Tag: R.E.M. The One I Love

New Video: Melbourne’s RVG Releases an Intimate Visual for Aching and Anthemic “I Used To Love You”

Romy Vager is an Adelaide, Australia-born singer/songwriter, who as a teenaged goth kid runaway left her hometown, drawn to Melbourne, Australia. Upon her arrival in Melbourne, Vager joined her first band, Sooky La La, a project that crafted material centered around anger and discordance. Sooky La La were misunderstood, never found a following and routinely cleared rooms. Eventually, the band split up and as a result, Vager committed herself to write songs that people would actually like and want to listen to by doing what countless other aspiring songwriters hope to do: match feelings of alienation, loneliness and feeling misunderstood to melody, introspection and enormous, soul-stirring hooks and refrains. 

For a while, Vager was living at The Bank, an erstwhile recording, rehearsal and performance space that took over an old bank building in Preston, Australia, a suburb about six miles from Melbourne. The Bank was a scene unto itself, featuring a handful of bands that would soon become acclaimed, including Jalala, Gregor and Hearing, who all played, practiced and lived there. Naturally, living in an enormous space surrounded by musicians, who were constantly working and refining their work was profoundly inspiring to the Adelaide-born, Melbourne-based singer/songwriter. 

Back in September 2015, Vager launched a tape of solo material that hadn’t actually been pressed and landed her first solo show at The Bank’s downstairs performance space. For her live solo debut, Vager recruited Drug Sweat‘s and The Galaxy Folk’s Angus Bell, her Bank neighbor, Gregor’s and Hearing’s Reuben Bloxham and Rayon Moon‘s Marc Nolte to be a one-off backing band. And as the story goes, once they began playing together, they all realized — without having to say it aloud — that they needed to continue as a band. Shortly after that show, they initially formed as Romy Vager Group before shortening it to RVG.

RVG’s 2017 full-length debut A Quality of Mercy was recorded live off the floor at Melbourne’s beloved and iconic rock ‘n’ roll pub, The Tote Hotel. Initially released to little fanfare — no press releases, no music videos, no press photos of the band or any significant press push, the album’s material was heavily inspired by The Go-Betweens, The Soft Boys and The Smiths and centered by Vager’s passionate and achingly vulnerable vocals. Much to the band’s surprise, their full-length debut received attention and praise across their native Australia and elsewhere — and as a result of a rapidly growing profile, the band caught the attention of Fat Possum Records, who signed the band and re-issued A Quality of Mercy, which led to a much larger profile internationally. 

Building upon a growing profile, the band then went on world tours with Shame and Kurt Vile. Late last year, the band released the Victor Van Vugt-produced single “Alexandria.” Written as a response to the immediate aftermath of Brexit and Trump, the song is appropriately urgent and ardent. Featuring jangling guitars, pummeling drums, a rousingly anthemic hook and Vager’s earnestly plaintive and gravely howl, the song finds the band gaining a subtle studio sheen — without scrubbing the grit and honesty that has won them attention. 

2020 will be a momentous year for the rising Melbourne-based band. They recently signed to Fire Records, who will be releasing their highly-anticipated sophomore album Feral on April 24, 2020 throughout the world — excluding Australia and New Zealand, where the album will be released through their longtime label home Our Golden Friend. And to mark this exciting new era for the band, they recently announced Feral’s second single, the devastating and heartbreaking, anthemic ballad “I Used to Love You.” Simple and sincere, the song tells a familiar and fairly universal tale: a narrator, who proudly reclaims themselves and their lives in the aftermath of an embittering breakup. The song’s narrator may be proud and defiant; but there’s the sad acknowledgment of something deeply important coming to an end, iAnd while firmly establishing the band’s reputation for crafting an enormous, heartfelt hooks centered around personal experience, the song manages to recall Concrete Blonde’s “Joey” and R.E.M.’s “One I Love.” 

Directed by documentarian and narrative filmmaker Tom Campbell and shot by Edward Goldner, the recently released video for “I Used To Love You,” is a cinematic and intimate video featuring a contemplative Romy Vager, who at points sings the song’s lyrics directly at the viewer — and with the same earnestness and heartache as the accompanying song. “There’s a lot of power in reclaiming yourself but also a lot of sadness. I adore Tom’s video and feel like it captures the energy of the song perfectly,” RVG’s Romy Vager says in press notes. 

Currently comprised of founding trio Brian J. Cohen (vocals, rhythm guitar), Eric Neujahr (guitar) and Jon Engelhard (bass), along with newest member Garret Ray (drums), the Los Angeles-based indie rock quintet Line & Circle can trace their origins to when the founding trio, with original members Brian Egan (keyboards) and Nick Cisik (drums) met and formed the band in Ohio, before relocating to Southern California. Now, if you’ve been frequenting this site for some time, you’d know that with the release of a batch of singles and their debut — all of which were released to critical praise — the band quickly exploded into the national scene.

Building upon their growing buzz and national profile, the members of the then-quintet wrote and recorded their 2015 Lewis Pesacov-produced, full-length debut Split Figure, an album that sonically found the band drawing from 1980s college rock and alt rock — album single Like A Statue,”  managed to remind early R.E.M. songs like “The One I Love,” “Talk About The Passion” and “So. Central Rain,” The Smiths‘ “This Charming Man” while thematically the single, as well as the rest of the album’s material explored “the elusive and daunting task of pursuing self-knowledge in a world, where ironically staring into screens and photographing ourselves incessantly has failed to make the process any easier.”  As the band’s Cohen added at the time.  “We are all split down the middle. There is an inner self that reflects what we think are, and an outer self that is how others really perceive us. True self-knowledge is when you become aware of each, and begin to reconcile both into one.”

After the release of their full-length debut, the band went through a lineup change before writing and recording their forthcoming EP Vicious Folly. Interestingly enough, the EP, which was essentially recorded and tracked live to tape during a single day session at Los Angeles’ Box Studios with some additional sessions in warehouses, bedrooms and home studios in the Echo Park neighborhood reportedly explores an old belief popularly held by the Romans: homo homini lupus — man is a wolf to man.  And as you may recall, EP single “Man Uncouth,” while further cementing their reputation for crafting jangling and earnest guitar pop that sounds as though it were released in 1983, managed to focus on the inner turmoil of someone desperately in love but battling their insecurities and fears, essentially becoming the portrait of a man, slowly tearing himself apart. The EP’s latest single, EP title track “Vicious Folly”  continues in a similar vein — with the song being the most R.E.M.-inspired song they’ve released in some time but whereas as the conflict in the preceding single was internal, the conflict at the heart of their latest single is much larger, with ideological differences tearing social norms and boundaries apart. Certainly, while describing our current political climate in which significant portions of the electorate can’t agree on commonly held facts and assertions, and we’re increasing split along lines of race, gender, class, etc., the song manages to point out that this is historical after all — or as an old song says “things fall apart, it’s scientific.”

 

 

A few years ago, I had written quite a bit about Los Angeles-based indie rock quintet Line & Circle. Currently comprised of founding trio Brian J. Cohen (vocals, rhythm guitar), Eric Neujahr (guitar), Jon Engelhard and newest member Garret Ray (drums), the band can trace their origins to when they all met in Ohio — before relocating to Southern California. And with the release of a batch of singles and their debut EP — all of which were released to critical praise, the band quickly exploded into the national scene.

Building upon the growing buzz surrounding them, the then-quintet recorded their Lewis Pesacov-produced, debut full-length effort Split Figure, an album that thematically explored “the elusive and daunting task of pursuing self-knowledge in a world, where ironically staring into screens and photographing ourselves incessantly has failed to make the process any easier” while sonically pairing those themes with a music that the band has described as “instantaneous and propulsive.” As the band’s frontman Brian J. Cohen explained in press notes at the time, “We are all split down the middle. There is an inner self that reflects what we think are, and an outer self that is how others really perceive us. True self-knowledge is when you become aware of each, and begin to reconcile both into one.”  Now, as you may recall album single “Like A Statue,”  managed to remind me of  120 Minutes-era MTV alt rock —  early R.E.M. songs like “The One I Love,” “Talk About The Passion” and “So. Central Rain,” The Smiths‘ “This Charming Man” and the  4AD Records sound immediately come to mind.

Recorded and tracked live to tape during one day at Los Angeles’ Box Studios with additional sessions in various warehouses, bedrooms and home studios in the Echo Park section and mixed by the band’s frequent collaborator Jonathan Low, and the EP reportedly explores an old belief popularly held by the Romans: homo homini lupus — man is a wolf to man. Interestingly enough, the EP’s latest single “Man Uncouth” will further cement their growing reputation for crafting a familiar and beloved sound to anyone who listened to college radio/alternative rock back in the 80s able Rd 90s but while focusing on the inner turmoil of someone in love, battling their insecurities and fears — essentially it’s the portrait of a man, slowly tearing himself apart.

 

 

 

New Video: The Hauntingly Gorgeous and Nostalgic Video for Line and Circle’s “Like A Statue”

If you’ve been frequenting JOVM over the past three or four months you may recall that I’ve written about the Los Angeles-based quintet Line and Circle. Comprised of Brian J. Cohen (vocals, rhythm guitar), Eric Neujahr (guitar), Jon Engelhard (bass […]