Tag: Requiem Pour Un Twister Records

Video by William Ruben Helms

New Video: French Shoegazers Dead Horse One Releases a Languid and Cinematic Visual for Shimmering “Saudade”

Valance, France-based shoegazers Dead Horse One, currently comprised of founding trio Oliver Debard, Ludovik Naud and Antoine Pinet, with Maxime Garcia and Ivan Tzibousky can trace their origins back to their formation in 2011. While recording their full-length debut, 2014’s Without Love We Perish, the members of the French shoegazer act reached out to RIDE’S Mark Gardener, who wound up taking up production duties. 

Following the release of their full-length debut, the band spent the next three years touring across the European Union, sharing stages with the likes of The Telescopes, The Wands and Sound Sweet Sound, and they made an appearance at Liverpool Psych Fest.

After a busy period of touring, the band went into the studio with Fleeting Joys’ John Loring, who produced the band’s sophomore album, 2017’s Season of Mist, which they supported with a tour that included a handful of opening dates with RIDE during the legendary shoegazer act’s European tour. And building upon the growing buzz surrounding the band, they shared the stage with The Brian Jonestown Massacre and the Philadelphia-based band NOTHING. 

Since then, the band went back into the studio to work on their forthcoming third, full-length album The West Is The Best. Slated for a November 22, 2019 release through Requiem Pour Un Twister, the album finds the French shoegazers continuing their ongoing collaboration with John Loring — while marking a second time they’ve worked with Mark Gardener, who mixed the album. Thematically, the album as the band’s Oliver Debard explains is “a collection of thwarted love songs in the spirit of Sparklehorse and other such 90s bands.” 

“Saudade,” The West Is The Best’s first single is a slow-burning track, centered around layers of shimmering guitars and plaintive boy-girl harmonizing, which gives the song an aching yearning — while nodding heavily at classic late 80s and early 90s shoegaze. “This song is a special song for us because it was written by Rorika Loring, her husband John and ourselves,” the band told Northern Transmissions. “Rorika and John play in Fleeting Joys, which is none less than one of the best shoegaze bands of the second wave, post 2000. From another point of view, the song joined the title of the album since it is a French, English collaboration by the presence of Mark Gardener at the mix table, and American, the Loring family is from Sacramento.”

Directed and edited by Pedro Wilde, the recently released video was filmed in a gorgeously cinematic black and white on location in the Portuguese cities of Porto, Gaia and Aveiro and stars Carolina Marques. Languidly shot, the video evokes the old-world and old-fashioned charm of Europe as Marques wanders around with a lute — but there’s also a desire to be contemporary without losing that sense of connectedness to one’s roots. 

Single Review by William Ruben Helms

 

Comprised of Patrick Tsotsos,  Nick Dehmlow, Brendan Peleo- Lazar, Trevor Newton Pritchett and Constantine Hastalis, the up-and-coming psych rock act Lucille Furs initially formed in Logan Square section of Chicago — and in a short period of time, the band added themselves to a growing list of attention-grabbing psych rock and indie rock acts in the Chicagoland area, thanks in part to a sound that borrows liberally from the likes of The Zombies, West Coast Pop Art Experimental Band, Temples, Love, Diane Coffee, Charles Bradley and others. Since the band’s formation, half the band has relocated to Los Angeles, and as the band notes, listeners will likely hear those influences within their work.

Slated for a February 15, 2019 release through Requiem Pour Un Twister Records, Lucille Furs’ forthcoming sophomore album Another Land was written back in September 2017 and was recorded direct to tape before being completed at Treehouse Records. Rather than being topical, the album’s material is rooted in the surreal and esoteric — perhaps sin a way to aim at the timeless. Interestingly, the album’s latest single is the bouncy and stomping “Paint Euphrosyne Blue,” a track that sonically sound as though it could have been released sometime between 1964-1968 as the track is centered around jangling guitars, twinkling organs and an infectious and soaring hook that recalls The Monkees, The Doors and others. And while arguably being a perfect road trip song, the band notes that the song references the goddess of mirth — and that the song is about the human need to adapt to the point of becoming unoriginal. It’s about chasing Van Gogh’s depression because it makes you feel like a better painter.  So at its core the song is rooted in a bitter yet hilarious irony.