Tag: PJ Harvey

New Video: JOVM Mainstay Eliza Shaddad Releases 90s Rom-Com Inspired Visuals for “Just Goes To Show”

With the release of her first two EPs Run and Waters, the London-based singer/songwriter and guitarist Eliza Shaddad quickly rose to international prominence, receiving praise from a number of major media outlets including The Fader, Nylon, Stereogum, The Line of Best Fit, The Independent, Clash, The 405, as well as airplay from BBC Radio 1, BBC Radio 1Xtra, Beats 1 Radio and countless others for a sound that some have compared to the likes of PJ Harvey, Cat Power and others.

Over the past few years, I’ve written quite a bit about the acclaimed British singer/songwriter, and as you may recall, Shaddad’s highly-anticipated full-length debut Future is slated for an October 26, 2018 release through Beatnik Creative. Earlier this year, I wrote about Future‘s second single “My Body,” a moody track featuring shoegazer-like atmospherics and a dark, seductive, trip hop-inspired groove that evoked a plaintive and uncertain need. “This Is My Cue” the album’s third single continued in a similar vein as its predecessor — moody atmospherics but centered around a candid and ironically rousing breakup song.

Future‘s fourth and latest single “Just Goes to Show” continues a run of atmospheric tracks with a deceptively anthemic nature but much like its immediate predecessor, the track is deeply confessional and unabashedly honest description of the desperate, uneasy feelings of a breakup –but from the perspective of the person being left behind to deal with the aftermath. And while some have compared the song to The Cranberries,Wolf Alice and Marika Hackman, the song isn’t completely dire as it (subtly) suggests that life and one’s heart does go on after a while.

Directed by Patrick Taylor, the recently released video was shot in one of Shaddad’s favorite venues in London, specifically decorated to fit, along with some willing friends and family as extras “(My little (big) bro is in it, and my cousins, in fact it’s a repeat performance from one:) The costume and hair and make up teams worked total miracles on all of us and then we channeled our inner teenagers and the result is something completely and bananasly different for me.” Of course, the video features Shaddad at a painfully awkward and terrible 90s-like prom, complete with its attendees doing sad two-steps, while the video’s protagonist sit off to the side singing the song before being asked to dance — while capturing the innermost thoughts, desires and frustrations of teenagers. Interestingly, as Shaddad says, the “song has always felt like the kind of thing that would be playing in one of those terrible but incredible 90s movies prom scenes and so I was dying to make a video played on that.” 

New Audio: Mother Feather Releases an Arena Rock Friendly Ripper

Comprised of founding and primary duo Ann Courtney and Lizzie Carena, along with Chris Foley and Gunnar Olsen, the New York-based rock act Mother Feather formed back in 2010 and since their formation they’ve developed a reputation for swaggering and epic songs that some have said invoke Marc Bolan, David Bowie and To Bring To You My Love-era PJ Harvey. And while that can debated, the band’s sophomore album Constellation Baby is slated for a November 11, 2018 release through Metal Blade Records/Blacklight Media, and the album’s second and latest single “Snakebite” will further the act’s growing reputation for crafting anthemic, arena rock centered around enormous power chords, thundering drumming and Ann Courtney’s powerhouse vocals.  Interestingly, the track manages to simultaneously nod at 80s hair metal and classic rock, complete with a coked-up, balls to the wall swagger. 

As the band’s Ann Courtney explains of the song, “‘An homage to the evil impulse and the speed of its ambush, I wrote ‘Snakebite’ in a hot 20 minutes. With its production setting it in the cinematic imagination of an 80s punk cult-film, this is the riotous theme song for your psycho ex-girlfriend with an axe to grind.”

 

Currently comprised of primary songwriting and founding duo Laura Fisher (vocals) and Jeremy Marx (guitar), along with Jonathan Arcenueax (drums), who has played with Toonces, Julie Odell and Debuache; and Devin Kerrigan (bass), who has played with Toonces, Bionica, Gravity A, the New Orleans-based indie rock act Tranche have developed a reputation locally and regionally for a sound that meshes elements of dream pop, shoegaze and grunge in a way that’s dark and moody yet familiar. In fact, their anthemic, mid-tempo “Wishing on the Water” brings to mind Concrete Blonde, JOVM mainstay Chelsea Wolfe, PJ Harvey and others, as the track is centered around shimmering, delay and distortion pedal fed guitar, four on the floor drumming, a soaring hook paired with Fisher’s powerhouse vocals, expressing a profound yearning.

Interestingly, as the band’s Laura Fisher told me through email, “‘Wishing on the Water’ is born of deep and relentless reflections on the current state of our world, in all of it’s dark dystopian inclinations and tragic beauty; in particular I explore the separation and perception of reality vs. mind. Sometimes I feel like our most modern technologies purposefully breed paranoia and dissociation. Or maybe those are just inherent parts of human nature?

When I asked Jeremy for his input, he noted that the song isn’t so much a story as it is a ‘literary wishing well.’ Which I love. It’s also super accurate considering I was greatly inspired lyrically by the images conjured in Marlon MacAllister’s novel Meld Resistance (as well as it’s illustrations by Yona Yurwit). Musically, I think the riff just came to Jeremy and we played with it, developing the hook together. I wrote the verses. It felt like channeling all of our favourite grunge anthems into something new and for 2018.”

With the release of her first two EPs Run and Waters, the London-based singer/songwriter and guitarist Eliza Shaddad quickly rose to international prominence, receiving praise from a number of major media outlets including The FaderNylonStereogumThe Line of Best FitThe IndependentClashThe 405, as well as airplay from BBC Radio 1, BBC Radio 1XtraBeats 1 Radio and countless others for a sound that some have compared to the likes of PJ Harvey, Cat Power and others.

Over the past few years, I’ve written quite a bit about the acclaimed British singer/songwriter, and as you may recall, Shaddad’s highly-anticipated full-length debut Future is slated for an October 26, 2018 release through Beatnik Creative. Earlier this year, I wrote about Future‘s second single “My Body,” a moody track featuring shoegazer-like atmospherics and a dark, seductive, trip hop-inspired groove that evoked a plaintive and uncertain need. “This Is My Cue” the album’s third single continued in a similar vein as its predecessor — moody atmospherics but centered around a candid and ironically rousing breakup song.

Future‘s fourth and latest single “Just Goes to Show” continues a run of atmospheric tracks with a deceptively anthemic nature but much like its immediate predecessor, the track is deeply confessional and unabashedly honest description of the desperate, uneasy feelings of a breakup –but from the perspective of the person being left behind to deal with the aftermath. And while some have compared the song to The Cranberries, Wolf Alice and Marika Hackman, the song isn’t completely dire as it (subtly) suggests that life and one’s heart does go on after a while.

 

 

New Video: Acclaimed Singer/Songwriter Eliza Shaddad Releases a Rousing and Candid Breakup Song

With the release of her first two EPs Run and Waters, the London-based singer/songwriter and guitarist Eliza Shaddad quickly rose to international prominence, receiving praise from a number of major media outlets including The Fader, Nylon, Stereogum, The Line of Best Fit, The Independent, Clash, The 405, as well as airplay from BBC Radio 1, BBC Radio 1Xtra, Beats 1 Radio and countless others for a sound that some have compared to the likes of PJ Harvey, Cat Power and others. I’ve written quite a bit about the acclaimed British singer/songwriter over the past couple of years, and as you may recall Shaddad arguably has one of the more interesting biographies and backstories I’ve come across in some time: she’s the daughter of Sudanese and Scottish parents — and on her mother’s side, she’s the descendant of a long and very proud line of artists and poets that can be traced back to the 1800s; in fact, her great great grandfather James Paterson was a member of the Glasgow Boys, a collective of extremely forward-thinking artist, best known best known for challenging the style and subjects of Victorian Scottish painting. She’s also been a true citizen of the world, with stints living in seven different countries, and as a result she speaks four languages. Along with that she’s earned a Masters in Philosophy and graduated from the Guildhall School with a degree in Jazz. Considering that background, it should be unsurprising that Shaddad’s work centers around constantly shifting and widening perspectives.

Shaddad has developed a reputation for pairing her creative work with significant causes. Along with fellow musician Samantha Lindo, she co-founded Girls Girls Girls, a female arts collective that has worked to empower women within the arts through special cross-disciplinary events across the UK. She has also raised awareness and funding for the anti-female genital mutilation charity Orchid Project. Although she’s been extremely busy, Shaddad’s highly anticipated full-length debut Future is slated for an October 26, 2018 release through Beatnik Creative, and the album finds the acclaimed singer/songwriting continuing her longtime collaboration with Chris Bond.

Now, earlier this summer, I wrote about Future’s second single “My Body,” a moody and hook driven track centered around shoegazer-like atmospherics and dark, seductive trip hop-like groove — and while evoking a plaintive but uncertain need, the song as Shaddad explained in press notes was about ” “Being betrayed by your body.  Knowing full well that you need to be alone, but doubting it every night.” Future’s latest single “This Is My Cue” sonically continues in a similar vein as its predecessor — moody and shimmering atmospherics but the major difference is that the song is a candid and ironically rousing breakup song in which the song examines the period of ambivalence and uncertainty in romantic relationships when passion cools to indifference, and throughout the song its narrator is desperately trying to figure out what to do — and to gain the strength to leave. 

The recently released video features footage shot by Jodie Canwell, Tom Pollard and Ben Jackson while Shaddad and her were on tour across Europe, and its an intimate view of the artist and her band goofing off, performing in clubs, wandering the streets of European towns that manages to capture the touring life as a blur of joy, awe, boredom and confusion. 

New Video: Phantastic Ferniture Release Whimsical Visuals for “Dark Corner Dance Floor”

Over the past couple of months, I’ve written a bit about the Sydney, Australia-based band Phantasmic Ferniture, the garage rock/guitar pop side project (of sorts) of acclaimed singer/songwriter Julia Jacklin and two of her closest and dearest friends, Elizabeth Hughes and Ryan K. Brennan. And as the story goes, the band can trace their origins to a birthday gathering at a Sydney bar to celebrate Jacklin’s 24th birthday. At some point, a group hug had manifested itself with all ten of the group’s participants drunkenly promising to start a band together. “Only four of us remembered,” Hughes recalls. The band’s core and founding members bonded over a mutual love and appreciation for fern-related puns and leisurewear, and they would meet up whenever their individual schedules would allow, writing songs and playing smatterings of live dates to an increasingly devoted audience.

Eventually, Jacklin, Hughes and Brennan decided that Phantastic Ferniture wasn’t a side project, and they should focus on writing and recording an album together, centered around the fact that the band would be a lot more spontaneous and less technical than their individual pursuits. “That was the fun part,” Jacklin says in press notes. “Ryan never played drums in bands, Liz had never been a lead guitarist, Tom didn’t play bass and I’d never just sung before.” Hughes adds “We wanted a low level of expertise, because a lot of good music comes from people whose passion exceeds their skill.”

Now, as you may recall, the band’s self-titled full-length debut was released last month through Transgressive Records, and the album finds the band adopting their mantra of not overthinking and focusing on the urgency of the moment as the basis of the writing and recording sessions that produced it — but underpinned with a sense of whimsy. The album’s second single “Gap Year” was a 90s alt rock-inspired track that recalled  PJ Harvey while the album’s third single “Bad Timing” was a bit of rollocking indie rock with a cinematic sweep. The fourth and latest single off the Australian indie rock act’s debut “Dark Corner Dance Floor” is centered around a shuffling disco-like bass line, shimmering guitar chords and soaring, anthemic hooks making it one of the more danceable songs on the album although its underpinned by love, awe and disappointment. 
Co-directed by Nick Mckk and Phantasmic Ferniture, the recently released video for “Dark Corner Dance Floor” continues the band’s ongoing collaboration with Mckk while featuring the band’s Jacklin and Hughes dressed up and wandering the streets of Sydney in a way that nods at David Bowie and Mick Jagger’s “Dancing in the Street” — but with a charming goofiness. As Jaclkin and Hughes explain in press notes, ” When you’re a kid from out of the city you think Darling Harbour is the essence of Sydney. The aquarium, the Ferris wheel, the IMAX theatre. You imagine when you finally make it to the big smoke you’ll spend your weekends falling in love under the lights of the high rises. Turns out if you move to Sydney you’ll probably never go there. We wanted to capture that feeling we had when we were two starry eyed teens imagining a fake city life.”

With the release of their debut single “Johnny,” the Hamilton, Ontario, Canada-based indie rock trio Basement Revolver, comprised of Chrisy Hurn (guitar, vocals), Nimal Agalawatte (bass) and Brandon Munro (drums) saw a rapid career trajectory as they received praise from the likes of DIY Magazine, The FADER and Exclaim! for a sound that draws from 90s alt rock and dream pop — but paired with deeply personal, yearning lyrics. Adding to a growing profile, the band released a handful of Hype Machine, chart topping songs which resulted in the Canadian indie rock trio amassing more than one million streams of their songs.

Recorded at TAPE Studio, where they recorded their first two EPs, their Adam Bentley and Jordan Mitchell-produced full-length debut Heavy Eyes is slated for an August 24, 2018 release through Fear of Missing Out Records and Sonic Unyon Records, and as the band’s Chrisy Hurn explains in press notes, recording in a comfortable environment allowed them to not only hone the sound that has won them international attention, it allowed them freedom to get heavy or more laid-back when the song required it; but perhaps more important, as Hurn says, “It also gave me the confidence as a writer to not take myself so seriously, to let myself get cheesy or goofy with some songs.”

“Dancing,” the buzz-worthy Canadian indie rock trio’s latest single finds the duo pairing buzzing and distorted power chords, propulsive drumming, a soaring hook and yearning lyrics within a song that sounds as though it were influenced by The Cranberries and PJ Harvey — and while subtly uptempo, it manages a buzzing and brooding nature. As the band’s Hurn explains of the song, When I’m feeling down, I like to borrow a car and drive until I am lost – it makes me feel better and distracts me a little. So, yeah, break out of your shell and dance… or get some fresh air.”

 

 

 

 

 

 

 

New Video: Phantastic Ferniture Returns with Mischievous Visuals for Soaring Album Single “Bad Timing”

Although I’ve suffered a number of frustrating technological setbacks, you may recall that last month, I wrote about Phantasmic Furniture, the  garage rock/guitar pop side project (of sorts) of acclaimed singer/songwriter Julia Jacklin and a collection of some of her closest and dearest friends, Elizabeth Hughes and Ryan K. Brennan. And as the story goes, the band can trace their origins to a birthday gathering in a Sydney, Australia-based bar to celebrate Jacklin’s 24th birthday. At some point, a group hug had manifested itself with all ten of the group’s hug participants, drunkenly promising to start a band together. “Only four of us remembered,” Hughes recalls. The band’s core and founding members bonded over a mutual love and appreciation for fern-related puns and leisurewear, and they would meet up whenever their individual schedules would allow, writing songs and playing smatterings of live dates to an increasingly devoted audience.

Eventually, Jacklin, Hughes and Brennan decided that Phantastic Ferniture wasn’t a side project, and they should focus on writing and recording an album together, centered around the fact that the band would be a lot more spontaneous and less technical than their individual pursuits. “That was the fun part,” Jacklin says in press notes. “Ryan never played drums in bands, Liz had never been a lead guitarist, Tom didn’t play bass and I’d never just sung before.” Hughes adds “We wanted a low level of expertise, because a lot of good music comes from people whose passion exceeds their skill.”

Slated for a July 27, 2018 release through Transgressive Records, Phantastic Ferniture’s self-titled debut finds the band adopting a mantra of not overthinking — of focusing on the urgency of the moment, while being whimsical. “Gap Year,” the second single off the band’s full-length debut is a 90s alt rock-like track that struck me as owning and spiritual debut to PJ Harvey. “Bad Timing,” the third and latest single of the single continues on a somewhat similar vein as its immediate predecessor — rollicking indie rock with a cinematic sweep centered around a propulsive rhythm section, psych rock-like guitar pyrotechnics and a soaring hook. 

The recently released video for “Bad Timing” continues the band’s ongoing collaboration with director Nick Mckk and the video finds the band mischievously employing the use of fern imagery — with some friends holding potted ferns in front of the band members. At one point, you even see them put a fern-related puzzle together — because, of course! As the band’s Jacklin says in press notes, “We have to really thank all of our friends who came and made this clip with us. It turned out to be quite a painful process but probably good for our dwindling musician specific fitness levels. I think all our arms were aching for about a week after. I think anyone who is already on the fence in regards to our use of fern imagery is going to really hate us after watching this. We had also just got back our puzzle that features on the cover of our record and were putting it together while we waited for each shot to be set up.”

New Video: The Cinematic Yet Whimsical Visuals for Phantastic Ferniture’s “Gap Year”

Phantastic Ferniture is the garage rock/guitar pop side project (of sorts) of acclaimed singer/songwriter Julia Jacklin and the band features some of her closest friends, Elizabeth Hughes and Ryan K. Brennan can trace their origins to a birthday gathering in a Sydney, Australia-based bar to celebrate Jacklin’s 24th birthday. At some point a group hug manifested itself amid pinball participants with all ten of the group hug’s participants drunkenly promising to form a band together. “Only four of us remembered,” Hughes recalls. The band’s core and founding members bonded over a mutual love and appreciation for fern-related puns and leisurewear, and they would meet up whenever their individual schedules would allow, writing songs and playing smatterings of live dates to an increasingly devoted audience.

Eventually, Jacklin, Hughes and Brennan decided that Phantastic Ferniture wasn’t a side project, and they should focus on writing and recording an album together, centered around the fact that the band would be a lot more spontaneous and less technical than their individual. “That was the fun part,” Jacklin says in press notes. “Ryan never played drums in bands, Liz had never been a lead guitarist, Tom didn’t play bass and I’d never just sung before.” Hughes adds “We wanted a low level of expertise, because a lot of good music comes from people whose passion exceeds their skill.”

Slated for a July 27, 2018 release through Transgressive Records, Phantastic Ferniture’s self-titled debut finds the band adopting a mantra of not overthinking — of focusing on the urgency of the moment, while being whimsical. “Gap Year,” the second single off the band’s full-length debut is a 90s alt rock-like track that to my ears reminds me a little bit of early PJ Harvey as the rollicking and expansive track is centered around buzzing power chords, a propulsive rhythm section and a soaring hook — and in some way, the track may inspire some listeners to loosen up and venture off someplace to experience and see things, and to discover themselves. But as the band’s Elizabeth Hughes says about the song, “This song is about just doing what you need to do, with no expectation of any kind of return. It’s about trusting your instincts and not seeking validation …Julia and I are performing our hearts out to absolutely no one at one …The lack of audience doesn’t dull our enthusiasm, and we know our companionship and community will be enough of a reward. It’s poignant because we grew up in the mountains, both desperate for a stage.”

Directed by Nick Mckk and Phantastic Ferniture, the recently released and incredibly cinematic visuals for the song features the band’s Jacklin and Hughes performing an dancing and while not seeming desperate for an audience and for a stage, the viewer will immediately pick up on the isolation of their surroundings, and the companionship that the duo has.