other festival I’ve attended or heard of, festivalgoers and artists alike can know that they’re being environmentally responsible while partying and catching some of the world’s most interesting artists. Of course, during a multi-day festival like Secret Solstice, it’s difficult and damn near impossible to catch everyone and everything, so consider me as a helpful guide – with some information on artists I’d love to catch while in Reykjavik.

New Video: JOVM Mainstays and Shoegaze Pioneers The Veldt Return with a Lush Seductive and Moody Record Store Day 7 inch

Now, if you’ve been frequenting this site over the course of the past 12-18 months, you’ve likely come across at least one of a handful of posts featuring the pioneering, Raleigh, NC/NYC-based sheogazer rock quintet The Veldt. Currently comprised of founding members, primary songwriters and identical twin brothers Daniel Chavis (vocals, guitar) and Danny Chavis (guitar) and Martin Levi (drums), along with along with Hayato Nakao (bass) and Frank Olsen (guitar), the band can trace their origins back to the Chapel Hill, NC music scene of the late 80s and early 90s — a scene that included Superchunk, arguably the most commercially successful and best known of the acts from that region, Polvo, Dillon Fence, and others.

With the band’s initial lineup featuring the Chavis Brothers and Levi, along with Joseph “Hue” Boyle (bass) and later David Burris, the members of The Veldt managed to be a rarity as a shoegazer rock band that prominently featured black men in a place and time, in which it was considered rather unusual, if not extremely uncommon — and they hailed from the South. Interestingly enough, the band quickly attained “must-see” status and with the 1992 release of their full-length debut Marigolds, the band saw a rapidly expanding national profile as the members of the band were profiled by MTV as a buzz-worthy act. And as a result, the then-Chapel Hill-based band earned a much more lucrative recording contact with Polygram Records, who in 1994 released their highly-acclaimed Ray Shulman produced sophomore effort Aphrodisiac. Thanks in part to being on a major label and to a pioneering sound that meshed elements of old-school soul, shoegaze, Brit Pop and early 90s alt rock, the band found themselves on the verge of international and commercial success opening for the likes of The Jesus and Mary Chain, Lush, Oasis, Cocteau Twins, Pixies, Fishbone, Corrosion of Conformity and others; however, the members of the shoegazer quintet experienced embittering difficulties and infighting with both their label and their management, who repeatedly told the band that they found them “too difficult to market.” And as a result, the band was dropped from Polygram and subsequently from two other labels.

While going through a series of lineup changes, the band released two albums, Universe Boat and Love At First Hate before officially going on a lengthy hiatus in 1998. Now, here’s where things get rather interesting: Several years later, the Chavis Brothers had resurfaced in New York with a new project Apollo Heights, which began to receive attention locally for a sound that effortlessly meshed soul, trip-hop and electronica with shoegazer rock — and for their Robin Guthrie (of Cocteau Twins)-produced debut effort, White Music for Black People, which featured the band collaborating with Guthrie, Mos Def, Deee- Lite‘s Lady Kier, TV on the Radio‘s Dave Sitek, and Mike Ladd. (Around that time, I remember reading a profile about the Chavis Brothers in the long-defunct New York Press, a publication that a few years later, I wound up briefly writing for, before their demise. )

And although the members of The Veldt have toiled in varying amounts of relative obscurity over the past 20+ years, the Chavis Brothers’ and their bandmates’ work has managed to quietly reverberate, becoming much more influential than what its creators could have ever imagined as members of internationally renowned acts Bloc Party and TV on the Radio’s Dave Sitek have publicly claimed the band as influencing their own genre defying sound and aesthetic.

Last year may have been arguably one of the bigger years of the band’s history as the members of the recently reformed band released the first batch of new material in almost 20 years, The Shocking Fuzz of Your Electric Fur: The Drake Equation Mixtape, an effort, which revealed a subtle yet noticeable meshing of the early shoegazer sound of The Veldt with the trip-hop and electronic-leaning sound of Apollo Heights as you’d hear on the swooning “Sanctified” and the sultry and moody “In A Quiet Room.” Building upon the buzz of those singles and the EP, The Veldt went on several tours, opening for the likes of The Brian Jonestown Massacre and others, and much like the resurgence of Detroit-based proto-punkers Death, the Chavis Brothers and company firmly reasserted their place within Black musical history and within musical history in general, making a a vital connection between The Jesus and Mary Chain, The Cocteau Twins, The Verve, Fishbone, Marvin Gaye, Prince and TV on the Radio among others.

The Raleigh and New York-based band begin 2017 with the “Symmetry”/”Slow Grind” 7 inch vinyl single, which North Carolina-based indie retail store and label Schoolkids Records will be releasing exclusively for Record Store Day. “Symmetry” is a slow-burning Quiet Storm soul meets shimmering and moody shoegaze single in which Danny Chavis’ ethereal crooning placidly floats over a stormy mix of swirling electronics, stuttering beats, a propulsive bass line and shimmering guitar chords — and throughout the song there’s a urgent and plaintive yearning that’s forcefully visceral. The recently released video pairs stock footage from the 1920s, featuring a brooding Flapper-type looking at a mirror and lying down before jelly fish gently undulating in lava lamp-like water take over the screen. We then see two women swimming in perfect symmetry before returning to the video’s initial imagery. And as a result, the video possesses a dream-like logic and vibe.

“Slow Grind” is a swaggering yet dreamy and slow-burning bit of shoegaze featuring staccato bursts of stuttering beats, deep low end, swirling electronics, shimmering guitar chords and distorted vocals to create a sound that evokes the sensation of being submerged in a viscous substance — or being enveloped by sound. The recently released video features a young woman seductively grinding in front of superimposed images of manta rays leaping out of the water and bright, explosions of colors. Certainly with these two releases, and growing attention on the band, I’m looking forward to seeing what else the band will be releasing over the course of this year and onward.

Comprised of Christie Simpson, Sam Perry, Charlie Ryder, Josh Burgess, Yumi Zouma have developed an international profile for crafting breezy and infectious, 80s-inspired synth pop. Recently, the folks at Turntable Kitchen invited the band to take part of their monthly vinyl subscription series Sounds Delicious, in which bands cover any full-length album they love, and reimagine it from front to back. Interestingly, the quartet decided on Oasis‘ 1995 full-length effort, (What’s the Story) Morning Glory?

As the band’s Charlie Ryder told Gorilla Vs. Bear in an interview “Even when we realized that an Oasis album could potentially be an option in terms of something we could actually do in a Yumi Zouma way, we weren’t 100% sure where it would just sound totally ridiculous or not. It wasn’t until we tried the first song we had an initial idea for — ‘Champagne Supernova’ — that we knew we had finally settled on something rad.  Yumi Zouma’s cover turns the anthemic, Brit Pop classic into a mid-tempo, buoyant and ethereal synth pop track with a subtle Tropicalia vibe that retains the original’s anthemic hook and trippy vibe.

 

 

Over the past month or so, I’ve written about the first two singles off the border-crossing, synth pop compilation DRUG BLVD —  ACES‘ slow-burning and tender “Just Cut It Out,” and Astronautica‘s lush and dreamy “Reasons.” Interestingly, the album, which was mastered Barry Grint, who has worked with David BowieRadioheadPrinceOasisBeastie BoysMadonnaGuns ‘N’ Roses and others, the compilation will be the first release from new,  Istanbul, Turkey-based dream pop label Drug Boulevard, founded by Kubily Yigit, the founder of renowned Turkish progressive/trance label Blue Soho Records.

Serving as a Drug Boulevard’s in a attention-grabbing introduction, the record label’s compilation will also introduce global audiences to some up-and-coming talents within electro pop and dream pop including Sydney, Australia‘s Guy Brown. Best known as Mammals, Brown has received a growing profile for a production style that effortlessly shifts between indie rock and electronica, and Brown’s contribution to the compilation is shimmering, slow-burning and atmospheric cover of Telepopmusik’s “Breathe” that’s possesses a haunting, spectral feel.

 

 

 

 

 

Last month, I wrote about ACES‘ first single of 2017. “Just Cut It Out,” a single which will appear on an border-crossing synth pop compilation DRUG BLVD featuring contributions by artists from the US, Australia, the U.K, The Netherlands and elsewhere. Mastered by Barry Grint, who has worked with David Bowie, Radiohead, Prince, Oasis, Beastie Boys, Madonna, Guns ‘N’ Roses and others, the compilation will be the first release from new,  Istanbul, Turkey-based dream pop label Drug Boulevard, founded by Kubily Yigit, the founder of renowned Turkish progressive/trance label Blue Soho Records. The compilation’s second and latest single is a contribution from 23-year-old, Los Angeles, CA-based electronic music artist and producer Edrina K. Martinez, best known in electronic music circles as Astronautica. And as Astronautica, the young, up-and-coming Angelena is one of Alpha Pup Records newest addition to their roster, thanks to a lush and dreamy production style that channels Octo Octa’Between Two Selves and Sade, as you’ll hear on “Reasons” — but paired with thumping house music and 808-like beats.