Tag: psych pop

Over the course of 2017 and 2018, I wrote a bit about Trent Prall, a Southern California-born, Madison,WI--based producer, multi-instrumentalist and singer/songwriter, and his solo recording project Kainalu, which derives its name for the Hawaiian word for ocean wave.  The music that the Southern California-born, Madison,WI-based producer, multi-instrumentalist and singer/songwriter has worked on for the past decade or so have drawn from psych pop, psych rock, dream pop, Tropicalia, synth pop and funk, as well as his childhood trips to Oahu, HI visiting his mother’s family, coalescing in a breezy and nostalgia-including sound that Prall has dubbed “Hawaii-fi.”

Finding Peace of Mind” and “Folds Like Origami” consecutively landed at #1 on the Hype Machine Charts and received placements on some top Spotify playlists, and with the growing buzz surrounding him, there was high expectations for Prall to quickly write and release a career-launching debut EP. But rather than get swept up into the current of premature opportunities and expectations, the Southern California-born, Madison, WI-based JOVM mainstay spent the next year in isolation, exploring the unfiltered daydreams of a wandering mind and capturing ideas on tape whenever they drifted by. Interestingly, the end result is his long-awaited and highly-anticipated full-length debut Lotus Gate.

Slated for release this fall, the self-produced Lotus Gate is reportedly a retro-futuristic exploration of Eastern philosophy and contemporary groove and self-exploratory  psychedelia. The album’s latest single “Kamikaze Mushroom Palace” is centered around a warm and trippy, disco-tinged groove, shimmering and arpeggiated synths, a soaring hook and Prall’s ethereal falsetto — and while the single sonically sounds indebted to Tame Impala, but with the song’s narrator expressing an inward yearning to get their shit straight by any and all costs.

 

 

 

 

 

 

 

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Live Footage: JOVM Mainstays Tame Impala Perform “Borderline” at Coachella

I’ve written quite a bit about the Perth, Australia-born and-based singer/songwriter, multi-instrumentalist, producer and JOVM mainstay Kevin Parker and his acclaimed solo recording project Tame Impala over the past few years. And as you may recall, his third album, 2015’s Currents was a commercial and critical breakthrough as it was a Grammy-nominated, RIAA Gold-Certified effort that reflected a decided change in songwriting and approach that resulted in some of the most emotionally direct lyrics of his growing catalog paired with a more nuanced, textured sound that drew from psych rock, psych pop, synth pop, prog rock and R&B.

Patience,” which was released last month, was the first bit of new, solo material from Parker in several years, and while being a decidedly upbeat banger that seamlessly bridged 90s house and 70s funk, thematically the track was a thoughtful meditation on the cycles and phases of life. “Borderline,” Parker’s latest single is a blissed out, shimmering, mid-tempo track centered around arpeggiated synths, Parker’s imitable, plaintive falsetto and a soaring hook. And while showcasing the flourishes of the house music-inspired instrumentation of its predecessor, the track should serve as a reminder that Parker has a deep collection of hook-driven bangers.

Parker and his backing band will be making appearances across the international festival circuit that will include stops at Coachella FestivalShaky Knees FestivalCorona Capital Festival, Boston CallingPrimavera Sound Festival, Glastonbury FestivalLollapalooza with more dates to come. Coachella recently released live footage of Tame Impala’s headlining set last week, and it included footage of “Borderline.” Check it out, and then check out the tour dates below.

Live Footage: Up-and-Coming British Psych Pop Act Imperial Daze Performs “Minding the Haze” in Studio

Currently-comprised of Al Ward (vocals, guitar), Felix Rebaud-Sauer (bass, guitar), Facundo Rodriguez (keys, vocals) and Tom Sunney (drums), the London-based psych pop act Imperial Daze is a proudly multi-national band that features an Argentine, a Frenchman and an Englishman. Interestingly, the act which has publicly cited Damon Albarn, Kevin Parker and Soulwax as major influences on their sound and approach can trace their formation to tireless and joyful collaboration in a South London commune.

The London-based psych pop act released their Rupert Jarvis-produced 2017 debut EP Solid Fair and as a result of a national ad campaign that used their music, the band quickly earned a rapidly growing national profile, the members of the band have shared stages with the likes of The Maccabees, Mystery Jets, Nilufer Yanya, All We Are and Matt Maltese. Imperial Daze spent the bulk of last year building their studio from scratch in a giant disused commercial freezer, under a railway arch near London’s Tower Bridge that they’ve dubbed The Electric Eel Recording Studio. (Reportedly, the studio’s name is derived from the fact that the space once used to store eels.)

Slated for a June 7, 2019 release through Tip Top Recordings, the up-and-coming British band’s sophomore EP, Surface Sensibles was co-produced by the members of the band and Rupert Jarvis, and was recorded in two studios — The Maccabees’ studio The Drugstore and the band’s new studio. Surface Sensibles‘ latest single, the atmospheric and wistful “Minding the Haze” is centered around shimmering and arpeggiated synths, a sinuous bass line, angular guitars, plaintive vocals and a soaring hook — and while bearing a resemblance to Editors and HandsMassive Context EP, the song which has already caught the attention of XFM‘s John Kennedy and BBC Radio 6‘s Amy Lame is as the band’s described “a melancholic picture of a fleeting hazy summer spent as a teenager, engrossed in youthful romance, willful boredom and insouciance. “

Earlier this year, I wrote about the Amsterdam, The Netherlands-based singer/songwriter, multi-instrumentalist, producer and multi-disciplinary artist, Tessa Rose Jackson, who’s perhaps best known for her solo recording project Someone. Now, as you may recall, her debut EP Chain Reaction was an ambitious and creative undertaking that involved an accompanying short film. Unsurprisingly, the Amsterdam-based singer/songwriter, multi-instrumentalist, producer and multi-disciplinary artist’s forthcoming sophomore EP, Orbit may arguably be her most ambitious undertaking yet:  the material finds Jackson exploring the intensity with which art and music can be fused and how they can fully enhanced.

Thematically, the material incisively comments on our overstimulated digital age, suggesting that we spend so much time on our phones and on social media being exposed to external distractions that we’re essentially orbiting  around each other and our passions, rarely touching, resting or even focusing long enough to truly connect to anything or anyone.  Jackson also created an interactive augmented reality exhibition that combines her music with cutting edge technology and hypnotic art, which employs elements reminiscent of space and planets, with the exhibition being presented in gallery spaces in Amsterdam, London, Berlin, and Paris.

When viewed through a tablet or a smartphone, the artwork comes to life, and the song linked to that particular piece will be played through the viewer’s headphones. The artworks each react differently and react to the music, dynamically building as the songs progress. They will also react to touch from the viewer on their tablet screens, allowing full interaction and immersion. Trippy, huh?

Orbit‘s first single, the dreamy and ethereal “Get It Together” was centered by shimmering and arpeggiated synths, thumping beats, buzzing power chords and a soaring hook that in some way brought Tame Impala and Air to mind. Centered around an infectious groove, shimmering guitars, four-on-the-floor like beats, the EP’s latest single “I Can’t Remember How To Talk To You” will further Jackson’s growing reputation for crafting breezy and buoyant hooks.

Orbit EP will see a May 1, 2019 release through [PIAS] Recordings.

 

Live Footage: Tame Impala Performs on “Saturday Night Live”

With the release of his first two albums, Innerspeaker and Lonerism, the Perth, Australia-born and-based singer/songwriter, multi-instrumentalist and producer Kevin Parker quickly received national and international attention for his psych pop solo recording project Tame Impala. 2015’s Currents though, was a commercial and critical breakthrough: the Grammy-nominated, RIAA Gold-Certified album reflected a decided change in songwriting that resulted in some of his most emotionally direct lyrics paired with a more nuanced, textured sound that drew from psych rock, psych pop, synth pop, prog rock and R&B.

“Patience” is the first bit of new, solo material from Parker in a few years, and the mid-tempo track is a seamless synthesis of classic 90s house music and 70s funk, soul and disco that features shimmering and arpeggiated synths, piano jabs, a motorik groove, congo-led percussion and a soaring and rousingly anthemic hook paired with Parker’s imitable, falsetto croon. And while being a decidedly upbeat banger, the song is centered by a thoughtful meditation on the cycles and phases of life, in which the song’s narrator makes peace with the fact that everything and everyone is transient.

Parker made his Saturday Night Live debut last Saturday, and his appearance featured a live performance of “Patience” and a new track, “Borderline,” a shimmering mid-tempo track centered around arpeggiated synths, Parker’s plaintive falsetto crooning and a soaring hook that recalls 70s AM rock meshed with synth pop and psych pop

Lyric Video: Dutch-based Act Altin Gun Releases a Lysergic Visual for Shimmering Take on Turkish Psych Pop

Comprised of founding member Jasper Verhulst (bass) with Ben Rider (guitar), Erdinc Ecevit Yildiz (keys, saz, vocals), Gino Groneveld (percussion), Merve Dasdemir (vocals) and Nic Mauskovic (drums), the Amsterdam-based Turkish psych pop act Altin Gun, which derive their name for the Turkish phrase “Golden Day” can trace their origins to Verhulst’s deep passion for 60s and 70s Turkish psych pop and folk — and when he toured Istanbul with a previous band. While in Istanbul, Verhulst discovered a lot music that wasn’t readily available back in Netherlands; but at the story goes, he wasn’t content to just listen as an ardent fan, he wound up having a vision of where he could potentially take the sound. “We do have a weak spot for the music of the late ’60s and ’70s,” Verhulst admits in press notes “With all the instruments and effects that arrived then, it was an exciting time. Everything was new, and it still feels fresh. We’re not trying to copy it, but these are the sounds we like and we’re trying to make them our own.”

Although the material they’re playing has been a familiar part of Turkish life for a few generations, the Dutch-based act actively interpret an re-imagine the beloved sound through a 21st century lens. “Of course, since our singers are Turkish, they know many of these pieces. All this is part of the country’s musical past, their heritage, like ‘House of The Rising Sun’ is in America,'” Verhulst explains. Naturally, he’s continued to see new songs that grab his ear. “Most of these songs have had hundreds of different interpretations over the years. I’m listening for something we can change and make into our own.  We need something that will make people stop and listen, as if it’s the first time they’ve heard it.”

Slated for an April 26, 2019 release through ATO Records, the Dutch-based Turkish psych pop act’s sophomore album Gece is the highly-anticipated follow-up to last year’s On — and the album reportedly finds the band further establishing themselves as masterful interpreters of a beloved Anatolian rock and folk history, and as a new voice in a growing global psych scene.  Gece also finds the band bringing together music and sounds from several different Anatolian sources — with only one original song, the improvised “Şoför Bey.”

Interestingly, Gece’s latest single is the Dutch-based act’s hypnotic take on Muzaffer Sarısözen’s “Süpürgesi Yoncadan.” Centered around shimmering and arpeggiated, Casio-like synths, complex polyrhythm, thumping beats and a propulsive, club-banging hook. Sonically, the Altin Gun rendition bears an uncanny resemblance to Syria’s great wedding singer Omar Souleyman but with a motorik groove and a swooning vibe. As the band explains, the song is about “falling for someone unexpectedly, crying and suffering over love.” 

Directed and produced by Sylvain Rusques and Simon Moreaux, the animated, lyric video further emphasizes the lysergic nature of the song, as it features a woman sensually gyrating to the song. 

 

With the release of his first two albums, Innerspeaker and Lonerism, the Perth, Australia-born and-based singer/songwriter, multi-instrumentalist and producer Kevin Parker quickly received national and international attention for his psych pop solo recording project Tame Impala. 2015’s Currents though, was a commercial and critical breakthrough: the Grammy-nominated, RIAA Gold-Certified album reflected a decided change in songwriting that resulted in some of his most emotionally direct lyrics paired with a more nuanced, textured sound that drew from psych rock, psych pop, synth pop, prog rock and R&B.

“Patience” is the first bit of new, solo material from Parker in a few years, and the mid-tempo track is a seamless synthesis of classic 90s house music and 70s funk, soul and disco that features shimmering and arpeggiated synths, piano jabs, a motorik groove, congo-led percussion and a soaring and rousingly anthemic hook paired with Parker’s imitable, falsetto croon. And while being a decidedly upbeat banger, the song is centered by a thoughtful meditation on the cycles and phases of life, in which the song’s narrator makes peace with the fact that everything and everyone is transient.

Parker will be making his Saturday Night Live debut tonight, which he’ll follow up with some extensive touring across the international festival circuit that will include stops at Coachella Festival, Shaky Knees Festival, Corona Capital Festival, Boston Calling, Primavera Sound Festival, Glastonbury Festival, Lollapalooza with more dates to come. Check out the tour dates below.

TOUR DATES
April 13 – Coachella Valley Music & Arts Festival – Indio, CA
April 20 – Coachella Valley Music & Arts Festival – Indio,CA
May 02 – Ascend Amphitheatre – Nashville, TN
May 03 – ExploreAsheville.com Arena – Asheville, NC
May 05 – Shaky Knees Music Festival – Atlanta, GA
May 06 – St. Augustine Amphitheater – St. Augustine, FL
May 07 – Fillmore Miami Beach at the Jackie Gleason Theater – Miami Beach FL
May 11 – Corona Capital Festival – Guadalajara, MEXICO
May 25 – Boston Calling Festival – Boston, MA
May 31 – Primavera Festival – Barcelona, SPAIN
June 01 – We Love Green – Paris, FRANCE
June 05 – Garden – Gotenberg, SWEDEN
June 06 – NorthSide – Aarhus, DENMARK
June 21 – Hurricane Festival – Sheebel, GERMANY
June 22 – Southside Festival – Neuhausen ob eck, GERMANY
June 26 – Glasonbury – Pilton, ENGLAND
August 01-04 – Lollapalooza – Chicago, IL
August 09 – Flow Festival – Helsinki, FINLAND
August 14 – Pukkelpop – Hasselt, BELGIUM
August 15 – La Route Du Rock – Rennes, FRANCE
August 16 – Lowlands Festival – Walibi Holland, NETHERLANDS

New Video: Introducing the Mysterious Detroit-based Act VAZUM and their Scuzzy Power Chord-driven Sound

With the release of two albums their self-titled debut and Void last year, the Detroit, MI-based dark rock band VAZUM quickly drew comparisons to Monster-era R.E.M., Sisters of Mercy and Placebo as their sound manages to pair an uncanny melodicism with scuzzy power chords. While the band is working on their third album, they released a video for the 90s alt-rock/120 Minutes-era MTV-inspired “Leech” off Void, a track centered by scuzzy and enormous power chords, a rousing, mosh pit friendly hook and an urgent, swooning romanticism. 

As for the video, its concept is simple — footage of the band performing the song in a murky black and white, which gives the visual a you-were-there immediacy. 

Tessa Rose Jackson is an Amsterdam, The Netherlands-based singer/songwriter, multi-instrumentalist, producer and multi-disciplinary artist, best known among indie circles as Someone. Her debut EP Chain Reaction was an ambitious creative undertaking that involved an accompanying short film. Jackson’s forthcoming EP Orbit finds Jackson exploring the intensity with which art and music can be fused, and how they can fully enhance themselves. And interestingly, the Amsterdam-based multi-instrumentalist, producer and multi-disciplinary artist crated an interactive augmented reality exhibition that combines her music with cutting edge technology and hypnotic art, which use elements reminiscent of space and planets. The exhibition will be presented in gallery spaces in Amsterdam, London, Berlin, and Paris.

When viewed through a tablet or smartphone, the artwork comes to life and the song linked to that particular piece will be played through the viewer’s headphones. The artworks each react differently and react to the music, dynamically building as the songs progress. They will also react to touch from the viewer on their tablet screens, allowing full interaction and immersion. Trippy, huh?

The EP’s material thematically comments on our overstimulated, digital age, suggesting that we spend so much time on our phones and on social media being constantly exposed to external distractions that we’re essentially orbiting around each other and our passions, rarely touching, resting or even focusing long enough to truly connect to anything or anyone.

Orbit‘s first and latest single is the dreamy and ethereal “Get It Together,” a track that’s centered by shimmering and arpeggiated synths, thumping hip hop-like drumming, buzzing power chords and a soaring hook. And while clearly being indebted to Tame Impala and Air, the track also nods at classic, bubblegum pop and 60s psych pop — but with a soaring and infectious hook.

 

 

 

 

 

 

 

 

Ocean Potion is the Toronto, Ontario, Canada side project of Yukon Blonde‘s Jason Haberman and Zeus‘ Mike O’Brien.  Haberman and O’Brien met while their respective primary bands were touring Canada, and as the story goes they quickly bonded, beginning a bedroom recording project over the course of this year.  Initially, there were no actual songs, just extended free form jams based around looping riffs. As these loops took more of a song shape, a creative process began to emerge — Haberman would record a basic instrumental track, then send it over to O’Brien, who would add words and melodies. 

Throughout the summer, Haberman and O’Brien bounced tracks back-and-forth throughout the summer and after they felt they had a collection of 10 songs that represented the best of what they’d created, Haberman dove into the mixing process, shifting through the many layers of synths, woozy guitars and dreamy vocals to find the purest and best version of each song. 

“Lights Out,” the Toronto-based duo’s latest single will further cement the duo’s growing reputation for crafting dreamy and ethereal pop centered around shimmering and arpeggiated synths, a simple backbeat, shimmering guitars fed through effects pedals and O’Brien’s equally ethereal vocals. Sonically, the song evokes a few things to me — lazy days, sitting around and playing music and driving around aimlessly on gloriously sunny days with music on your stereo. It’s all good vibes and enjoying the eternal now. 

With the addition of Forces’ Dave Azzolini and Brave Shores‘ Jay McCarol, Ocean Potion will be touring as a quartet throughout 2019. So be on the lookout for more.