Tag: Primal Scream

New Audio: Mute Records Celebrates the 50th Anniversary of Influential Krautrock Act CAN with a Compilation of Singles — Includes a Never Before Digital Re-Release

Initially, beginning his musical career as a pupil of avant garde composers Karlheinz Stockhausen and Gyorgy Ligeti, CAN’s founding member and primary composer/songwriter Irmin Schdmit (keyboard) had conducted a number of high-profile orchestrated pieces in his native Germany and aboard; however, a trip to New York where he encountered Andy Warhol and Hotel Chelsea, and heard the sounds of Jimi Hendrix and Frank Zappa had transformed his life. Along with the band’s other core members — Holger Czukay (bass), Michael Karoli (guitar) and Jaki Liebezei (drums) CAN officially formed in Cologne, Germany (then-West Germany) in 1967. With the release of 1969’s Monster Movie, 1971’s Tago Mago, 1972’s Ege Bamyasi and 1973’s Future Days the German experimental act collaborated with a number of vocalists including Malcolm Mooney (1968-1970), Damo Suzuki (1970-1973) and a rotating cast of musicians and wound up developing a reputation for an imitable sound that possessed elements of avant garde and modern classical composition, minimalism, electronica, world music, psych rock and funk, while being widely hailed as pioneers of the German krautrock movement. And because of their eclectic, genre-defying sound the band’s influence has been massive and can be traced in the work of acts like Joy Division, Primal Scream, Radiohead and avant-garde composer Bernhard Lang, among others.

Throughout the band’s history — the bulk being a continuous run from 1967 or so – 1979 with the members of the band reconvening periodically over the past 30 years — the band has released a number of singles, some which have appeared on the band’s albums and others that have not. And to celebrate the 50th anniversary of the band’s formation, Mute Records will be releasing CAN The Singles, a compilation featuring all the band’s single releases, including “Shikako Maru Ten,” a B side to the “Spoon,” a top ten hit in their native Germany back in 1972 and it’ll be available for the first time ever digitally. Interestingly, the single manages to possess a percussive and breezy arrangement that sounds as though it were influenced by Brazilian samba and Afro-Cuban/Afro-Caribbean jazz, further reminding listeners of the band’s reputation for being defiantly difficult to pigeonhole and being relentlessly, mischievously experimental with their sound and approach.

Advertisements

Now, if you’ve been frequenting this site over the past year, you may recall coming across posts featuring one of this site’s newest mainstay acts, the Paris-based electronic music and production duo DBFC. Comprised of Manchester, UK-born, Paris-based David Shaw and Paris-born and-based Dombrance, the duo emerged onto the French electronic music scene with the release of a handful of singles during 2015-2017 through renowned indie label Her Majesty’s Ship Records — including “Autonomic,” a track that manages to nod at Kraftwerk’s “Trans Europe Express” and Primal Scream‘s “Autobahn 66” — but with a subtle cosmic glow around its edges.

Building upon a growing national and international profile, the Parisian electronic duo’s highly-anticipated full-length debut Jenks is slated for a June 2, 2017 release through Different Recordings/[PIAS] Records. And you may recall that I wrote about Jenks‘ first official single “Sinner,” a track that further cements the French duo’s reputation for pairing slick, dance floor-friendly production with organic instrumentation — but while “Autonomic” took its cues from Kraftwerk, “Sinner” nodded at Come With Us-era The Chemical Brothers, as it possessed a similar cosmic haze. Album title track “Jenks” however, reminds me even more of Evil Heat-era Primal Scream, EMF‘s “Unbelievable” and the Manchester sound as dreamy vocals are paired with an infectious, motorik groove featuring a sinuous bass line, shimmering arpeggio synths and a rousingly anthemic yet dance floor friendly hook.

New Video: The Surreal 120 Minutes-Inspired Visuals for Dead Leaf Echo’s Anthemic “Strawberry.Skin”

Now, if you’ve been frequenting this site throughout its almost seven years of existence, you’ve come across posts featuring the Brooklyn-based shoegazer rock and art collective Dead Leaf Echo. And over that same period of time, the members of the collective have seen a growing profile, as they’ve played at some of the country’s largest and best known festivals, have opened for a lengthy and impressive list of renowned, nationally touring bands including The Wedding Present, A Place to Bury Strangers, . . . And You Will Know Us By The Trail Of Dead, The Psychedelic Furs, Chapterhouse, Ulrich Schnauss, Weekend, Lorelei, The Ocean Blue, The Warlocks, Beach Fossils, and The Telescopes and have made appearances on KEXP‘s John in the Morning and on Nic Harcourt’s KCSN show.

With the release of 2013’s 4AD Records-inspired full-length debut effort Thought and Language and 2014’s true.deep.sleeper EP, the band quickly established themselves as one of the preeminent, contemporary shoegazer rock acts while being quite busy — last year, they quietly released a split EP with die you die, as well as a limited cassette run of the “Lemonheart”/”sparks.fly.from.a.kiss” 7 inch, which interestingly retained the well-known and beloved wall of sound and swooning urgency along the lines of RIDE, Swervedriver, The Verve and Slowdive while nodding at Primal Scream, The Jesus and Mary Chain and others.

Interestingly, the band’s latest effort Strawberry Skin was released last week through PaperCup Music and the EP found the band working with frequent collaborator and producer Monte Vallier, who has also worked with Weekend and Wax Idols — and along with Vallier, the album features contributions from Jorge Elbreht, who was a founding member of Violens and is currently working with No Joy and Ariel Pink’s backing band and Guy Fixsen, who has worked with My Bloody Valentine and Wire, among a lengthy and impressive list of artists. The EP’s latest single, EP title track “Strawberry Skin” will further cement the band’s reputation for crating shimmering and anthemic shoegaze with a swooning urgency; however, the song possesses a abrasive and muscular quality just underneath the surface — and it reveals a band subtly experimenting with their sound.

Directed by Emmanuella Zachariou, the recently released music video possesses a dream-like logic reminiscent of 120 Minutes-era MTV, complete with action going forward and in slow-motion as though the viewer is in a fever dream. The band is playing two shows to support the EP, so check out live dates below — and be on the lookout for the band’s long-anticipated sophomore effort, slated for release later this year.

Comprised of its Manchester, UK-born and Paris-based David Shaw and Paris-born and based Dombrance, the Paris-based electronic music and production duo DBFC emerged onto the French electronic music scene with the release of several singles throughout 2015 and 2016 through renowned indie label Her Majesty’s Ship Records — including “Automatic,” a track which remained me of Kraftwerk’s “Trans Europe Express” and Primal Scream‘s “Autobahn 66” — but with a subtle cosmic glow around its edges.

The duo’s highly-anticipated full-length debut Jenks is slated for a June 2, 2017 release through Different Recordings/[PIAS] Records and the album’s first single “Sinner” will partially further their reputation for pairing slick electronic production with organic instrumentation but while a single like  the aforementioned “Automatic” struck me as owing a debut to Kraftwerk and Primal Scream, the new single still nods at those influences while subtly nodding at The Chemical Brothers‘ Come With Us as the song possesses a free-flowing improvisation paired with a similarly trippy and cosmic glow.

 

Featuring core members, founder and creative mastermind Isaac Flynn (vocals), who comes from a family of musicians and whose parents own Lawrence, KS‘ well-regarded guitar store, Mass Street Music; Eric Davis (keys, synths) and Garrett Childers (guitar, vocals), the Kansas City-based indie rock act Hembree received regional and national attention with the release of “Can’t Run Forever,” a shimmering and slickly produced, dance-floor friendly track that simultaneously nods at 80s New Wave, St. Lucia, and Interpol simultaneously.

Building upon the success of “Can’t Run Forever,” a track that has seen as of this post, over 500,000 Spotify and YouTube streams, the members of the Kansas City-based band went to record new material at Los Angeles-based Sunset Sound Studios with Chris Coady, who has worked with Beach House, Future Islands and Yeah Yeah Yeahs; but when Flynn returned home to Kansas City, he decided that those sessions should be tabled, and that it was time for the band to take a much different approach. “After ‘Can’t Run Forever’ came out, I was feeling the pressure to make our second single bigger and better, and found myself putting limitations on my writing,” Flynn explained in press notes.. “After being frustrated for several months, I decided to record whatever I want; just let it all pour out.” And with that mindset, Flynn, his bandmates Davis and Childers recorded their latest single “Holy Water,” with Foreign Fields’ Eric Hillman contributing additional production and Joe Visciano, who has worked with The Kills, Jamie xx and Beck mixing the proceedings.

“Holy Water” is a decided change in sound, as the swaggering and propulsive track nods at Kasabian and Primal Scream as the band pairs an an arena rock and dance floor-friendly hook with a slick production featuring layers of undulating synths, twinkling keys, enormous, tweeter and woofer rocking beats with a “we’re ready to take over the world right this fucking moment” feel. Interestingly, part of the song’s anthemic nature stems from the song’s overwhelmingly positive message. As Flynn says of the song, “The song started with me making a conscious decision to stop letting the bad win. It was time to start embracing the obstacles and then doing my best to overcome them. I really just want to be true to myself and good to others, and I want the same for other people. Perhaps that’s the message from this song.” Certainly, considering how maddening and dire everything seems on a daily basis, any positive message seems desperately necessary.  Unsurprisingly, since the single’s release at the end of last year, the song has seen regular rotation on 10 Midwestern radio markets including Columbus, OH; St. Louis, MO; and the Kansas City area — and the track has seen over 250,000 Spotify steams as of this writing.

 

 

The band will be going on a run of tour dates in the Midwest, with the first show of the tour, finding the band opening for Cold War Kids. Check out the tour dates below.

TOUR DATES
3/25 Columbus, Express Live
3/27 Omaha, Reverb
3/28 Iowa City, The Mill
3/29 Des Moines, Vaudeville Mews
3/30 St. Louis, Blueberry Hill
4/24 Omaha, Reverb
4/25 Davenport IA, Raccoon Motel
4/26 Des Moines, Vaudeville Mews
4/27 St. Louis, Blueberry Hill
4/28 Kansas City, Record Bar
4/29 Columbia MO, Rose Music Hall

New Video: Introducing the Anthemic Primal Scream and Kasabian-Inspeired Sound of Adelaide Australia’s The Byzantines

Comprised of Michael Pietrafesa (vocals), David Zammit (guitar), Jose Moucho (bass), and Johnny Zervas (drums), the Adelaide, Australia-based indie rock quartet The Byzantines have developed a reputation across their native Australia and internationally — mostly across the EU and the UK — for an electronic rock sound that’s been compared to the likes of Primal Scream and Kasabian, as you’ll hear on the swaggering and anthemic “Top Boy” off the Australian quartet’s forthcoming EP You’ll Pull It, which is slated for a February 17, 2017 release through Marshmallow Pavement Records.

The recently released music video for “Top Boy” is partially inspired by undercover, police procedurals, workplace comedies and old electronica videos — and in a trippy and mischievous fashion.

New Audio: Dum Dum Girls’ Kristin Welchez’s Synth Pop-Based Solo Project Releases a Slickly-Produced, Primal Scream-Inspired B Side

Although initially started as a solo recording project, the renowned indie rock at Dum Dum Girls had been led for the better part of a decade and through a critically applauded EP and three full-length albums by its creative mastermind, primary songwriter and frontperson Kristin Welchez, best known by her stage name Dee Dee. Welchez’s latest solo recording project Kristin Kontrol not only finds Welchez shedding her previous persona and performing and writing under her real name; the project also is a decided change of sonic direction from Dum Dum Girls, as she ditches the guitars and moody post-punk with a slickly produced New Wave and contemporary electro pop sound of her latest effort, X-Communicate which was released to great fanfare earlier this year.

Interestingly, her latest single “Baby Are You In?” was initially recorded during the X-Communicate sessions and was left off the album. As Welchez explains “I really regret not including it on the album. It was super fun to make — Kurt Feldman and I left loose on the production, trying to pin down that nebulous aggression from Evil Heat-era Primal Scream but it let it cork off the party at the end. ” And although it was previously unreleased until recently, the single has become a staple of Welchez’s live sets. After listening to it a few times before writing this, I can see why — Welchez’s gossamer yet sultry vocals are paired with a slick production featuring layers of undulating synths, ominously swirling electronics and industrial clang and clatter with an enormous, dance floor-friendly hook. And while danceable, the song does retain Welchez’s introspective and deeply personal lyrics.

Certainly, if you’ve been frequenting this site throughout its six-year history and especially over the past couple of months, you’ve come across posts featuring the Brooklyn-based shoegazer rock and art collective Dead Leaf Echo. And over that period of time the members of the collective have seen a growing national and international profile as they’ve played sets at several of the country’s largest and best known festivals, have opened for a list of renowned and well-regarded bands including The Wedding PresentA Place to Bury Strangers, . . . And You Will Know Us By The Trail Of DeadThe Psychedelic FursChapterhouseUlrich SchnaussWeekendLoreleiThe Ocean BlueThe WarlocksBeach Fossils, and The Telescopes and have made appearances on KEXP‘s John in the Morning and on Nic Harcourt’KCSN show.

Since the 2013 release of the band’s 4AD Records-inspired full-length debut effort Thought and Language and its follow up true.deep.sleeper EP, the members of the band have been working on their much-anticipated sophomore, full-length effort but in the meantime, they’re releasing a cassette tape edition of the “Lemonheart” 7 inch through Wiener Records on November 4, 2016, as the two original vinyl pressings are completely sold out. Now, you may recall that as I wrote about “Lemonheart,” the single would further cement their reputation for crafting lush, shimmering shoegaze and dream pop in the vein of RIDESwervedriver and Slowdive. The 7 inch’s B-side “sparks.fly.from.a.kiss” reveals a thorough change in direction as layers of swirling and buzzing guitar chords and skittering, four-on-the-floor-like drum programming and boom bap beats to create a swaggering and strutting song that sounds indebted to Primal Scream, The Jesus and Mary Chain and others, as it may arguably be the most abrasive and scorching song they’ve released to date. But just underneath the abrasiveness is a swooning and passionate declaration of love.

Dead Leaf Echo have embarked on a Fall/Winter tour to support the release of the “Lemonhead” 7 inch cassette tape edition and it includes a two Brooklyn dates. Check out the tour dates below.

Fall/Winter 2016 Dates:
11.06 – New York, NY @ Berlin (Release Party w/ Midnight Hollow, Big Band)
11.09 – Ft Wayne, IN @ The Brass Rail (w/ March On, Comrade)
11.10 – Chicago, IL @ The Empty Bottle (w/ Lightfoils, Ganser)
11.11 – Detroit, MI @ Echo Fest
11.12 – Kalamazoo, MI @ Louis Trophy Room (Kalamashoegazer Festival)
11.19 – Brooklyn, NY @ Pete’s Candy Store (w/ Solilians, Landing)
11.25 – Nashville. TN @ TBD
12.03 – Philadelphia, PA @ Ortleib’s