Tag: Oasis

Comprised of brothers Martin (vocals, guitar) and Mads Rehof (bass), along with high school friends Jacob van Deurs Formann (guitar) and Frederik Lind Köppen (drums), the Copenhagen, Denmark-based quartet Communions can trace their origins to when the Rehof Brothers returned to their native Copenhagen after spending several years in Seattle. The Danish quartet initially received attention across the blogosphere, including the site where they’ve become mainstays, for crafting shimmering and plaintive guitar pop songs that sonically owed a debt to The Smiths; however, instead of the material possessing Morrissey’s bitterly ironic lyrics, the Danish quartet’s material possesses a swooning Romanticism — the sort evoke the urgency of first love.

The Copenhagen-based quartet’s much-anticipated full-length debut Blue is slated for a February 3, 2017 release through renowned indie label, Fat Possum Records and from the album’s latest single “It’s Like Air” reveals a band whose songwriting and sound has evolved, while retaining many of the elements that first won the band attention across the blogosphere as the band pairs the swaggering, enormous power chord and anthemic hook sound of 90s Brit Pop — i.e., The Verve, Blur, Oasis and others — with swooning and urgently Romantic lyrics. And although the song will further cement their reputation for writing material that evokes the fervent passions and confusion of youth, the heart and soul of the song, as well as the entire album is about the fact that both life and love are ultimately about taking a leap of faith, even when you may be scared out of your mind about the end result.

 

 

 

 

 

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New Video: JOVM Mainstays The Veldt Return with Sensual and Moody Visuals for “In A Quiet Room”

Now, earlier this year the newly reformed The Veldt released the first batch of new material in almost 20 years with the release of The Shocking Fuzz of Your Electric Fur: The Drake Equation Mixtape an effort which revealed a subtle meshing of the original The Veldt sound with that of Apollo Heights — and the result is a sound that pairs towering and shimmering guitar chords, tweeter and woofer rocking beats and Danny Chavis’ soulful yet ethereal crooning as you would have heard on the swooning “Sanctified” and their sultry yet moody latest single “In A Quiet Room.” And as those two singles and the tour supporting their EP revealed, the band’s sound manages to make a vital and important connection between The Jesus and Mary Chain, The Cocteau Twins, The Verve, Fishbone, Marvin Gaye, Prince and TV on the Radio among others.

Directed by Toshi Kaneiwa, the recently released music video possesses a painterly quality as the gorgeously shot black and white video features a nude woman brooding and posing in a room. And with each shot, you can almost picture an unseen photographer or painter creating a moody portrait.

New Audio: New Project featuring Oasis’ and The Who’s Drummer Releases a Blistering Cover of The Sex Pistols’ “Problems”

Comprised of vocalist Sshh Liguz and Zak Starkey, Ringo Starr’s son and a touring drummer for Oasis and The Who, SSHH is a musical project in which the duo of Liguz and Starkey recruited some of the most renowned rhythm sections in rock history — including members of The Sex Pistols, Mott the Hoople, the backing bands of Marilyn Manson and Peter Tosh — to record a bunch of covers to benefit charity, an album entitled ISSUES. And the first single is a blistering and forceful cover of The Sex Pistols’ “Problems” featuring The Sex Pistols’ Glen Matlock (bass) and Paul Cook (drums). And while fairly straightforward, the song should remind the listener of how influential the material off Never Mind The Bollocks, Here’s The Sex Pistols remains, as well as how timeless the material is — so timeless that most of the songs manage to feel and sound contemporary.

Comprised of Bert Cannaerts (vocals/guitar), Giel Torfs (guitar/backing vocals), Philippe Corthout (guitar), Robby Geybels (bass) and Stef Gouwkens (drums), Newmoon are an Antwerp and Ghent, Belgium-based indie rock quintet derive their name from an Elliot Smith album, and although they formed in 2013, they can trace their origins to the breakup of locally renowned hardcore punk band Midnight Souls. Certainly, for anyone who may have been familiar with their previous project, Newmoon may superficially appear to be sonic change in direction, a proverbial left turn — despite the fact that reportedly, the band’s influences have almost always been the same: The Jesus and Mary Chain, Slowdive, Ramones, Oasis, and Sunn o))).

Their debut EP was released Touché Amoré’s label Secret Voice/Deathwish Inc. and the reconvened and rebranded quintet quickly built up a profile across the European Union as they’ve toured with the likes of Touché Amoré, Basement, Nothing and Cloakroom, and others. Building upon the buzz they’ve received, the band will be releasing their anticipated full-length debut as Newmoon, Space in October through PIAS Records. And the album’s first single “Head of Stone,” which was written while the band was on a bullet train between Tokyo and Kyoto and is primarily about the feeling of being lost and alone when you confront an impenetrable language barrier — the sort in which you don’t speak or understand a word of that country’s language and the people around you don’t speak your language. As the band’s Bert Cannaerts explains in press notes, “I realised that there’s something very frightening about being in a place where you are unable to connect to people in any way. You cannot understand the language they are speaking; you can’t understand any visual cues. This can make you feel isolated and invisible. The same thing can happen with emotional relationships. They get to a point where people become unable to communicate, and emotions and nuances are lost. This leads to isolation and resentment and people go their separate ways.”

As for the song you’ll hear propulsive, four-on-the-floor drumming, layers upon layers of gently buzzing power chords and anthemic hooks with ethereal vocals bubbling over an enveloping and dreamy sound and to my ears, I’m reminded of My Vitriol‘s FinelinesA Storm in Heaven and A Northern Soul-era The Verve and others — but with a subtly expansive song structure as the song possesses an explosive introduction,  the previously mentioned anthemic hook and a towering bridge with a mind-altering guitar solo.

 

 

 

 

 

Although initially comprised of founding members Marcus Admund (vocals) and Albin Wesley (bass), along with Nikki Nyberg (guitar) and Erik Fritz (drums), Stockholm, Sweden-based quartet Honeymilk formed back in 2012, the band could actually trace their origins to the formation and eventually breakup of Urmas Plant, a band which featured several of the members of Honeymilk. With the release of “It Might Be,” a single produced by Linus Larsson, best known for his work with Peter, Bjorn and JohnMercury Rev and Anna Ternheim, the band quickly received praise across the blogosphere and received radio airplay on several radio stations including Amazing Radio and Oxford College Radio. Interestingly, after the release of “It Might Be,” the band decided to go to the DIY route, recording and producing their own work, including their critically applauded, full-length debut Lean on the Sun.

Now, if you’ve been frequenting over the past couple of years, you may recall that I wrote about Honeymilk and their single “A Scene in Between,” a single that sonically sounded as though it were indebted to Brit pop and British psych rock – in particular, The Stone RosesThe Jesus and Mary ChainThe Verve, and Oasis. Over that time, the renowned Swedish act has gone through yet another lineup change with the band turning into a duo featuring the band’s co-founding member Edmund, along with Nyberg — and understandably with such a massive lineup change, the band has gone through a major change of sonic direction as you’ll hear on their latest single “Time Will Kill You.” With the latest single, the duo sounds as though they were subtly channeling Vampire Weekend and others as ambient synths are paired with a loose, looping guitar line played through reverb and delay pedal, a slinky bass line, an ethereal yet catchy melody and harmony and Admund’s plaintive vocals. And while being incredibly breezy, the song thematically speaking focuses on a profound metaphysical truth that we’re all aware — that time will relentlessly continue onward with or without us.

 

 

 

Initially comprised of cousins Jamie Turner (vocals, bass) and Matt Williams (guitar), along with Mike Mutt (organ) and Adrian Macmillan (drums), Perth, Australia-based psych rock quartet The High Learys can trace their origins to when Turner and Williams met Mutt in high school, with the band recruiting Macmillan to finalize the band’s original lineup back in 2011. With the release of a full-length album and a number of singles the Australian psych rock quartet have received praise both across their native Australia and internationally for a sound that had been described as a contemporary take on 60s psych rock, bubblegum pop and large rock that seemed to draw influence from the likes of  The DoorsThe Who Sings My Generation-era The WhoThe Animals, The TurtlesThe Beatles and contemporary acts such as OasisThe Black Angels, Elephant Stone, Sleepy Sun and others.

In fact, the band quickly became a JOVM mainstay as I wrote about a handful of singles on this site — including “Letters to Alice,” a song comprised of intertwined, twisting and turning guitar and organ chords paired with a propulsive rhythm section and Turner’s  Liam Gallagher-like vocals; “I’m A Fool For You” was their most bubblegum pop-leaning single, which possessed an infectious and sweet melody paired with even sweeter lyrics; and “Clear My Mind,” a single that sounded as though it could have been written, recorded and released sometime during the Summer of Love. Now, it’s been a couple of years since I’ve written about them and in that time the band’s lineup has been shuffled — Macmillan has been replaced by Mitchell J. Benson on drums. And interestingly enough, the band’s latest single “Cabinet” not only marks a change in sonic direction for the band that pushes their 60s-leaning psych rock sound closer to the 21st century and is the first time that the band produced themselves in the studio. Sonically “Cabinet” sounds as though it draws from My Gold Mask and Elephant Stone’s most recent releases, as the band pairs guitars and organ played through distortion and effects pedals, thundering drumming and an anthemic hook. In some way, the song sounds as though it were recorded in an enormous empty room with the instrumentation reverberating off the walls and back down to the musicians and listener.

As the band notes in press notes “‘Cabinet’ explores the insecurities of a young mind. Someone who feels lost in their ways, but at the same time shares the burdens of adolescents with their other half.”  And although the song possesses a trippy feel, at its core is a plaintive heartache that should feel familiar — it should remind the listener of the fact that love is almost always awkward but perhaps even more so when you’re trying to figure yourself out.

 

 

 

 

 

 

 

 

Leeds, UK-based psych rock/shoegaze quartet Chaika have developed a national profile across the UK for an incredibly anthemic, arena rock-friendly version of shoegaze that sounds as though it’s indebted to Oasis, Kasabian and The Verve. And as you’ll hear on the band’s latest single “Quietness,” they eschew familiar and recognizable songwriting structures: the song is divided into three clear sections loosely held together by feedback and effects laden guitar chords paired with a propulsive motorik-like groove with the first section being an anthemic and urgent with slashing guitar chords and punchy vocals that ends with an explosive burst of cacophonous feedback that fades into a slow-burning and swaggering, bluesy psychedelic section propelled forward by four-on-the-floor drumming.

Interestingly, as the band explains in press notes, the song was written as a rumination on the creative process and was written in two sleepless night. The first section of the song focuses on creative inertia and writer’s block as fractured and unfinished thoughts are repeated and revised and repeated  to exceeding frustration and desperation. In fact, the song’s narrator seems to about ready to give up with the whole thing — until the second section section which deals with the sudden and overwhelming breakthrough in which as the band says “time bends for reality to warp and become illusion.” In any case, the song manages to evoke the frustration and joy of the creative process in a way that’s uncanny and familiar — and with power chords and feedback.

 

 

 

 

 

Earlier, I wrote a lengthy post about pioneering Raleigh, NC/NYC-based shoegaze quintet The Veldt. Currently comprised of founding members and identical twin brothers Daniel Chavis (vocals, guitar) and Danny Chavis (guitar) along with Hayato Nakao (bass), Frank Olsen (guitar), and Martin Levi (drums), the quintet can trace their origins to the vital and quirky Chapel Hill, NC music scene of the late 80s and early 90s — a scene that featured Superchunk (perhaps, the best known out of that entire scene), PolvoDillon Fence and others. Initially featuring the Chavis Brothers and Levi along with Joseph “Hue” Boyle (bass) and later David Burris, The Veldt managed to be a rather extreme rarity  as shoegaze act prominently featuring black men in a genre, as well as a place and time in which it was considered highly unusual — and honestly still is; however, despite how unusual it seemed, the then-Chapel Hill, NC-based band quickly attained “must-see” status in their home city and a rapidly growing national profile with the release of their debut effort Marigolds. 

Their 1994 Ray Shulman-produced sophomore effort Afrodisiac propelled the band towards international recognition and the band wound up opening and touring with the likes of  The Jesus and Mary ChainLushOasisCocteau TwinsPixiesFishbone, Corrosion of Conformity and others. Unfortunately, throughout their initial run together, the members of the band found with their management and labels who found them “too difficult to market” as their sound meshed elements of old school soul and shoegaze. And unsurprisingly, the band got dropped from their label. Struggling to fund writing, recording, releasing and marketing their work and touring, the band went through several lineup changes before officially going on hiatus in 1998.

Several years later, the Chavis Brothers had relocated to New York and started their post The Veldt project, Apollo Heights, which received quite a bit of buzz locally for a sound that added trip-hop and electronica to their previous mix of shoegaze and soul. In fact, I can clearly remember reading a raving and informative profile of the band in the old New York Press, a few years before I started to write for the publication. And honestly, it shouldn’t be surprising that critics and journalists were raving about the band — their 2007 Apollo Heights debut White Music For Black People was produced by Cocteau Twins’ Robin Guthrie and featured guest spots from Guthrie on guitar, Mos DefLady Kier of Deee- LiteTV on the Radio‘s Dave Sitek, and Mike Ladd.

Sadly, despite their early successes the Chavis Brothers work have been reduced to largely cult-favorite status; but interestingly enough, their work in The Veldt and Apollo Heights has managed to quietly reverberate and influence some highly regarded contemporary musicians — the members of  Bloc Party and TV on the Radio’s Dave Sitek have publicly claimed The Veldt as influences on their work and sound, which has proven that the Chavis Brothers had the somewhat bitter misfortunate of being about 20 years ahead of their time; however, with the forthcoming release of The Shocking Fuzz of Your Electric Fur: The Drake Equation Mixtape, their first batch of original material in almost 20 years, the members of the reformed band seek to firmly establish their claim as the forebears and pioneers of a sound and aesthetic that has captured the blogosphere and fans by storm. And interestingly enough, they hop they do so in a similar fashion to the incredible renaissance that the members of Detroit-based proto-punk/proto-metal band Death has seen over the past few years.

“Sanctified,” the first single off The Shocking Fuzz reveals how deeply indebted TV on the Radio’s sound is to The Veldt as towering squalls of guitar chords played through gentle amounts of reverb paired with skittering yet propulsive drum programming and Danny Chavis’ soulful crooning in a tender and swooning song that evokes the feeling of being desperately, madly, stupidly in love — in a way that nods at subtly cosmic version of The Jesus and Mary Chain, if they had been influenced by Fishbone , Marvin Gaye and Prince; in other words, it’s shoegaze that manages to be irresistibly sexy.