Comprised of its frontmen Manchester, UK-born and Paris-based David Shaw and Paris-born and based Dombrance, along with Guilluame Rosel (percussion) and Victor Paillet (bass), the Paris-based electronic music collective DBFC emerged onto the French electronic music scene with the release […]
With the release of a couple of EPs and a reputation for a being one of the best up-and-coming live sets in the UK scene, Bristol, UK-based post-punk band The Jacques have built up quite a buzz around themselves; in fact, this summer, the band will be touring the European Union and UK major festival circuit with opening sets for Noel Gallagher, Rudimental and The Charlatans at Kendal Calling’s main stage and for Primal Scream at Down To The Woods.
“Eleanor Ring Me,” the band’s latest single sounds as though it draws influence from 90s alt rock and grunge rock as the band pairs sludgy power chords, distorted vocals, snarling vocals and an anthemic hook in a song that the band says is “a kick at the people and things that we are distancing ourselves from now. “ And as a result, the song possesses a “Fuck off — or we’ll kick the shit out of you” air.
Check out the band’s EU and UK tour dates below.
Fri 13th May – l’Alimentation Generale, Paris France
Sat 14th May – Les Nuit Botanique, Brussels Belgium
Fri 27th May – Dot to Dot Festival, Manchester UK
Sat 28th May – Dot to Dot Festival, Bristol UK
Sun 29th May – Dot to Dot Festival, Nottingham UK
Fri 29th July – Kendal Calling Festival, UK
Sun 31st July- Damaris Festival, Amsterdam Holland
Sat 13th Aug – Down to The Woods Festival, Durham UK
Comprised of its frontmen Manchester, UK-born and Paris-based David Shaw and Paris-born and based Dombrance, along with Guilluame Rosel (percussion) and Victor Paillet (bass), the Paris-based electronic music collective DBFC emerged onto the French electronic music scene with the release of several singles through renowned indie label Her Majesty’s Ship Records last year. Building on the attention they’ve already received the collective’s latest single “Automatic,” which was recently released through Different Recordings will further cement the act’s reputation for crafting slickly produced electronic music that’s indebted to French electronic music and to Kraftwerk as the French collective’s latest single has the act pairing cascading layers of shimmering and undulating synths with a driving, motorik groove and ethereally cooed vocals bubbling up and then floating over the mix in a song that sounds indebted to Kraftwerk’s “Trans Europe Express” and Primal Scream‘s “Autobahn 66” — but with a subtle cosmic glow around its edges.
With the release of “To Be Young” and “Radio Silence,” which received extensive radio airplay on BBC Radio X, Spanish radio station Radio 3 and Stateside on KCRW and KEXP, the Portsmouth, UK-based quintet Kassassin Street — comprised of Rowan Bastable (guitar, vocals), Tom Wells (bass, vocals), Andy Hurst (keys, samples), Ryan Hill (guitar, vocals) and Nathan Hill (drums) — quickly exploded onto the international scene last year. And as a result, the Portsmouth-based quintet had a busy summer playing the UK major festival circuit with appearances at Secret Garden Party, Bestival, Blissfields, Y Not, Great Escape, Beat-Herder and Isle of Wight, as well as a hometown slot at Victorious Festival — and they continued on that success with a successful UK tour, which included several sold out shows.
Building on a rather successful 2016, the members of Kassassin Street recently released their latest single “Hand In My Pocket,” a post-punk track which pairs an anthemic hook with a sinuous bass line, shimmering and cascading synths, angular guitar chords and an uncanny sense of harmony in a shimmying, dance floor ready track that sounds indebted to Entertainment! and Solid Gold-era Gang of Four (in particular, I think of “Not Great Men” “He’d Send In The Army” and “Why Theory“), Kasabian‘s self-titled effort, Evil Heat-era Primal Scream (in particular “Detroit” and “Autobahn 66“) and New Order — but much like Gang of Four, the song possesses an underlying scathing sociopolitical message as the song focuses on social injustice and inequality in fiscal austerity-era UK.
Montreal, QC-based psych rock trio Elephant Stone — comprised of Rishi Dihr (lead vocals, sitar, bass), Jean-Gabriel Lambert (drums, backing vocals), and Miles Dupire (drums, backing vocals) — have developed a national profile across their native Canada and Stateside for a vintage psych rock sound reminiscent of The Beatles, The Kinks and severals as the Canadian trio’s earliest material paired elements of Eastern instrumentation — mainly, the sitar — with Western songwriting, arrangements and instrumentation. And rather unsurprisingly, over the past few years the Montreal-based trio have also become a JOVM mainstay artist.
With the 2014 release of Elephant Stone’s third full-length effort, The Three Poisons, the Canadian trio went through a major and rather decided change of songwriting approach and sonic direction in which sitar was pushed back to the background — and when it was employed, it was seemingly used to add additional texture and color. Since then, the Canadian trio have released a batch of singles including “The Devil’s Shelter,” which was released at the end of last year. That single, which featured a guest spot from The Black Angels‘ Alex Maas was yet another example of the trio experimenting with their sound as tense, undulating synths, shimmering sitar and guitar chords and a driving motorik-like rhythm were paired with Dihr’s and Mass’ alternating vocals to create an ominous and murky sound that channeled The Black Angels “Don’t Play With Guns.”
Early last month, the trio released “Where I’m Going” a single that continued the band’s most recent sonic experimentations while suggesting that the band may have been listening to Evil Heat-era Primal Scream — in particular, I think of “Autobahn 66” and “Detroit” as Dihr’s ethereal cooing is paired with shimmering guitar chords, a tight and propulsive, motorik groove, four-on-the-floor drumming and layers of shimmering and undulating synths in what may arguably be the most dance-floor ready songs that they’ve released to date. “Andromeda,” the band’s latest single sounds like a return to the vintage psych rock sound that first caught the blogosphere’s attention as shimmering guitar chords and a propulsive and driving rhythm are paired with Dihr’s plaintive cooing about the nature of the universe; however, swirling synths and a brief burst of tribal drumming manage to reveal a band that’s relentlessly experimenting and attempting new ways to expand upon their sound while retaining familiar elements.
The band will be on tour throughout March, and it includes an NYC date. Check out the tour dates below.
Comprised of Rishi Dihr (lead vocals, sitar, bass), Jean-Gabriel Lambert (drums, backing vocals), and Miles Dupire (drums, backing vocals), Montreal, QC-based psych rock trio Elephant Stone have developed a national profile across their native Canada, as well as a profile Stateside for a vintage psych rock sound reminiscent of The Beatles, The Kinks and others, as it the Canadian trio’s material employed elements of traditional Eastern instrumentation — i.e., the sitar — with Western songwriting. And as a result, over the past few years, Elephant Stone has become a JOVM mainstay artist.
The 2014 release of the Canadian trio’s third full-length effort, The Three Poisons, revealed a band that was in the process of a major change in sonic direction. Unlike the band’s first two albums, the material on Three Poisons pushed sitar to the background — and when it was employed, it was mainly to add texture and color. Now, if you were frequenting this site towards the end of last year, you may recall that I wrote about “The Devil’s Shelter,” a song that featured a guest spot from The Black Angels‘ Alex Maas. The members of Elephant Stone pair tense, undulating synths, shimmering sitar and guitar chords, and propulsive rhythm with Dihr’s vocals for the song’s verses and Maas’ vocals to craft a song that feels (and sounds) ominous and murky, while channelling The Black Angels “Don’t Play With Guns.”
The Montreal-based trio’s latest single “Where I’m Going” continues where the trio’s experimentation left off — while suggesting that the band’s newest sonic direction has been inspired by the likes of Primal Scream (in particular, I think of “Autobahn 66” and
“Detroit” as Dihr’s ethereal cooing with shimmering guitar chords, a tight and propulsive, motorik groove, four-on-the-floor drumming and layers of shimmering and undulating synths in what may arguably be the most dance-floor ready songs that they’ve released to date — all while remaining as psychedelic as ever. Interestingly, the band have been working on their fourth full-length effort, and if the last two singles they’ve released are indicative of its sound, the members of Elephant Stone are set to push their sound — and in turn, psych rock — in new directions.
The band will be on tour throughout March, and it includes an NYC date. Check out the tour dates below.
http://cache.vevo.com/assets/html/embed.html?video=GBBGB1500163&autoplay=0 Currently comprised of Bobby Gillespie (vocals), Andrew Innes (guitar), Martin Duffy (keys), Simone Butler (bass), Darrin Mooney (drums) and Barrie Cadogan (guitar), the Glasgow, Scotland-based quintet Primal Scream can trace their origins back to […]
Led by its founder and primary singer/songwriter Arthur Lee, the Los Angeles-based band Love was one of the first racially diverse American pop/rock bands in a time when it was largely unheard of — the late 1960s-early 1970s. And although they had a sound influenced by rock, garage rock, folk and psych rock, the band had found modest commercial success during the peak of their recording career; however, in the roughly 40 years since the band’s breakup the band has been praised by critics as one of the finest and most important American rock acts of its era, with their third album Forever Changes being regarded as the band’s masterpiece. In fact, Forever Changes has recently been listed on a number of greatest albums lists and the band has been inducted into the Grammy Hall of Fame, among some other relatively recent recognitions.
Despite their relative anonymity to most music listeners, the band’s influence has managed to quietly loom larger than perhaps the members of the band could possibly imagine, as bands like Television Personalities, The Jesus and Mary Chain, The Damned, The Stone Roses, Primal Scream, The Hellacopters, The Bluetones, Ricky and others have publicity cited the band and Forever Changes as an influence on them, have covered Love songs or had titled an album in tribute.
Over the past couple of years, there’s been a resurgence of interest in Love and as a result, the band has been re-issuing long lost material. Lee and company, along with High Moon Records will be re-issuing a deluxe edition of the last proper Love album, Reel to Reel on CD and digital for the first time ever, and on vinyl for the first time in 41 years. The deluxe re-issue features the official album’s 11 tracks and 12 previously unreleased bonus tracks, including the album’s second single, the previously unreleased single “Graveyard Hop,” which is of course, perfect for Halloween season.
Recorded in one take “Graveyard Hop” is an impromptu, satirical take on “Jailhouse Rock” that’s absurd, hilariously campy, falling completely off the rails unhinged, menacing and perhaps just as important, raw, primal straight out of the garage rock with Lee howling like a man possessed — or set on fire. And the band manages to sound like Chuck Berry‘s backing band after drinking a fifth of Jack Daniels and smoking PCP as the song clocks in at a 107 seconds. But man, the song kicks ass takes names and leave you panting for more.
Comprised of Adrian Acosta (guitar, programming, vocals), Jessica Huang (guitar, keys, vocals), Adrian De La Cruz (guitar). Carlos Michel (bass, sampler) and Danny Rossi (drums), the Los Angeles, CA-based shoegaze quintet of Draag began under […]
The Los Angeles, CA-based artist and renowned cat owner Dustin Krapes performs as a synthesizer/sample-based musical project by the name of Habits that includes a rotating cast of live and recording collaborators such as professional […]