Tag: Pink Floyd

New Video: JOVM Mainstays Allah-Las Releases a Gorgeous and Nostalgic Visual for “Prazer Em Te Conhecer”

I’ve written a bit about the acclaimed Los Angeles-based psych rock act and JOVM mainstays Allah-Las throughout the course of this site’s nine-plus-year history, and as you may recall, the Southern Californian band — Matthew Correia (drums), Spencer Dunham (bass), Miles Michaud (vocals, guitar) and Pedrum Siadatian (guitar) — formed back in 2008, and can trace their origins tow hen three of the band’s four members worked at famed, Los Angeles-based record store Amoeba Music. Since then, the band has released three full-length albums that have firmly established their sound, a sound that draws heavily from 60s psych rock, surfer rock and garage work — while thematically, their work is largely inspired by their hometown. 

The acclaimed psych rock band’s fourth album LAHS is slated for an October 11, 2019 release through Mexican Summer Records, and the album, which derives its name from a common misspelling of the band’s name reportedly finds the band crafting material that reveals their growth as songwriters, performers, arrangers and producers. Much of the album’s material focuses on Krautrock-like grooves — with album single “In The Air,” a shimmering and hook-driven track evoking a hazy and lingering lysergic fugue. “Polar Onion,” the album’s second track was centered around shimmering, acoustic guitar, gently padded drumming — and while evoking an aching longing, the song sounded as though it could have been released between 1966-1969. Interestingly, LAHS third and latest single “Prazer Em Te Conhecer” is the first single in the band’s growing catalog that’s written and sung exclusively in Portuguese. Much like its immediate predecessor, the track is centered around shimmering guitars — both acoustic and electric — plaintive vocals and harmonizing and a soaring hook. And while bearing an uncanny resemblance to Wish You Were Here-era Pink Floyd, the song manages to evoke an aching nostalgia that feels appropriate with yet another summer coming to a close. 

The recently released video by Matt Correia features Super 8 mm footage at California’s shore — young people hamming it up at the beach, as well as the members of the band flying around the coast in a small airplane. All if it is shot in declining sunlight, which helps emphasizes the wistful nostalgia at the heart of the song.

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The up-and-coming, Falmouth, Cornwall, UK-based psych pop act Moreish Idols — comprised of Caspar Swindells (bass), Jude Lilley (vocals, guitar), Dylan Humphreys (sax), Sol Lamey (drums) and Tom Wilson Kellett (keys, guitar, percussion) quickly emerged into both the local and national scenes with the release of their debut EP, a genre-defying affair influenced by early Pink Floyd, Cocteau Twins, Tame Impala, and Atlas Sound among others, and an extensive series of high energy gigs across Southeast London’s DIY and grassroots venues. Since the release of their debut EP, the members of Moreish Idols have been busy working on various creative projects, as well as new material — including their latest single “Mobile Phone.”

Clocking in at a little under five minutes, the Falmouth-based act’s latest single is one part atmospheric and breezy Steely Dan-like yacht rock featuring shimmering guitars, whispered vocals and mournful horn lines that turns into a dance punk, disco-tinged, four-on-the-floor, driven freakout reminiscent of Echoes-era The Rapture. And while meshing two distinct moods — a meditative pensiveness with restless anxiousness — the track thematically focuses on escaping from technology to take time out from emotionally draining relationships. “We like to think of the song as a transition for us and a cathartic representation of the big life change we’ve just made,” the band says in press notes. “We move from the slower dream-pop sound of Falmouth in the first half of the track and accelerate into the hectic aesthetic of south London for the second half.”

As the band’s Jude Lilley says of the song in press notes ,“I was reflecting on a time in which I felt suffocated in my relationships with people and my family, and having a phone didn’t help that. It wasn’t until I was living the slacker dream in Cornwall that I realised that this was such a problem. Anytime I’d want to escape and get away from it all I’d never be able to fully isolate myself with my bent iPhone 7 still in my pocket.” 

 

 

 

 

 

 

 

New Video: Acclaimed Indie Electro Pop Act Miami Horror Releases a Sepia-Toned Visual for “Restless”

Initially formed in 2007, as the solo recording project of Melbourne, Australia-based DJ and producer Benjamin Plant, Miami Horror eventually expanded into a full-fledged band with the addition Josh Moriarty (vocals, guitar), Daniel Whitechurch (bass, keys, guitar) and Kosta Theodosis (drums) — and with the release of 2008’s Bravado EP, 2010’s full-length debut Illumination and 2015’s All Possible Futures, the band established a sound that drew from Prince, New Order, Todd Rundgren and Pink Floyd, combined with contemporary electronic production techniques, including house and electro pop. Interestingly, the act’s most recent recorded output, 2017’s The Shapes EP was a decided change in sonic direction with the band’s sound being indebted to 80s pop and New Wave — in particular, Talking Heads, Blondie and the like. 

Two years have passed since the acclaimed Australian indie electro pop act has released material and the act’s latest single, “Restless” finds the project returning to its collaborative and production-based roots. Plant champions this return to his roots as Miami Horror’s new incarnation. “The Shapes was always meant to be a one-off conceptual project, so once that was complete I began moving back towards the original creative process that Miami Horror started with; a simpler approach to production and a continued emphasize on outside vocalists.” Plant says. “For me, music has always been about completing a vision and trying to make something stand out. Allowing outside collaboration really opens me up to complete that vision without being restricted to my own skill set.”

Interestingly, “Restless” is a breezy and summery track centered around shimmering synths, Nile Rodgers-like funk guitar, hi-hat led drumming and a plaintive and sultry vocal contribution from Kevin Lavitt. And while retaining the slick, dance floor-friendly electronic production that has won Plant international acclaim, the song sounds indebted to 80s Quiet Storm R&B — in particular Cherelle’s “Saturday Love,” and Mtume’s “Juicy Love” immediately come to my mind, as the song has a similar sophisticated sexiness to it. “I love putting two people in a room that wouldn’t normally work together and seeing what comes of it,” Plant says of his collaboration with Lavitt. 

Directed by Keenan Wetzel, the recently released sepia-toned video for “Restless” features an assortment of quirky characters coming together for tennis training and some meet-cute lust — before ending with a menacing and suggestive air. “When I heard ‘Restless’ I was struck with a nostalgic feeling of starting out a relationship; those first feelings of anxiety coupled with the uncertainty whether or not the attraction is mutual,” Keenan Wetzel says of his video treatment. “I wanted to take these familiar feelings and add Miami Horror’s style to create a bright but strange world for these young people to find each other. I have always been interested in 1970’s culture and how people turned to communities, often ritual-based, to find a sense of belonging. So the idea for the ‘Restless’ music video was to put a pair of young people into a tennis playing community where they were looking for meaning. Only, instead of finding purpose in this community, they find each other, which leads to both love and realization that the nature of the community was not going to give them any more sense of belonging.”

New Video: Budapest’s Ivan and the Parazol Releases an Arena Rock Friendly Single Paired with Slick Visuals

Last November, I wrote about the Budapest, Hungary-based indie rock quartet Ivan and the Parazol, and as you may recall the act which is currently comprised of Vitáris Iván (vocals), Balla Máté (guitar), Beke István (keys) and Simon Bálint (drums) can trace their origins to when its founding members along with Tarnai János (bass) met at a private music school back in 2010. And since their formation, the Hungarian rock act has released three full-length albums, opened for Deep Purple, played SXSW twice, played Reeperbahn Festival, Eurosonic Nooderslag, and the Sziget Festival main stage as well as hundreds of shows internationally across Europe. Adding to a growing national and international profile the act was nominated for an MTV Hungary Brand New Award in 2010, won an MTV Europe Music Award for Best Hungarian act in 2014. Also their single “Together” was named the Sziget Festival anthem.  

Last year was an eventual year for the Hungarian rock band: they celebrated their eighth year together, and in that time, the band cemented a reputation for being at the forefront of their homeland’s growing, contemporary rock and indie rock scenes. Building upon their growing profile, the Budapest-based rock act’s Wil Anspach-produced fourth, full-length album Exotic Post Traumatic finds the band ambitiously expanding upon the sound and songwriting approach that has won them attention in the homeland — with the intention of winning ears and audiences across the rest of the European Union and the States. Exotic Post Traumatic’s slow-burning, first single “Nr. 1003” was a slick and seamless mix of glam rock, psych rock and arena rock that seemed to draw from The Rolling Stones, Pink Floyd and Tame Impala — and while seemingly sunny, the song has a subtle darkness to it; after all the song focuses on the band moving froward with their lifelong dream without one of their closest friends. And while there’s some guilt about moving forward, there’s also the hope that their friend will be able to join them on their incredible journey. 

The album’s latest single “Changin'” is a straightforward arena rock track features an enormous power chord-led hook, a thundering backbeat and Vitáris Iván’s sultry  baritone. And while to my ears, the track sounds like early INXS, the song is centered by an overwhelming positivity — that the changes the song’s narrator feels he’s going through is part of a necessary part of his personal evolution. As the band explains in press notes that “‘Changin’ could be the title of the whole album, cause the last two years have embodied this concept. The band, our music, and style of song-writing developed and evolved so much. This song was inspired by a new relationship, but of course the desired love is hard to reach, especially when the different factors of life and personal experiences can make it harder to materialise. Our band and our bond is a relationship too that goes through evolutions and difficulties. So, you have to trust your instinct, and the change will make you better.” 

The recently released video follows a beautiful and stylish woman as she goes to an artist loft — at first she vamps in an elevator before heading to an art gallery. Next door, the members of Ivan and the Parazol are jamming out. Much like the video for “Nr. 1003,” the slickly shot video creates the impression that the band are part of their country’s — and in turn, their hometown’s — effortlessly cool. 

New Video: JOVM Mainstays Pond’s Bittersweet Ode to Small Pleasures When the World is Ending

Over the past handful of years of this site’s almost nine-year history, I’ve written quite a bit about the acclaimed psych pop act POND fronted by its Perth, Australia-based mastermind, multi-instrumentalist, singer/songwriter and producer Jay Watson, along with Nicholas Allbrook, Shiny Joe Ryan, Jamie Terry and Jamie Ireland. With the project’s first three albums —  2009’s Psychedelic Mango, 2010’s Frond and 2012’s Beard, Wives, Denim found POND’s sound moving from straightforward psych rock to a decidedly pop leaning sound.

Since then, Watson and company have released a series of critically applauded albums include 2017’s The Weather, which both continued the project’s ongoing collaboration with Tame Impala’s Kevin Parker and further cemented the band’s reputation for crafting trippy yet accessible pop. Now, as you may recall, Watson and company released “Burnt Out Star,” the first bit of new material from the Perth Australia-based psych pop act in some time and the expansive track managed to nod a bit at at Pink Floyd’s “Shine on You Crazy Diamond Parts I-V and VI-IX” but centered around the aforementioned shimmering synths and propulsive beats, making it deceptively arena rock friendly. Interestingly, that track was informally, the first single off POND’s forthcoming album Tasmania, an album conceived as a sort of sister missive to its predecessor. 

Slated for a March 1, 2019 release through Interscope Records, the new album is reportedly a dejected and heartbroken meditation on planetary discord, water, machismo, shame, blame and responsibility, love, blame and empire. And while coasting on an undercurrent of the restless, anxious dread we’re all desperately feeling, the material instead of wallowing in self-pity also reportedly encourages the reader to celebrate the small things — frolicking in the ocean, rolling around in the grass, the sweet feeling of being in love and so on, while we still can. “Daisy,” the album’s latest single and opening track beings with a mournful string-led introduction, before the curtain is opened, and the track turns into a shimmering, synth pop-based, power ballad centered around a sinuous and propulsive bass line and Allbrook’s ethereal falsetto. The track sees Allbrook imagining his childhood friends and family in the Kimberly region in chains — whether rightfully so or not, is up to the listener; but the track toys with the idea of bitterly retreating to Tasmania to lick their wounds. But there’s also the recognition of retreating just before everything gets fucked up beyond recognition. 

Directed by Jesse Taylor Smith and featuring aerial cinematography by Joseph Ryan, the recently released video for “Daisy” was shot in the lands of the Kulin and Nyoongar Nations — but it suggests the ruins of a country and civilization from its hubris and greed with the bandmembers enjoying some small pleasures — playing with a beloved dog, daydreaming on a lazy summer day. Sometimes small pleasures are the only thing we can cling to when everything is on fire. 

New Video: Introducing the Classic Rock Inspired Sounds of Hungary’s Ivan and the Parazol

Currently comprised of Vitáris Iván (vocals), Balla Máté (guitar), Beke István (keys) and Simon Bálint (drums), the Budapest, Hungary-based indie rock quartet Ivan and the Parazol can trace their origins to when its founding members, along with Tarnai János (bass) met at a private music school back in 2010. And since their formation, the Hungarian indie rock act has released three full-length albums, opened for Deep Purple, played SXSW twice, played Reeperbahn Festival, Eurosonic Nooderslag, on the Sziget Festival main stage and hundreds of shows internationally. Adding to a growing national and international profile the act was nominated for an MTV Hungary Brand New Award in 2010, won an MTV Europe Music Award for Best Hungarian act in 2014 and their single “Together” was named the Sziget Festival anthem in the same year. 

This year has been an eventful year for the Hungarian indie rock band: Celebrating their eighth year as a band, the band has cemented a reputation for being at the forefront of their homeland’s growing, contemporary rock and indie rock scenes. Their forthcoming Wil Anspach-produced fourth, full-length album Exotic Post Traumatic is slated for release sometime next year, and the album which was recorded at EastWest Studios finds the band ambitiously expanding upon the sound and songwriting approach that has won them attention in the homeland — with the intention of winning ears and audiences across the rest of the European Union and the States. The album’s first single “Nr. 1003,” finds the band meshing glam rock, psych rock and arena rock in a way that feels both warmly familiar yet new. Beginning with a sample of an on-flight welcome to LAX and Los Angeles, the track is centered around a rousingly anthemic hook, classic rock power chords, arpeggiated synths and a soaring backing vocal. Sonically, the track sounds as though it draws from The Rolling Stones, Pink Floyd and Tame Impala — but with a subtle bit of sunniness.  

As the members of the band say in press notes, “A music career is like a plane or spaceship that travels for decades to get to a seemingly unreachable destination. NR. 1003 is about this journey for Ivan & The Parazol, and a tough one at that. ‘Cause what do you do if a member of your band falls ill and needs to be left behind to make these dreams come true?

“NR. 1003 goes out to our bass player Jani. After spending years on the road together, him not being present leaves a massive hole in our team. We hope to have you back on tour with us soon.”

Directed by Miki357, the recently released video is an incredibly symbolic one, shot on the streets of Budapest and throughout the video, there’s a palpable sense of inconsolable loss and resolve. 

New Video: Deal Casino’s Quirky and Playful Visuals for the Bitterly Ironic “Happy People”

Comprised of Joe Parella, Jon Rodney, Joe Cowell and Chris Donofrio, the Asbury Park, NJ-based indie rock band Deal Casino formed back in 2013. The band cites Pink Floyd, Nick Drake, The Band and Led Zeppelin as some of their influences but more importantly, since their release the band has released a series of EPs before releasing their self-titled, full-length debut last year to praise from Stereogum, New Noise and others. LLC, the Asbury Park-based quartet’s sophomore album is slated for release later this month and its latest single “Happy People” is centered around jangling guitar chords, a chugging and propulsive rhythm section and wobbling and droning synths.  Infused with a Wes Anderson soundtrack quirkiness, the song is actually bitterly ironic, as its narrator openly questions how people can be happy with themselves and the world around them when so much is dreadfully wrong — and although these happy people may seem superficially content, the song’s narrator points out that he’d rather not put on the happy mask that erases reality; even if it’s absurd and painful.

Directed by Anthony Yerba, the recently released video is centered by an ironic juxtaposition. Shot with a fish eye lens,  the members of the band goofing off and being playful during rehearsals and practices. Initially bearing fake smiles, the smiles frequently become real smiles or wild bursts of laughter as the camera zooms up for extreme close-ups, capturing the band within their own natural habit — all while pointing out the irony within the song. 

New Video: King Buffalo’s Trippy Animated Video for Prog Rock-Inspired “Quickening”

Comprised of Sean McVay (guitar, lead vocals), Dan Reynolds (bass) and Scott Donaldson (drums, vocals), the Rochester, NY-based trio King Buffalo began collaborating back in 2013 and with the release of a demo, several split releases, a handful of one-off singles plus an impressive live show, the Upstate New York-based trio quickly earned an international profile. With 2016’s self-recorded and self-produced, full-length debut Orion, the members of King Buffalo further cemented a growing reputation for a sound that meshed elements of heavy psych, stoner rock and the blues in a way that’s been compared favorably to Tool and Pink Floyd among others. 

The Rochester-based trio’s much-anticipated Ben McLeod-produced sophomore album Longing To Be The Mountain is slated for an October 12, 2018 release, and from the album’s shimmering and slow-burning first single “Quickening,” the band retains the heavy psych and stoner rock vibe that have won them national and international attention — but with a self-assured and expansive, prog rock sensibility. As the band’s Scott Donaldson explained to Loudwire, “‘Quickening’ bloomed organically during the writing process of the Longing To Be The Mountain album. We knew early on that we wanted an animated video to go along with it,” Donaldson continued, “and immediately asked our friend Mike Turzanski. The imagery and overall fluidity makes it a standout.” 

Theodore is a critically applauded, Athens, Greece-based multi-instrumentalist, singer/songwriter and composer, whose schooling in piano and traditional Greek folk music eventually led to a professional music career in London, where he studied Music Composition in 2011. As a composer and singer/songwriter, Theodore meshes classical compositions and arrangements with subtle electronic production and rock instrumentation to create a sound that’s atmospheric, cinematic that nods at psych rock, prog rock and experimental rock — and it shouldn’t be surprising that the Greek composer, singer/songwriter and multi-instrumentalist cites Sigur Ros, Radiohead, Pink Floyd, Manos Hadjidakis, Vangelis Papathanasiou, Nils Frahm, The National, Olafur Arnalds and Max Richter as being major influences on his work and sound. “I like a composer or a band because when I listen to the music or attend a concert I am just getting lost in the atmosphere,” Theodore explains in press notes. “I understand that orchestral music is something that I am really into and I will try to test my self in the future.”

Theodore has written compositions for Matina Megla’s Window, Vladan Nikolic’s film Bourek and he was commissioned to write a new, live score for Buster Keaton’s classic, 1928 silent comedy The Cameraman, which he and his band performed during  a screening at the Temple of Zeus. But interestingly enough, his sophomore album It Is But It’s Not, which was performed live at London’s Abbey Road Studio 2 has been his breakthrough effort as the accompanying performance video has amassed more than 2 million YouTube views — and as a result, the Greek composer, singer/songwriter and multi-instrumentalist has played sets at some of the world’s biggest festivals, including Reeperhbahn Festival, Eurosonic Nooderslag, Release Festival and SXSW. Adding to a growing profile, he has opened for Sigur Ros and DIIV, and has received praise from a number of major media outlets, including Clash Magazine, Music WeekTsugi, FGUK, Gaffa and Szene, as well as airplay from BBC Radio 6 Music’s Lauren Laverne. Oh, and I must add that “Towards (for what is to come)” is currently playlisted on NPR’s All Songs 24/7 and Germany’s Flux Passport Approved.

Theodore’s third, full-length album Inner Dynamics is slated for a November 2, 2018 release and the album finds him thematically looking inward to examine the dichotomies (and dualities) of his identity in order to seek new creative potential. “On It Is But It’s Not, I tried to explore how the opposite elements in the universe interact, how they fight and how without the one you can’t have the other.” Theodore says, adding, “For Inner Dynamics, I was trying to express my urge to connect the conscious and subconscious part of myself so I can be creative. It’s an understanding that humans are not just one thing, and they shouldn’t try to hide certain elements of their personality because society likes to put labels of who we are. It’s the different sides of my self that makes who I am.” Inner Dynamics‘ third and latest single “Disorientation” clocks in at a little over 6 minutes, and it finds Theodore’s sound nodding at dramatic film scores, Kid A and Amnesiac-era Radiohead-like atmospherics, Pink Floyd’s Wish You Were Here and Rush-like prog rock expansiveness, centered around Theodore’s yearning vocals and slick production.