Tag: Phil Spector

 

A few years ago, I wrote a handful of posts on the Los Angeles-based indie rock trio Psychic Love, and because it’s been a while I think I should refresh your collective memories a bit: fronted by Laura Peters and featuring Max Harrison (guitar) and Liam McCormick (bass), the trio have described their sound as “dream grunge” and “as if  Nancy Sinatra had a love child with Frank Black.”

Now, it’s been some time since I’ve personally written about the Los Angeles-based indie rock trio but interestingly, their latest single “Go Away Green” derives its name and is somewhat influenced by a very odd yet very true fact — at Disney theme parks, the things they don’t want patrons noticing is painted in a shade of green that they’ve dubbed “Go Away Green.” Naturally, Peters was fascinated by that fact, and began to observe that people frequently try to cover up unpleasant aspects of their personalities and character in as similar fashion. As the band’s Laura Peters says in press notes. “This is a song about the things and people hiding in plain sight. I often feel like I’m looking out from inside a body – a body, a face, a look, that is telling the world one thing, but inside I’m just you and you are me.” Interestingly, the song features novelist’s attention to psychological detail, as it captures a relationship in which both people aren’t being as honest as they say they’d like to — and they both know it.

Sonically, the song is a decided expansion of the sound and songwriting approach that first caught my attention — the song is a bit of a shape shifter, that begins with a cacophony of noise that recalls Pearl Jam’s Vs. before quickly morphing into a slow-burning and atmospheric section with a rousingly anthemic hook that recalls Concrete Blonde and JOVM mainstays Oddnesse, but while hinting at Phil Spector’s famous Wall of Sound of production and an increasingly ambitious songwriting approach.

 

 

 

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New Video: JOVM Mainstays Geowulf Return with Moody and Cinematic Visuals for Shimmering Album Single “Sunday”

Throughout the course of the past 18-19 months months or so, I’ve written quite a bit about JOVM mainstays Geowulf, comprised of Noosa, Australia-born friends and collaborators, Star Kendrick and Toma Benjamin. And although the duo have known each other since they were teenagers, their musical collaboration began in earnest when Kendrick, who grew up in a musical home, started to pursue music seriously a few years ago, and enlisted the help of her old friend to flesh out her earliest demos.

After a string of successful, critically applauded singles including “Saltwater,” which received over 1 million Spotify streams and reached Hype Machine‘s top ten before landing at #4 on Spotify’s US Viral Charts; the Mazzy Star meets  Fleetwood Mac-like   “Don’t Talk About You;” the  Phil Spector meets Still Corners “Drink Too Much,” and the jangling, 60s girls group pop-inspired single “Hideaway,” the JOVM mainstays released their highly-anticipated Duncan Mills-produced, full-length debut, Great Big Blue last month.

Building upon the buzz of their incredible run of buzz worthy singles, the duo’s latest single “Sunday” is a gorgeous, slow-burning and cinematic bit of guitar pop, with a soaring hook that should immediately bring comparisons like Mazzy Star, The Smiths and others — while continuing a string of songs that pair dark and moody lyrics with upbeat sounds.  As the duo says in press notes, “‘Sunday’ is a favorite of ours in the album. It’s a little cruiser of a song meant to make you feel all the good things. Lyrically, it’s about feeling like Sunday is a pretty lonely day sometimes.”

The recently released video continues a string of gorgeously shot, swooning yet surreal fever dream-like visuals, which further emphasizes the bitter loneliness at the core of the song.

Throughout the course of the past 18 months or so, I’ve written quite a bit about JOVM mainstays Geowulf, comprised of Noosa, Australia-born friends and collaborators, Star Kendrick and Toma Benjamin. And although the duo have known each other since they were teenagers, their musical collaboration began in earnest when Kendrick, who grew up in a musical home, started to pursue music seriously a few years ago, and enlisted the help of her old friend to flesh out her earliest demos.

After a string of successful, critically applauded singles including “Saltwater,” which received over 1 million Spotify streams and reached Hype Machine‘s top ten before landing at #4 on Spotify’s US Viral Charts; the Mazzy Star meets  Fleetwood Mac-like   “Don’t Talk About You;” and the  Phil Spector meets Still Corners “Drink Too Much,” the JOVM mainstays announced that their highly-anticipated Duncan Mills-produced, full-length debut, Great Big Blue is slated for a February 16, 2018 release through 37 Adventures Records. And along with the announcement of their debut, the duo then released, the shuffling and jangling, 60s girl group pop-inspired single “Hideaway,” which continues the dream pop duo’s growing reputation for material that possesses a careful and deliberate attention to craft but with subtly modern flourishes — all while focusing on the complications, frustrations and aches of romantic relationships.

The album’s latest single “Sunday” is a slow-burning, gorgeous and cinematic bit of guitar pop, with a soaring hook that should immediately bring comparisons like Mazzy Star, The Smiths and others — while continuing a string of songs that pair dark and moody lyrics with upbeat sounds.  As the duo says in press notes, “‘Sunday’ is a favorite of ours in the album. It’s a little cruiser of a song meant to make you feel all the good things. Lyrically, it’s about feeling like Sunday is a pretty lonely day sometimes.”

 

 

Throughout the course of the past year or so, I’ve written quite a bit about Geowulf, a dream pop duo, comprised of Noosa, Australia-born, longtime friends, Star Kendrick and Toma Benjamin. And although the duo currently split their time between London, UKGothenburg, Sweden, Berlin, Germany and Australia, the duo have known each other since the were teenagers; but their musical collaboration began in earnest when Kendrick, whose parents were also musicians, began to serious pursue music a few years ago and enlisted the help of Benjamin to flesh out her earliest demos.

After a string of successful, critically applauded singles including “Saltwater,” a track that received over 1 million Spotify streams and reached Hype Machine‘s top ten before breaking at #4 on Spotify’s US Viral Charts,  “Don’t Talk About You,” which seemed to channel Mazzy Star covering  Fleetwood Mac but with a lovelorn ache, and the Phil Spector meets Still Corners “Drink Too Much” among others, the critically applauded blogosphere darlings recently announced that their highly-anticipated Duncan Mills-produced full-length debut Great Big Blue is slated for a February 16, 2018 release through 37 Adventures Records. Along with that they released their latest single, the first official single from the forthcoming album, the shuffling, 60s girl group pop-like single “Hideaway,” which pairs Kendrick’s sultry cooing with a lushly layered production featuring jangling guitar chords, shimmering strings, a propulsive backbeat and soaring hooks. Unsurprisingly, there’s a careful and deliberate attention to craft that brings to mind the aforementioned Phil Spector but with subtle, modern flourishes.

Much like the duo’s previously released singles, the duo’s latest single focuses on the complications, frustrations and aches of romantic relationships — in this case, as the duo notes, “The song is about feeling like you’ve been completely transparent with someone only to realize they haven’t truly let you in.” And as a result, the song bristles with a bitter sense of betrayal and confusion underneath the gleaming and upbeat surface.

New Jersey-based pop duo Fascinations Grand Chorus can trace their origins to a long-held rivalry between its members and a free-standing and deeply competitive argument they had over which one was the better songwriter, based on a health respect and admiration of each one’s individual musicianship and songcraft; however, despite their countless, good-natured arguments, the duo bonded over their mutual love of The Misfits, 1910 Fruitgum Company and antiquated arcade games, while also recognizing that teaming up would be beneficial to navigate the contemporary music scene. And with “When You’re Mine,” the first single off their soon-to-be released EP Angelsea, the duo specialize in recording utilizing the analog techniques of Joe Meek and Phil Spector  — and much like contemporaries such as Pavo Pavo, Drakkar Nowhere and others, Fascinations Grand Chorus’ manages to be mischievously anachronistic with their current single sounding as though it was released in 1962 or 1982, but with a subtly modern sheen.

 

Now, if you’ve been frequenting this site over the past month or so, you’d recall that New York-based singer/songwriter and guitarist Maura Lynch was a founding member of locally renowned indie rock band Darlings, an act that released three albums and played at the Whitney Museum, Music Hall of Williamsburg, Death by Audio and Shea Stadium — and had a brief stint in blogosphere attention-grabbing act Beverly; but with her latest project, Blush, Lynch was inspired by the her missing the simple act of making and sharing music with friends through a sporadic series of bedroom recorded demos (which she had filed as Blush on her computer). And as Lynch explained in press notes, the material she began writing was inspired by a love of straightforward and simple guitar pop with layered vocals, while lyrically the material reportedly was written as a sort of diary of its creator’s late 20s, with songs that focused on loving people who didn’t deserve it, loving people who did deserve it, of making sense of the monotony of the workday world and perhaps much more important, finding her own unique place in the world.

Last year, Lynch felt ready to finally make those demos into real songs  and she got together with her friends — Pop. 1280‘s Andy Chugg and Pill‘s Nick and Jon Campelo to flesh out the material, which was recorded over a series of nights and weekends at Chugg’s Gilded Audio Studio, and from the album’s first single “Daisy Chain,” Lynch and company specialize in a shimmering guitar pop that seemed influenced by Phil Spector‘s Wall of Sound and Too True-era Dum Dum Girls — but with breakneck conciseness. Building on the attention that the band has received from their first single, their self-titled album’s second and latest single is a jangling, guitar pop cover of Mariah Carey‘s smash hit “Fantasy” that manages to retain the song’s swooning nature while being a unique and coquettish take on a familiar song.

New York-based singer/songwriter and guitarist Maura Lynch was a founding member of locally renowned indie rock act Darlings, an act that released three albums and played at the Whitney Museum, Music Hall of Williamsburg, Death by Audio and Shea Stadium; and had a short stint in blogosphere attention-grabbing act Beverly; however, her latest project Blush can trace its origin to Lynch missing the simple act of making and sharing music with friends with a sporadic series of bedroom recorded demos she had filed as Blush on her computer. And as Lynch explains in press notes, the material she began writing was inspired by a love of straightforward and simple guitar pop with layered vocals — while lyrically, the material was a sort of diary of her late 20s, with songs that focuses on loving people, who didn’t deserve it, loving people who did deserve it, of making sense of the monotony of the workday world and perhaps much more important, finding her own unique place in the world.

Last year, Lynch felt ready to finally make those demos into real songs  and she got together with her friends — Pop. 1280‘s Andy Chugg and Pill‘s Nick and Jon Campelo to flesh out the material, which was recorded over a series of nights and weekends at Chugg’s Gilded Audio Studio. And from the forthcoming album’s first single “Daisy Chain,” Lynch and Blush specialize in a shimmering guitar pop that sounds as though it were influenced by Phil Spector‘s Wall of Sound and Too True-era Dum Dum Girls — but with an incredible conciseness as the song clocks in at exactly 2 minutes.

 

New Video: The Mischievously Surreal Visuals for Geowulf’s “Drink Too Much”

Now, if you had been frequenting this site over the past year, you’d recall that I’ve written quite a bit about Geowulf, a dream pop duo, comprised of Noosa, Australia-born Star Kendrick and Toma Benjamin and although currently the duo split their time between  London, UK, Gothenburg, Sweden and Berlin, Germany, their musical project can trace its origins to Benjamin’s and Kendrick’s long-time friendship, a friendship that they can trace to when they were both in their teams; however, their musical collaboration began in earnest when Kendrick, whose parents were also professional musicians, began to seriously pursue music a few years ago, and enlisted the help of her closest friend to flesh out her early demos.

With the release of their debut single “Saltwater” Kendrick and Benjamin quickly saw attention across the blogosphere and elsewhere as the single received over 1 million Spotify streams and reached Hype Machine‘s top ten before breaking at #4 on Spotify’s US Viral Charts. The Australian-born, European-based duo followed up on the buzz of their debut with the release of “Don’t Talk About You,” a single that channeled Fleetwood Mac and Mazzy Star as Kendrick’s gorgeously ethereal vocals were paired with lush, shimmering and jangling guitar chords, but underneath the self-assured, 70s AM Rock vibes was a lovelorn ache. As the duo’s Star Kendrick explained in press notes at the time, “This song went through a geographical and creative metamorphosis over almost two years. We originally wrote it in Copenhagen, demo’ed it in Stockholm and then revisited it recently when Toma and I were both in London. I guess the song speaks for itself but ultimately it falls in the good ol’ ‘wanting-something-that-ain’t-good-for-you’ vein …”

The duo’s latest single “Drink Too Much” is arguably one of the duo’s most playful and subversively upbeat songs they’ve released to date, as it features jangling guitars, twinkling keys, propulsive drumming and an anthemic, soaring hook to create a sound and aesthetic that nods at Phil Spector and Still Corners while nodding at something much darker; in fact, as the duo explain in press notes, the song is ultimately about “bulk red wine + tired relationships = bad news, baby” but below the surface is the sense that ghosts haunt and linger when we’re at our most vulnerable.

The recently released video for “Drink Too Much” is cinematic and feverish vision, featuring the duo at the pool of a resort — but instead of being surrounded by the expected young, lithe, buxom and beautiful, the duo is surrounded by a collection of middle-aged retirees with way too much time on their hands. And while initially suggesting a slowly creeping dread, the video turns mischievously surreal as the members of the duo lead a poolside dance party; but underneath there’s a wistfulness for the passing of yet another summer.