Tag: Reading Festival

New Video: Starcrawler Releases an Anthemic Country-Tinged Rocker

Over the past few months, I’ve written a bit about the Los Angeles-based indie rock act Starcrawler, and as you may recall, the band quickly emerged with the release of last year’s critically applauded, self-titled debut album, an effort that established their sound, a heavily grunge rock-inspired sound, and for a feral live show. Since the release of their debut, the members of the band — Arrow de Wilde (vocals), Henri Cash (guitar), Austin Smith (drums) and Tim Franco (bass) — have had a busy touring schedule that has seen them play some of the world’s biggest music festivals, including Primavera Sound,Rock Am Ring, Download Festival, Voodoo Festival, FujiRock Festival, Reading Festival, Leeds Festival, SXSW and others.

Adding to a rapidly rising profile, the band was included as part of last year’s incredibly diverse crop of Vevo DSCVR — but they were only ones to have Garbage’s Shirley Manson praise the band and de Wilde in a video testimonial. They’ve opened for Foo Fighters, MC50  Morrissey, Beck, Cage The Elephant, Spoon and The Distillers. But 2019 may arguably be the biggest year of the young band’s history: “Hollywood Ending,” the first single from the band this year received praise from NPR and Rolling Stone, and as a result, the track spent several weeks at #1 on speciality radio charts. And the band’s highly-anticipated sophomore album Devour You is slated for an October 11, 2019 release through Rough Trade Records.

Produced by Nick Launay at Sunset Studios, the album finds the band capturing the aggression and essence of their unhinged live show and pairing it with a more elaborate, more nuanced yet harder-hitting sonic palette to create a sound that the band’s Arrow de Wilde says ““encapsulates all the blood, sweat, bruised knees, and broken fingers of a Starcrawler show.”  “Bet My Brains,” Devour You’s first official single, was a T. Rex-like boogie shake, centered around de Wilde’s feral vocals, a massive guitar riff and a cretinous and forceful stomp. Interestingly, the album’s second and latest single “No More Pennies” is a mid-tempo, country rocker with an enormous hook that reveals an ambitious, young band growing more mature and adventurous with their songwriting and sound — while being reminiscent of Headbanger’s Ball-era metal and T. Rex. 

Directed by the band’s Arrow de Wilde and Jonathan King, the recently released video as the de Wilde explained in press notes, “.  . . started with an archive of 16mm film that Gilbert Trejo shot with us on tour and at home over the last year.” “I was editing it together with Jonathan and we were both drawn to a lot of the shots of us around Los Angeles. So we jumped in a car, and shot the video performances around town trying to capture the feeling we get when we’re all together back in the city. We had our friends with us – Gilbert, Annie Hardy (Giant Drag), Mary James, my uncle Jimmy and Jonathan’s chihuahua Earth Angel. It’s got a feeling that captures the dreaminess of the song.” 

New Video: Starcrawler Releases a Manic and Murderous Visual for Anthemic New Single “Bet My Brains”

With the release of last year’s critically applauded, self-titled debut, the Los Angeles-based indie rock act Starcrawler — Arrow de Wilde (vocals), Henri Cash (guitar), Austin Smith (drums) and Tim Franco (bass) — quickly emerged into both national and international scene for a grunge rock inspired sound and a feral live show. And since the release of their debut album, Starcrawler has had a busy touring schedule that has seen them play at some of the world’s major music festivals including Primavera Sound, Rock Am Ring, Download Festival, Voodoo Festival, FujiRock Festival, Reading Festival, Leeds Festival, SXSW and others. 

Adding to a rising profile, the band was included as part of last year’s incredibly diverse crop of Vevo DSCVR — but they were only ones to have Garbage’s Shirley Manson praise the band and de Wilde in a video testimonial. They’ve also opened for Foo Fighters, MC50  Morrissey, Beck, Cage The Elephant, Spoon and The Distillers. But this year may be a breakthrough one for the Los Angeles-based indie rock act. “Hollywood Ending,” the first single from the band this year received praise from NPR and Rolling Stone, and as a result, the track spent several weeks at #1 on speciality radio charts. And more importantly, the band’s highly-anticipated sophomore album Devour You is slated for an October 11, 2019 release through Rough Trade Records. 

Produced by Nick Launay at Sunset Studios, the album finds the band capturing the aggression and essence of their unhinged live show and pairing it with a more elaborate, more nuanced yet harder-hitting sonic palette to create a sound that the band’s Arrow de Wilde says ““encapsulates all the blood, sweat, bruised knees, and broken fingers of a Starcrawler show.” Devour You’s first single is the swinging, glam rock-inspired  “Bet My Brains.” And while bearing a dim resemblance to the boogie shake of T. Rex, the song is centered by de Wilde’s feral vocals. a massive guitar riff and a cretinous and forceful stomp. “That song came from thinking about the tunnel people in New York and Vegas and the Catacombs in France, and the underground village of people who live in the sewers of the L.A. River,” says de Wilde. “I was fascinated with the fact that there is a whole other world happening right under our feet.” Guitarist and vocalist Henri Cash adds: “Arrow and I hadn’t even talked about it yet, but I’d already written something about the same thing—about how these people’s eyes adapt to pitch-blackness, and they end up going crazy from never seeing the sunlight.” 

Directed by Jellycraw, the recently released video features de Wilde giving an absolutely manic, Heath Ledger-like performance, reminiscent of her stage antics — all while seeing the video’s other characters get murdered in a variety of ways. 

New Video: Up-and-Coming Act Starcrawler Releases a Cinematic and Symbolic Visuals for Mosh Pit Friendly Ripper “She Gets Around”

With the release of last year’s critically applauded, self-titled debut, the Los Angeles-based indie rock act Starcrawler, comprised of Arrow de Wilde (vocals), Henri Cash (guitar), Austin Smith (drums) and Tim Franco (bass) quickly emerged into the national and international scene for a sound that is indebted to 90s alt rock — and for a feral live show. Since the release of their full-length debut, the Los Angeles-based quartet have been busy with a busy touring schedule that has seen them play at some of the world’s major festivals including Primavera Sound, Rock Am Ring, Download Festival, Voodoo Festival, FujiRock Festival, Reading Festival, Leeds Festival, SXSW and others; in fact, the band won last year’s SXSW Grulke Prize for best US act, after consistently kicking ass over the course of 9 shows in a grueling 4 or 5 day period.

Adding to a rising profile, the band opened for the likes of Foo Fighters, MC50 and Morrissey — and they were included as part of last year’s incredibly diverse crop of Vevo DSCVR artists; however, they were the only ones to have Garbage‘s Shirley Manson praise the band and their frontperson in a video testimonial. 2019 may arguably be an even bigger year for the up-and-coming band: their first single of this year “Hollywood Ending” received praise from NPR and Rolling Stone, and as a result, the track spent several weeks at #1 on speciality radio charts — and they’ll spend a good portion of this year opening for the likes of Beck, Cage The Elephant, Spoon and The Distillers to support their forthcoming, highly-anticipated sophomore album.

“She Gets Around,” the second single of the year from the buzzworthy, Los Angeles-based quartet will further cement the band’s reputation for crafting material that’s clearly indebted to 90s alt rock as the track is centered around scuzzy, distortion pedal-fed power chords, thunderous drumming, heavily down-tuned yet propulsive bass lines, snarled vocals and a rousingly anthemic, mosh pit friendly hook delivered with a ass-kicking, name-taking self-assuredness and an unhinged fury. 

The incredibly cinematic and lush black and white shot video directed by Gilbert Trejo features de Wilde in an enormous parachute struggling to get get free and as a suspended angel — while her bandmates perform the song. As Trejo and de Wilde say of the song and video ““It’s about building someone up in your own head, deifying them, only to have that mental image destroyed in seconds. Not everyone is actually an angel, and sometimes we have to destroy our own marble, saccharine image of them in order to move on. Crow bars and baseball bats make it easier.” 

New Audio: Introducing the 90s Grunge Rock-Inspired Sound of Los Angeles’ Starcrawler

With the release of last year’s critically applauded, self-titled debut, the Los Angeles-based indie rock act Starcrawler, comprised of Arrow de Wilde (vocals), Henri Cash (guitar), Austin Smith (drums) and Tim Franco (bass) quickly emerged into the national and international scene for a sound that is indebted to 90s alt rock — and for a feral live show. Since the release of their full-length debut, the Los Angeles-based quartet have been busy with a busy touring schedule that has seen them play at some of the world’s major festivals including Primavera Sound, Rock Am Ring, Download Festival, Voodoo Festival, FujiRock Festival, Reading Festival, Leeds Festival, SXSW and others; in fact, the band won last year’s SXSW Grulke Prize for best US act, after consistently kicking ass over the course of 9 shows in a grueling 4 or 5 day period.

Adding to a rising profile, the band opened for the likes of Foo Fighters, MC50 and Morrissey — and they were included as part of last year’s incredibly diverse crop of VEVO DSCVR artists; however, they were the only ones to have Garbage’s Shirley Manson praise the band and their frontperson in a video testimonial. 2019 may arguably be an even bigger year for the up-and-coming band: their first single of this year “Hollywood Ending” received praise from NPR and Rolling Stone, and as a result, the track spent several weeks at #1 on speciality radio charts — and they’ll spend a good portion of this year opening for the likes of Beck, Cage The Elephant, Spoon and The Distillers to support their forthcoming, highly-anticipated sophomore album.

“She Gets Around,” the second single of the year from the buzzworthy, Los Angeles-based quartet will further cement the band’s reputation for crafting material that’s clearly indebted to 90s alt rock as the track is centered around scuzzy, distortion pedal-fed power chords, thunderous drumming, heavily down-tuned yet propulsive bass lines, snarled vocals and a rousingly anthemic, mosh pit friendly hook delivered with a ass-kicking, name-taking self-assuredness and an unhinged fury.

Live Footage: Copenhagen’s Baby in Vain Performs “One Feather” at Tapetown Studios

Formed back in 2010, the Copenhagen, Denmark-based indie rock trio Baby in Vain, comprised of Lola Hammerich, Benedicte Pierleoni and Andrea Thuesen have received attention across Scandinavia and elsewhere for a sound that features elements of stoner rock, grunge rock, the blues and noise rock; in fact, the trio have been written about in Mojo, Vice and Intro Magazine — and adding to a growing the profile, the trio has opened for Ty Segall, Thurston Moore’s post Sonic Youth project Chelsea Light Moving and The Kills during their Stateside and European Union tours. Additionally,  they’ve made appearances across the European festival circuit, playing sets at Reading, Leeds, Great Escape and Roskilde among others. 

Now, if you’ve been frequenting this site over the past year or so, you may recall that the Aarhus, Denmark-based recording studio  Tapetown Studios  along with Sound of Aarhus have developed a live video series in which they invite national, regional and internationally recognized touring bands to come into their studio during their free time to record a live session. And over that period of time, Tapetown has invited British indie rockers Ulrika Spacek, the Gothenburg, Sweden-based trio Pale Honey, the Bay Area-based JOVM mainstay Tim Cohen and his primary project The Fresh & Onlys, and the renowned British psych rockers The Telescopes. Recently, Tapetown and Sound of Aarhus invited the Danish indie rock trio to the studio, where they performed a slow-burning dirgey blues number “One Feather.” 

New Video: The Hazy and Dream-like Visuals for INHEAVEN’s “Sweet Dreams Baby”

With the release of their debut single “Regeneration” through Julian Casablancas’ Cult Records, the London, UK-based quartet INHEAVEN, comprised of Chloe Little (bass, vocals), James Taylor (vocals, guitar), Joe Lazarus (drums) and jake Lucas (guitar) quickly received national attention as BBC DJs Annie Mac, Phil Taggart, Steve Lamacq and Chris  Hawkins played the single on their respective radio shows. Adding to a growing profile, the London-based quartet were named one of XFM’s one to watch for in 2016 and were featured in DIY Magazine and NME — with NME naming them “One of the UK’s most exciting new bands.” 

Throughout the course of 2016 and 2017, the members of INHEAVEN opening for the likes of Sundara Karma, Circa Waves, Jamie T, Blossoms, Yak and The Magic Gang and played at a number of the world’s biggest festivals including Reading, Leeds, Glastonbury and Bilbao BBK before closing out last year with the release of their critically applauded debut album. 

The British indie rock quartet’s latest single “Sweet Dreams”  is the swooning and anthemic follow up to their buzz worthy debut and the critically applauded Acoustic EP and as the band mentions in press notes, the song was written as an anthem for those who are hoping for better things to come in 2018 — all while reminding the listener that they shouldn’t lose sight of their dreams. Sonically, the song finds the band drawing from Phil Spector’s famous “wall of sound,” complete with boy/girl harmonizing as well as 90s alternative rock, which helps the song manage to be arena rock and radio friendly. 

The recently released video manages to be stylistic yet dreamlike, as it flickers between the band performing the song and sepia-toned, intimate close ups of James Taylor and his bandmates as they perform the song, capturing the earnestness behind the song. 

New Video: In The Valley Below Releases the Surreal Yet Symbolic Visuals for Rousingly Anthemic, New Single “Bloodhands (Oh My Fever)”

With the release of their full-length debut The Belt, which spawned the viral hit single “Peaches,” In The Valley Below,  the husband and wife duo Angela Gail and Jeffrey Jacob first received international attention — including “Peaches” debut on BBC Radio 1, as well as commercial success in Germany and France, with the song topping the French Alternative Charts. A year or so after the release of The Belt, Gail and Jacob received national attention with “Peaches” becoming a staple of American alternative radio, which lead to appearances on The Late Show with David Letterman and Conan. Adding to a growing profile, the duo went on a relentless touring schedule across both the European Union and the US that included sets at Reading Festival, Leeds Festival, Austin City Limits, Rock En Seine and others, which has resulted in a growing international fan base that has been clamoring for new material from the duo. Considering that the duo effortlessly meshes elements of art rock, synth pop, the blues, arena rock and more in a way that’s reminiscent of JOVM mainstays Smoke Season, it shouldn’t be surprising that Gail and Jacob have seen such rapid critical and commercial success.

The husband and wife duo’s latest EP, Elephant was released last month, and the effort was recorded in the basement studio of the 93-year old home the couple purchased upon relocating from Los Angeles to Grand Rapids, MI. Interestingly enough, the EP reportedly consists of some of the duo’s most personal, ambitious and politically-charged material they’ve written do date; in fact, Elephant’s first single “Bloodhands (Oh My Fever)” was inspired by the Michael Brown shooting in Ferguson, MO and its immediate aftermath. “All the uprising happening in Ferguson was powerful,” the duo explain. “Sad, angry and feeling helpless, we sang about it. It’s our way of keeping the issue alive. Racism is real, we don’t know how to stop it, but we can make people think about it.” And while being a rousingly, anthemic and ambitious song — a song that feels and sounds both arena rock and radio friendly — its an earnest plea to the listener that there’s much work to be done to make our a world a fairer place, where all lives, whether Black, Asian, Latino, First Nation, Trans, Gay, Lesbian, Bisexual, Gender Nonconforming, etc. will actually matter. The song’s coda, which features a local gospel choir led by Debra L. Perry, adds to the song’s enormous sound, while adding a deeper emotional wallop to the proceedings. 

Directed by the band’s Angela Gail and Chris Johnson, the recently released visuals for “Bloodhands (Oh My Fever)” possess a nightmarish, fever dream-like quality that symbolically touches upon race, sexuality, religion while reminding the viewer that ultimately our fates and the fate of the world as we know it will lie solely in the hands of our children.