Tag: Primal Scream

New Video: Maltese Indie Act Beesqueeze Releases a Trippy and Summery Anthem

Beesqueeze is a Siggiewi, Malta-based duo, comprised of Kriz Zahra (guitar, bass, synth, vocals) and Chris Mallia (drums, vocals, guitar, effects) that specializes in what they’ve dubbed alterdelic (alternative + psychedelic) dance rock, influenced by The Strokes, MGMT, Tame Impala, Gorillaz and Pixies among others. And with their debut EP, 2017’s Crowd Control, the duo quickly established their unique sound, as well as a reputation for an explosive live show. 

The band is currently holed up in their small home studio working on their full-length debut, which is slated for an Autumn 2020 release. In the meantime, the Maltese duo’s latest single, the David Vella co-produced “Say You Do” is breezy and anthemic track centered around propulsive synth arpeggios, thumping kick drum, strummed acoustic guitar, a blazing guitar solo, and breathily delivered vocals. And while being a summery, dance floor friendly track that reveals the duo’s unerring knack to craft an infectious hook reminiscent of Evil Heat-era Primal Scream, the song encourages the listener to be bold and express their desires. By doing so, you may actually get what you want you want and need. 

“I do some work in a cool friendly bar and many times I get newcomers asking me to do a special drink or cocktail or something that’s not on the menu so I usually say ‘yes.’ I go head getting this [drink] together, now this always happens: I can notice one of the regulars staring at me, giving the look, like [they’re’] trying to say ,’Hey, what’s that. That’s new! I want it!’ but says nothing. So then I’m like ‘Hey due, if you want one, just say you want one, it’s okay,” the band’s Chris Mallia says of the song’s inspiration. 

“The song came together fast. We were preparing for a small show and I thought this new synth I got off a friend on the same day just for fun. Chris was on guitar going through these chords and I just plugged in the synth, and it happened like that,” Kriz Zahra says of the song’s creative process. “10 minuets later, we were listening to it on this lo-fi recording and we thought it was good. So we recorded it a few days later. I remember it was a quick and smooth process, just how we like it.” 

Directed by the members of Besqueeze, the recently released video features the band performing the song in front of bright, neon colored backgrounds and trippy effects — and as a result, the video captures the band’s energy and the song’s overall lysergic feel. 

CARRÉ · Freeform

If you’ve been following this site over the past few months, you may know that Carré is a rapidly rising Los Angeles-based indie electro rock act featuring:

  • Julien Boyé (drums, percussion, vocals): Boyé has had stints as a touring member of Nouvelle Vague and James Supercave. Additionally, he has a solo recording act Acoustic Resistance, in which he employs rare instruments, which he has collected from all over the world.
  • Jules de Gasperis (drums, vocals, synths, production and mixing): de Gasperis is a Paris-born, Los Angeles-based studio owner. Growing up in Paris, he sharpened his knowledge of synthesizers, looping machines and other electronics around the same time that Justice, Soulwax and Ed Banger Records exploded into the mainstream.
  • Kevin Baudouin (guitar, vocals, synth, production): Baudouin has lived in Los Angeles the longest of the trio — 10 years — and he has played with a number of psych rock acts, developing a uniquely edgy approach to guitar, influenced by Nels Cline, Jonny Greenwood and Marc Ribot.

Deriving their name for the French word for “square,” “playing tight” and “on point,” the Los Angeles-based trio formed last year — and as the band’s Jules de Gasperis explains in press notes, “The making of our band started with this whole idea of having two drummers perform together. It felt like a statement. We always wanted to keep people moving and tend to focus on the beats first when we write.”

The act specializes in a French electronica-inspired sound that blends aggressive, dark and chaotic elements with hypnotic drum loops. Thematically, their work generally touches upon conception, abstraction and distortion of reality through a surrealistic outlook of our world. Visually, their work features geometric shapes and patterns.

The French-born, Los Angeles-based trio’s self-titled EP is slated for a Friday release through Nomad Eel Records — and so far, I’ve written about “This is not a band,” a propulsive club banger that brought Factory Floor, The Rapture, Primal Scream, Kasabian, The Chemical Brothers and The Crystal Method to mind—  and the Ministry and early Nine Inch Nails-like “Urgency.” “Freeform,” the EP’s latest single is decidedly free flowing and improvised jam centered around glistening synth arpeggios, shimmering blasts of guitar an insistent motorik groove, hi-hat led four-on-the-floor, ethereal samples and vocodered vocals. And while the song sonically brings Uncanny Valley-era Midnight JuggernautsTour de France-era Kraftwerk and Primal Scream to mind, it also reveals an incredibly tight band of musicians, who are pushing each other and their work into new and trippy dimensions.

 

New Audio: Human Love Releases a Cinematic and Otherworldly New Single

Formed in 2010, the critically applauded New York-based act The Dig — Emilie Mosseri (vocals, bass), David Baldwin (vocals, guitar), Erick Eiser (keys, guitar) and Mark Demiglio (drums) released two albums and two EPs — 2010’s full-length debut Electric Toys, 2012’s Midnight Flowers and 2013’s Tired Hearts EP and You & I EP. Last year, the member of the New York-based act relocated to Los Angeles. and the move managed to spark  a major period of transformation for each of the individual bandmembers — with each member pursuing their own creative projects. Notably, Emilie Mosseri established himself as a film and television composer, who earned widespread acclaim for crafting the score for A24 Films‘ critically applauded Last Black Man in San Francisco, as well as the scores for the TV series Homecoming, which currently stars Janelle Monae and Kajillionaire, which will star Miranda July.

 Working separately proved to have a unifying effect on the band’s individual members — they were emboldened to take new risks, which resulted in a completely new musical project for its longtime collaborators — the newly named Human Love. Black Void EP, Human Love‘s Sonny DiPerri-co-produced, four song debut EP was released last week and Black Void sees the longtime collaborators changing up the creative process they established during their run as The Dig.  “In the past, one person would bring in an idea and we’d build everything from there, but now the process is so much more collaborative, with everyone bringing in their specific perspective to everything we make,” the band’s David Baldwin says in press notes. “I think there’s something beautiful about us going in different directions and then coming back together like this,” EmilIe Mosseri adds “We’re taking what we’d explored on our own and feeding it back into this music, and pushing everything forward to create something completely new.”

So far I’ve written about two of the EP’s previously released singles, the  This Is Happening-era LCD Soundsystem-like “Goldmine, and the Evil Heat-era Primal Scream-like “Lemon Dove.”  The EP’s third and latest single, EP title track “Black Void” may arguably be the most cinematic of its released singles. Centered around Kamilah’s otherworldly and ethereal vocals, reverb-drenched guitars, stuttering beats and atmospheric synths, “Black Void” sounds as though it were influenced by Ennio Morricone and the soundtrack for 2001: A Space Odyssey.

“I initially wrote the seed of what became the title track ‘Black Void’ for Terence Nance’s show Random Acts of Flyness.  I recorded Kamilah, who also sang on Last Black Man In San Francisco, singing this melody that was designed for a theremin,” Mosseri says in press notes. “I didn’t know it could be sung by a human voice because of the sweeping range of the thing, but we gave it a shot and she produced this amazing sound.  The band later re-recorded and fleshed out the track up at recording studio Panorama House in Stinson Beach for the Human Love EP.  I love what Kamilah brought to the track, this sort of alien yet human sound that felt old and new all at once.”

New Audio: Flamingods’ Karthik Poduval Releases His Solo Debut — A Club Banging Remix of Ahmed Fakroun’s “Jama El F’na”

Karthik Poduval is a London-born, Indian-British DJ and producer, best known as a founding member of the acclaimed tropical psychedelic band Flamingods. His latest project Mera Bhai is informed by his own personal experiences: he’s spent time living in Italy, Albania, Saudi Arabia, Dubai and Nigeria — and naturally that experience has speeded into his own globe-spanning, border-crossing, genre-defying take on dance music, which incorporates Indian Carnatic, Arabic Rai, 70s disco, Acid House, Detroit techno and Tropicalia. “Having grown up all over the world, I was surrounded by a wealth of different sounds — i’m just trying to weave the cultural through line that I hear in music.” 

Poduval’s Mera Bhai debut is a bootleg remix of Ahmed Fakroun’s “Jama El F’na.” While retaining the shimmering instrumentation and Fakroun’s vocals, Poduval’s remix speeds up the tempo a bit and adds a decidedly Tour de France-era Kraftwerk/Primal Scream/Kasabian-like feel to the proceedings: layers of synth arpeggios, tweeter and woofer rocking boom bap and industrial clang and clatter. Both the original and its remix are club bangers — but the remix manages to sound as though it could have been released in 1992, 2002, 2020 or 2032. 

It was on his [Fakroun’s] record Mots D’Amour released through French label Celluloid as his crossover to the Western music industry, heavily influenced by Europe and dance music. His marrying of Libyan influences with his love of Western music is very much something that mirrors my story,” Poduval says of his remix of Fakroun’s song. “I guess I’ve subconsciously taken his Western crossover and made it my own.” 

New Audio: Human Love Returns with a Trippy Motorik Groove-Driven New Single

Formed in 2010, the critically applauded New York-based act The Dig — Emilie Mosseri (vocals, bass), David Baldwin (vocals, guitar), Erick Eiser (keys, guitar) and Mark Demiglio (drums) released two albums and two EPs — 2010’s full-length debut Electric Toys, 2012’s Midnight Flowers and 2013’s Tired Hearts EP and You & I EP. Last, the member of the New York-based act relocated to Los Angeles. and the move managed to spark  a major period of transformation for each of the individual bandmembers — with each member pursuing their own creative projects. 

Notably, Emilie Mosseri established himself as a film and television composer, who earned widespread acclaim for crafting the score  for A24 Films‘ critically applauded Last Black Man in San Francisco, as well as the scores for the TV series Homecoming, which currently stars Janelle Monae and Kajillionaire, which will star Miranda July.

Ironically, working separately proved to have a unifying effect on the band’s individual members — they were emboldened to take new risks, which resulted in a completely new musical project for its longtime collaborators — the newly named Human Love. Black Void EP, Human Love‘s Sonny DiPerri-co-produced, four song debut EP is slated for a July 10, 2020 release, and the effort sees the longtime collaborators completely altering the creative process they were used to through their run as The Dig. “In the past, one person would bring in an idea and we’d build everything from there, but now the process is so much more collaborative, with everyone bringing in their specific perspective to everything we make,” the band’s David Baldwin says in press notes. “I think there’s something beautiful about us going in different directions and then coming back together like this,”EmilIe Mosseri adds “We’re taking what we’d explored on our own and feeding it back into this music, and pushing everything forward to create something completely new.”

Reportedly, Black Void will see the band crafting cinematic material with a pulsating, dance floor friendly energy and a psychedelic vibe — all while revealing the idiosyncratic impulses of each individual member of the band. Last month, I wrote about the  This Is Happening-era LCD Soundsystem-like “Goldmine,” a track centered around a sinuous and strutting, disco-influenced groove paired with Baldwin and Mosseri’s ethereal vocals singing surrealistic lyrics. “‘Goldmine’  is the song that inspired us to start Human Love,” the members of the band explain in press notes. “When the four of us are together, one of our favorite things to do is jam on one riff endlessly.  To us this song conjures up a feeling of transition.  When we first started writing it we were still in our previous band together, and by the time we finished it we had decided to start something new.  It has a feeling of leaving something behind.  Deciding to move away from what’s comfortable and familiar, and embrace the unknown.”

“Lemon Dove,” Black Void’s second and latest single is trippy song featuring shimmering synth arpeggios, a shuffling four-on-the-floor led motorik groove and ethereal vocals — and while centered around an improvised, free-flowing and summery air, the the song manages to bring Kraftwerk and Evil Heat-era Primal Scream to mind. 

“The process of making Lemon Dove was spontaneous,” the band’s Erick Eiser recalls in press notes. “All of the ideas came out fluidly without music second guessing. It’s really exciting to work on music when spontaneity reigns over deliberation. The harmonies and music in the first section of the song were inspired and adapted from a Debussy Prelude and there’s a spirit to the music that connects with the name of the band as a lyric that we found really special. It’s about love. It’s about summer.”  

New Video: JOVM Mainstay Alison Mosshart Releases a Film Noir-ish Black and White Visual for Atmospheric “It Ain’t Water”

Alison Mosshart is a Vero Beach, FL-born, Nashville-based singer/songwriter best known as one-half of the acclaimed indie rock act JOVM mainstays The Kills — and for being the frontwoman of the indie rock/blues punk supergroup The Dead Weather. Over the past decade or so, Mosshart has been restlessly creative: her painting has been show in galleries across the world and she has published her first book, CAR MA, a collection of her art, photography and writing that serves as a love letter to all things automobile. In that same period of time, Mosshart has become a go-to collaborator, adding that extra dash of swaggering badassery, working with her Dead Weather bandmate Jack White, Arctic Monkeys, Primal Scream, Gang of Four, Cage The Elephant, Foo Fighters, James Williamson and Mini Mansions in a rapidly growing list.

2020 will continue a period of remarkably creative prolificacy for Mosshart: Currently, Mosshart and her bandmate Jamie Hince are working on the next Kills record, which they hope to be able to bring to the road — pandemic willing, of course. This year will also see Mosshart stepping out into the spotlight as a solo artist, releasing material under her name for the first time in her career. Although, releasing music under her own name is a completely new and thrilling experience, the album’s material can be traced back to unreleased material Mosshart had been compiling for the better part of the past decade. Now, as you may recall, last month, I wrote about her debut single, the  Lawrence Rothman-produced “Rise.” Initially tracing its origins to a song sketch that Mosshart wrote in 2013, the song is a slow-burning and searing blues with brooding and ominous undertones centered around thumping beats, fuzzy power chords, Mosshart’s imitable vocals and an enormous, arena rock friendly hook. 

Mosshart’s second and latest single is the atmospheric and brooding, Alain Johannes-produced and recorded “It Ain’t Water.” Centered around a sparse arrangement of shimmering acoustic guitars, strings and gently padded drums, the song manages to bring PJ Harvey, Nick Cave, and JOVM mainstay Mark Lanegan to mind. Although the song was written late last year, Mosshart had been sitting on the track for some time — with the acclaimed signer/songwriter guitarist turning to the then-unfinished track whenever she found herself battling a bout of writer’s block. 

“Working with Alain on ”It Ain’t Water’ was a blast. He’s such a talent and such a kind person,” the JOVM mainstay says of working with Alain Johannes. “His mind is wide open. He understands and sees the beauty in imperfection, magic moments, accidents- the soulful human stuff, and the spirited super-human hard to explain stuff that makes a song great. Working with him was an honor, and also, hot damn he can play any instrument like a champ . .  . like he invented the instrument himself. Alain Johannes IS music.” 

Directed, edited and shot by Mosshart, the recently released video continues a run of decidedly DIY visuals — but unlike its predecessor, its shot in an aptly film noir-like black and white and evokes our pandemic-influenced isolation, as we see the acclaimed Kills and Dead Weather frontwoman in her own home, expressively dancing in the background while we see a superimposed image of a sunglasses wearing Mossheart singing the song. 

New Video: Rapidly Rising Act Carré Releases a Lysergic Visual for Club Banging “Urgency”

Carré is a rapidly rising Los Angeles-based indie electro rock act featuring:

Julien Boyé (drums, percussion, vocals): Boyé has had stints as a touring member of Nouvelle Vague and James Supercave. Additionally, he has a solo recording act Acoustic Resistance, in which he employs rare instruments, which he has collected from all over the world.
Jules de Gasperis (drums, vocals, synths, production and mixing): de Gasperis is a Paris-born, Los Angeles-based studio owner. Growing up in Paris, he sharpened his knowledge of synthesizers, looping machines and other electronics around the same time that Justice, Soulwax and Ed Banger Records exploded into the mainstream.
Kevin Baudouin (guitar, vocals, synth, production): Baudouin has lived in Los Angeles the longest of the trio — 10 years — and he has played with a number of psych rock acts, developing a uniquely edgy approach to guitar, influenced by Nels Cline, Jonny Greenwood and Marc Ribot.
Deriving their name for the French word for “playing tight” and “on point,” the Los Angeles-based trio formed last year — and as the band’s Jules de Gasperis explains in press notes, “The making of our band started with this whole idea of having two drummers perform together. It felt like a statement. We always wanted to keep people moving and tend to focus on the beats first when we write.”

The act specializes in a French electronica-inspired sound that blends aggressive, dark and chaotic elements with hypnotic drum loops while thematically, their work generally touches upon conception, abstraction and distortion of reality centered around geometric shapes and patterns, and a surrealistic outlook on our world.

Released earlier this year, the Los Angeles-based trio’s debut single “This is not a band” was a propulsive, club banger that sonically brought Factory Floor, The Rapture, Primal Scream, Kasabian, The Chemical Brothers and The Crystal Method to mind— but with a primal and furious intensity. Building upon the momentum of their debut single, the rising trio’s second and latest single is the dark and seductive, “Urgency.” Centered around a bed of  tweeter and woofer rocking beats, layers of shimmering synth arpeggios, bursts of slashing guitars and gauzy electronic textures — while words from Terence McKenna hover ethereally. Continuing an ongoing run of hypnotic, thumping, club rocking material, the new single possess a menacing air that brings Ministry and early Nine Inch Nails to mind. 

Directed by Patrick Fogarty, the recently released video for “Urgency” manages to continue the trio’s ongoing collaboration with the directer is a slick synthesis of live action footage and CGI-based graphics that evoke a lysergic journey through the subconscious. 

Lyric Video: Gateway Drugs Releases a Shimmering and Heartbreaking Ballad

Formed in 2010, the rising Los Angeles-based act Gateway Drugs — siblings Gabe, Noa and Liv Niles, who all share vocal and instrumental duties, and their longtime friend James Sanderson (bass) — emerged into the psych rock scene with the 2015 release of their full-length debut, Magick Spells, an album that helped to establish their noisey and melodic take on shoegaze that Hellbound has likened to “The Stooges meets My Bloody Valentine and The Brian Jonestown Massacre — a little dark, a little eerie and a little grainy and all intoxicating.”

Slated for a May 8, 2020 release through Future Shock Records, the Los Angeles-based psych rock quartet’s, ten song, Sune Rose Wagner-produced sophomore effort PSA was recorded during a 12 day recording session at Josh Homme’s Pink Duck Studio. Centered around what the band says was some of the quickest and most direct songwriting process of their young careers, the album as the band told Foxes Mag “. . . is much more intimate and raw than our first album. All of the songs were recorded live for the most part.”

While further establishing their noisy and melodic take on psych rock, the material reportedly finds the band writing more introspective material, drawing from a wild and chaotic few years for the band — and for the world at large. According to the members of Gateway Drugs, the album reflects “everything that is wrong in the here and now: the weakness of the world laid bare, and the almost total state of apathy we all find ourselves in due to feeling powerless to effect any change with respect to all of this. PSA is an attempt to connect with others, who feel the same way and regain a sense of our ability to change things for the better.”

Now, as you may recall, last week, I wrote about, the brooding and hook-driven  “Slumber,” PSA’s second single, a track that reminded me a bit of the aforementioned Brian Jonestown Massacre, Riot City Blues-era Primal Scream, while being an earnest reflection on unrequited love that focused on the rejection and heartbreak of a jilted suitor. PSA’s third and latest single is the slow-burning ballad “I’m Always Around.” Centered around shimmering guitars, the song was written and sung by the band’s Liv Niles — and is essentially, a bitter and heartbreaking goodbye letter to a lover ad a relationship that seems bound to come to a close. 

“The song reflects my nostalgia at the time towards my relationship that was failing, my sadness knowing he would hate me one day for choosing myself over him,” the band’s Liv Niles explains in press notes. 

New Video: Rising Los Angeles Psych Rockers Gateway Drugs Release an Intimate Visual for Brooding “Slumber”

Formed in 2010, the rising Los Angeles-based act Gateway Drugs — siblings Gabe, Noa and Liv Niles, who all share vocal and instrumental duties, and their longtime friend James Sanderson (bass) — emerged into the psych rock scene with the 2015 release of their full-length debut, Magick Spells, an album that helped to establish noisey and melodic take on shoegaze that Hellbound has likened to “The Stooges meets My Bloody Valentine and The Brian Jonestown Massacre — a little dark, a little eerie and a little grainy and all intoxicating.”

Slated for a May 8, 2020 release through Future Shock Records, the Los Angeles-based psych rock quartet’s, ten song, Sune Rose Wagner-produced sophomore effort PSA was recorded during a 12 day recording session at Josh Homme’s Pink Duck Studio. Centered around what the band says was some of the quickest and most direct songwriting process of their young careers, the album as the band told Foxes Mag “. . . is much more intimate and raw than our first album. All of the songs were recorded live for the most part.” 

While further establishing their noisy and melodic take on psych rock, the material reportedly finds the band writing more introspective material, drawing from a wild and chaotic few years for the band — and for the world at large. According to the members of Gateway Drugs, the album reflects “everything that is wrong in the here and now: the weakness of the world laid bare, and the almost total state of apathy we all find ourselves in due to feeling powerless to effect any change with respect to all of this. PSA is an attempt to connect with others, who feel the same way and regain a sense of our ability to change things for the better.” 

“Slumber,” PSA’s second single is brooding yet shimmering and hook driven track that features the band’s Gabe Niles taking up vocal duties. And while sonically bearing a resemblance to the aforementioned Brian Jonestown Massacre, Riot City Blues-era Primal Scream, the song is an achingly earnest reflection on unrequited love, focusing on  rejection and heartbreak. 

Shot, edited and directed by the members of the band, the recently released video for “Slumber” is an intimate view into the band’s daily lives inn a way that personally reminds me of 120 Minutes-era MTV. “Videos nowadays tend to be overly cinematic or pretentious. The songs get lost and leaves little room for the listeners imagination,” the band says of the video. “We wanted to keep it simple, sincere, and true to form, so we shot and edited the video ourselves.” 

CARRÉ · Urgency

 

Carré is a Los Angeles-based indie electro rock act featuring:

  • Julien Boyé (drums, percussion, vocals): Boyé has had stints as a touring member of Nouvelle Vague and James Supercave. Additionally, he has a solo recording act Acoustic Resistance, in which he employs rare instruments, which he has collected from all over the world.
  • Jules de Gasperis (drums, vocals, synths, production and mixing): de Gasperis is a Paris-born, Los Angeles-based studio owner. Growing up in Paris, he sharpened his knowledge of synthesizers, looping machines and other electronics around the same time that Justice, Soulwax and Ed Banger Records exploded into the mainstream.
  • Kevin Baudouin (guitar, vocals, synth, production): Baudouin has lived in Los Angeles the longest of the trio — 10 years — and he has played with a number of psych rock acts, developing a uniquely edgy approach to guitar, influenced by Nels Cline, Jonny Greenwood and Marc Ribot.

Deriving their name for the French word for “playing tight” and “on point,” the Los Angeles-based trio formed last year, and as the band’s Jules de Gasperis explains in press notes, “The making of our band started with this whole idea of having two drummers perform together. It felt like a statement. We always wanted to keep people moving and tend to focus on the beats first when we write.”

The act specializes in a French electronica-inspired sound that blends aggressive, dark and chaotic elements with hypnotic drum loops while thematically, their work generally touches upon conception, abstraction and distortion of reality centered around geometric shapes and patterns, and a surrealistic outlook on our world.

Released last month, the Los Angeles-based trio’s debut single “This is not a band” was a propulsive, club banger that sonically brought Factory Floor, The Rapture, Primal Scream, Kasabian, The Chemical Brothers and The Crystal Method to mind— but with a primal and furious intensity. Building upon the momentum of their debut single, the rising trio’s second and latest single is the dark and seductive, “Urgency.” Centered around a bed of  tweeter and woofer rocking beats, layers of shimmering synth arpeggios, bursts of slashing guitars and gauzy electronic textures — and just over that, words from Terence McKenna ethereally hover. And while being a hypnotic and dance floor friendly song, it possesses a murky and menacing air, that subtly recalls Ministry and others.