Tag: RIDE

New Video: JOVM Mainstays Blushing Team Up with Miki Berenyi on the Gorgeous and Anthemic “Blame”

Over the past couple of years of this site’s 11-plus history, I’ve managed to spill a copious amount of virtual ink cover the Austin-based dream pop/shoegazer outfit and JOVM mainstays Blushing. Featuring two married couples — Christina Carmona (vocals, bass) and Noe Carmona (guitar, keys) and Michelle Soto (guitar, vocals) and Jacob Soto (drums), the JOVM mainstays can trace its roots back to El Paso, where Jacob Soto and Noe Carrmona grew up as lifelong friends and musical partners.

Jacob Soto and Noe Carmona relocated to Austin around 2009. Coincidentally, they both met their wives at The Side Bar and according to the band, “naturally all four of us became close friends.” As Michelle Soto was learning guitar, she also began writing material, creating guitar parts and vocal melodies in her bedroom. Christina Carmona, who is a classically trained vocalist, was recruited by Michelle Soto to contribute vocals; but Christina then taught herself bass and helped flesh out Michelle’s songs. Shortly after, Jacob and Noe began to notice how much potential the material had, and they joined in on a practice session to help further flesh out their arrangements. And from that point on, Blushing was a full-fledged band. Their natural simpatico and like-minded musical influences helped to solidify their ongoing creative process.

The members of the Austin-based shoegazer outfit spent the bulk of 2016 writing and refining material, which eventually led to their debut EP, 2017’s Tether, which was released to positive reviews across the blogosphere, including this site. Building upon a growing profile in the shoegaze and dream pop scenes, Blushing returned to the studio to write and recored their sophomore EP, 2018’s Weak, an effort that saw them firmly cementing a sound seemingly indebted to LushCocteau Twins and The Sundays but while being a subtle (and gentle) refinement. They needed that year with the Elliot Frazier-produced and mixed “The Truth”/”Sunshine” 7 inch, which featured what may arguably be the most muscular and direct song of their catalog to date. They also managed to spend the year touring to support their recored output, sharing stages with Snail MailSunflower BeanLa LuzBRONCHOIlluminati Hotties, JOVM mainstays Yumi Zouma and others.

2019 saw the release of their self-titled, full-length debut, which they supported with an extensive US tour with Ringo Deathstarr that included a stop at Saint Vitus Bar that November. Although touring was on an indefinite hiatus until recently, the Austin JOVM mainstays have been busy: they signed to Kanine Records, who will be releasing their highly anticipated Elliot Frazier-produced, sophomore album Possessions.

Slated for a February 18, 2022 release, Possessions is an album born out of incredible patience and perseverance: The earliest tracking sessions started in 2019 and continued in fits and starts through the quarantines, lockdowns and re-openings of the COVID-19 pandemic. There was a break in production while Frazier welcomed his second child, and that was followed by the massive blackouts across Texas resulting from the February 2021 winter storm across the region. Interestingly, when the album was finally finished, what revealed itself was an album that reportedly is at points heavier and at other points lighter. Thematically and lyrically, the album sees the band embracing the full and complicated spectrum of life and relationship but while recognizing the need for escape and whimsy.

The album also sees the band collaborating with two shoegazer legends — Lush and Piroshka‘s Miki Berenyi, who contributes vocals on an album track and RIDE‘s Mark Gardener, who mastered the album at his OX4 Sound in the UK. Fittingly, Possessions‘ first single “Blame” features the aforementioned Berenyi. The collaboration can trace its origins back to when Blushing covered “Out of Control” for a Lush tribute album in 2018. The cover caught the attention of Berernyi, who tweeted her appreciation — and a friendship began.

As the band continued to track material for Possessions, the JOVM mainstays approached Berenyi about the possibility of her working on a song, and they were thrilled to find that she shared their excitement about working together. The band then sent Berenyi the track and lyrics digitally with the request that she add any vocals she’d like. The end result is a lush, densely layerred song featuring glistening and reverb drenched guitars, an enormous hook and some eerily spectral harmonies and counter melodies between Christina Carmona, Michelle Soto and Berenyi. But just under the shimmering surface is a subtle sense of menace, expressed by the refrain “Stick around and find out . . . “

The recently released video for “Blame” is a trippy and whimsical mind-fuck of a visual that follows a couple experiencing three completely different sets of reality simultaneously. We start off with a couple having a quiet and boring night at home: glasses of wine, dinner and Netflix before bed. They may care about each other, but they’re also hopelessly bored and hemmed in by their lives. We also see the couple, presumably single or having an open relationship at a rave. The woman smokes and flirts shamelessly with a fantasy man, from a romance novel. The man loses himself in music. What’s real? That’s up to you. Maybe both are. But at its core the video points out that relationships can be hard, amazing and dull simultaneously.

Lyric Video: El Paso’s EEP Releases a Defiant and Brash Take on Shoegaze

EEP is an emerging El Paso, TX-based, multi-generational shoegazer act featuring 52 year-old Rosie Varela (guitar, synth, bass), 38 year-old Brainville Studios’ owner Ross Ingram (guitar, production), 30 year-old Sebastian Estrada (bass, synth), 27 year-old Serge Carrasco (guitar) and 28 year-old Lawrence Brown III (drums and percussion). The act, which formed last year can trace its origins to when Varela approached Ingram and asked him if he would help her record a song she had written “Hogar.” Eventually, Varela invited some other local musician friends to join in and what initially started out as a one-off song morphed into EEP’s full-length debut Death of a Very Good Machine slated for a July 24, 2020 release. 

Inspired by dream pop, shoegaze, the blues, jazz, classic rock and 60s psychedelia, the El Paso-based quintet have ascribed to doing things in a decided DIY fashion: their debut effort was produced, engineered and mixed by the band’s Ingram with assistance from Estrada and Varela. Adding to the we’re-all-in-it-together vibes, each of the band’s five members contribute vocals. 

Death of a Very Good Machine’s latest single “Outlast You” continues a run of attention grabbing singles that recall 120 Minutes era MTV shoegaze — i.e., Slowdive, RIDE, Lush, and Swervedriver, as well as contemporaries like JOVM mainstays Blushing and others. And while centered around a wall of sound-like production featuring layers upon layers of shimmering, pedal effected guitars, thunderous drumming and a soaring hook, the song possesses the self-assured and defiant air of someone, who’s been told no and will continue onward anyway. Interestingly, “Outlast You,” as the band explains in an email was inspired by a conversation in which Rosie Varela was told that maybe at 52, she was too old to start a rock band. “Outlast You” was her response to that conversation. 

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. 

Off and on over the past handful of years, I’ve written a bit about the Austin, TX-based dream pop act and JOVM mainstays  Moving Panoramas.  The act is led by its incredibly accomplished founding member and creative mastermind Leslie Sisson (vocals, guitar), who has had stints in The Wooden Birds, Matt Pond PA, Western Keys, Black Lipstick, Black Forest Fire, Tanworth-in-Arden, and Aero Wave, has collaborated with The American Analog Set, Windsor for the Derby, Rhythm of Black Lines, RIDE’s Mark GardenerDan Mangan, John Wesley Coleman, Snowden, and Broken Social Scene, and has developed a reputation as a solo artist in her own right.

Now, as you may recall Moving Panoramas can trace their origins back to when  the then-Brooklyn-based Sisson returned home to Texas to be closer to the members of her previous band The Wooden Birds and to her family. She took a job teaching at School of Rock where she met Rozie Castoe (bass), who was in an 80s-themed show that Sisson directed. Interestingly, at the same time, Sisson took up a gig subbing in Black Forest Fire with Karen Skloss (drums), who was a long-time friend. When each of their various creative projects broke up, the trio started Moving Panoramas, rooted in their mutual love of shoegaze and released their full-length debut One. However, since then the band has gone through a series of lineup changes that has resulted in Sisson collaborating with a rotating cast of previous bandmates and current bandmates Cara Tillman, Jordan Rivell, Jody Suarez and Phil McJunkins.

Slated for release next Friday through Modern Outsider Records, Moving Panoramas’ sophomore album In Two was recorded with engineer Louie Lino at Resonate Studio in Austin and the album reportedly finds the band expanding upon their sound and songwriting approach. Throughout the writing and recording process, there was a concerted effort to consider diversity in rhythm, volume and instrumentation; in fact, some of the album’s material incorporates pedal steel, a first for the band. Additionally, the album will feature guest spots from Nada Surf’s Matthew Caws, A Giant Dog’s and Sweet Spirit’s Sabrina Ellis and former bandmates Karen Skloss, Jolie Flink and Laura Colwell.

Last year, I wrote album single “Baby Blues,” a decidedly anthemic track centered around shimmering power chords, a propulsive rhythm section, ethereal vocals and a soaring hook. And while bringing to mind tracks off Sunflower Bean’Twentytwo in Blue, the track possesses elements of psych rock, shoegaze and 70s arena rock, performed with the easygoing self-assuredness of old pros. Earlier this year, I wrote about album single,  “ADD Heart” and much like its predecessor, it was an infectious and anthemic track centered around jangling guitars, Sisson’s ethereal vocals, a soaring hook and steel pedal guitar, which added an alt-country vibe to the proceedings. In Two’s latest single is the shimmering and moody “In Tune,” which features Nada Surf’s Matthew Caws — and while sonically bearing a resemblance to Dum Dum Girls, the hook driven song is centered by deeply introspective, narrative lyrics that focuses on self-doubt, uncertainty and confusion in a relationship that feels a bit off to both people involved.

 

 

 

 

 

New Video: Moving Panoramas Return with Slick Visuals for Jangling and Anthemic New Single “ADD Heart”

Led by founding member and creative mastermind Leslie Sisson (vocals, guitar), who has had stints in The Wooden Birds, Matt Pond PA, Western Keys, Black Lipstick, Black Forest Fire, Tanworth-in-Arden, and Aero Wave, collaborated with The American Analog Set, Windsor for the Derby, Rhythm of Black Lines, RIDE’s Mark Gardener, Dan Mangan, John Wesley Coleman, Snowden, and Broken Social Scene, and has developed a reputation as a solo artist in her own right, the Austin, TX-based dream pop act Moving Panoramas can trace their origins to when its founding member and creative mastermind returned home to Texas to be closer to the members of her previous full-time band The Wooden Birds and her to her family. Sisson took a job teaching music at School of Rock where she met Rozie Castoe (bass),  who was in an 80s-themed show that Sisson directed. Interestingly, at the same time, Sisson took up a gig subbing in Black Forest Fire with Karen Skloss (drums), who was a long-time friend. When each of their various creative projects broke up, the trio started Moving Panoramas, rooted in their mutual love of shoegaze; however, since the band’s formation and release of their debut effort One, the band has gone through a series off lineup changes that has result in Sisson collaborating with a rotating cast of previous bandmates, as well as current bandmates Cara Tillman, Jordan Rivell, Jody Suarez and Phil McJunkins.

Moving Panoramas’ sophomore album In Two was delayed by a series of unexpected roadblocks during its production — i.e., health and timing issues — that delayed its release until February 22, 2019 through Modern Outsider Records. Recorded with engineer Louie Lino at Resonate Studio in Austin, the band’s sophomore effort reportedly finds the band expanding upon their sound and songwriting approach, as there’s a concerted effort for diversity in rhythm, volume and instrumentation, including the incorporation of pedal steel. Along with that the album features guest spots from Nada Surf‘s Matthew Caws, A Giant Dog‘s and Sweet Spirit‘s Sabrina Ellis and former bandmates Karen Skloss, Jolie Flink and Laura Colwell. Now, as you may recall, last year I wrote about album single “Baby Blues,” a decidedly anthemic track centered around shimmering power chords, a propulsive rhythm section, ethereal vocals and a soaring hook. And while bringing to mind tracks off Sunflower Bean’s Twentytwo in Blue, the track possesses elements of psych rock, shoegaze and 70s arena rock, performed with the easygoing self-assuredness of old pros; however, underneath the self-assured performances is the recognition of time rushing by, of people moving in and out of your life — without knowing why, how or even when. 

Much like its predecessor, “ADD Heart,” In Two’s latest single is an infectious slice of anthemic rock with jangling guitars, Sisson’s ethereal vocals and a soaring hook — but steel pedal guitar adds a cinematic, alt country vibe to the proceedings. Thematically, the song focuses on an inattentive and inconstant love interest, who has the song’s narrator spinning in frustration emotionally because the love interest just can’t seem to focus on one thing at any given time. It’s an accurate description of what love and dating is like in the social media age if there ever was one. 

The recently released video for the song was directed by Willi Patton, and as Patton says in press notes, “We were honored to be approached by Leslie Sisson of Moving Panoramas to do a music video for their new single, ‘ADD Heart.’ I knew immediately upon hearing the song that the energy needed to be high, and I really wanted to capture the feeling of not being able to focus, narratively as if the video itself suffers from ADD. It pushes you along in one direction, only to quickly switch course, pick up on some other thread, leaving more unanswered questions than resolutions. We’re always so grateful to musicians for letting us experiment, to treat their work as a solid canvas to splash some paint on, deconstruct and then clumsily attempt to put back together.”

New Video: Moving Panoramas Release a Mischievous Crime Caper-Like Visuals

Led by founding member and creative mastermind Leslie Sisson (vocals, guitar), who has had stints in The Wooden Birds, Matt Pond PA, Western Keys, Black Lipstick, Black Forest Fire, Tanworth-in-Arden, and Aero Wave, collaborated with The American Analog Set, Windsor for the Derby, Rhythm of Black Lines, RIDE’s Mark Gardener, Dan Mangan, John Wesley Coleman, Snowden, and Broken Social Scene, and has developed a reputation as a solo artist in her own right, the Austin, TX-based dream pop act Moving Panoramas can trace their origins to when its founding member and creative mastermind returned home to Texas to be closer to the members of her previous full-time band The Wooden Birds and her to her family. Sisson took a job teaching music at School of Rock where she met Rozie Castoe (bass),  who was in an 80s-themed show that Sisson directed. Interestingly, at the same time, Sisson took up a gig subbing in Black Forest Fire with Karen Skloss (drums), who was a long-time friend. When each of their various creative projects broke up, the trio started Moving Panoramas, rooted in their mutual love of shoegaze; however, since the band’s formation and release of their debut effort One, the band has gone through a series off lineup changes that has result in Sisson collaborating with a rotating cast of previous bandmates, as well as current bandmates Cara Tillman, Jordan Rivell, Jody Suarez and Phil McJunkins.

Moving Panoramas’ sophomore album In Two was delayed by a series of unexpected roadblocks during its production — i.e., health and timing issues — that delayed its release until February 22, 2019 through Modern Outsider Records. Recorded with engineer Louie Lino at Resonate Studio in Austin, the band’s sophomore effort reportedly finds the band expanding upon their sound and songwriting approach, as there’s a concerted effort for diversity in rhythm, volume and instrumentation, including the incorporation of pedal steel. Along with that the album features guest spots fromNada Surf‘s Matthew Caws, A Giant Dog‘s and Sweet Spirit‘s Sabrina Ellis and former bandmates Karen Skloss, Jolie Flink and Laura Colwell.

The album’s latest single “Baby Blues” is a decidedly anthemic track, centered around shimmering power chords, a propulsive rhythm section, ethereal vocals and a soaring hook that recalls Sunflower Bean’s Twentytwo in Blue as the song seems to draw from psych rock, shoegaze and 70s arena rock performed with the easygoing self-assuredness of old pros; but underneath the self-assured performance, there’s the recognition of time rushing by, of people moving in and out of your life — sometimes without even knowing why or how. As the song seems to say, “Remember friends, life is confusing and when you think you may have handle on it, life will throw a monkey wrench or two your way — and you’ll get through it somehow, some way.”

Directed by the band’s Leslie Sisson, the recently released video is part mischievous, Miami Vice-like crime caper with the members of the band smuggling a substance dubbed “Baby Blue,” and part performance video — with the band playing in a studio and on the beach. It’s goofy and yet it still manages to capture (and evoke) the song’s anthemic nature. 

Led by founding member and creative mastermind Leslie Sisson (vocals, guitar), who has had stints in The Wooden Birds, Matt Pond PA, Western Keys, Black Lipstick, Black Forest Fire, Tanworth-in-Arden, and Aero Wave, collaborated with The American Analog Set, Windsor for the Derby, Rhythm of Black Lines, RIDE’s Mark GardenerDan Mangan, John Wesley Coleman, Snowden, and Broken Social Scene, and has developed a reputation as a solo artist in her own right, the Austin, TX-based dream pop act Moving Panoramas can trace their origins to when its founding member and creative mastermind returned home to Texas to be closer to the members of her previous full-time band The Wooden Birds and her to her family. Sisson took a job teaching music at School of Rock where she met Rozie Castoe (bass),  who was in an 80s-themed show that Sisson directed. Interestingly, at the same time, Sisson took up a gig subbing in Black Forest Fire with Karen Skloss (drums), who was a long-time friend. When each of their various creative projects broke up, the trio started Moving Panoramas, rooted in their mutual love of shoegaze; however, since the band’s formation and release of their debut effort One, the band has gone through a series off lineup changes that has result in Sisson collaborating with a rotating cast of previous bandmates, as well as current bandmates Cara Tillman, Jordan Rivell, Jody Suarez and Phil McJunkins.

Moving Panoramas’ sophomore album In Two was delayed by a series of unexpected roadblocks during its production — i.e., health and timing issues — that delayed its release until February 22, 2019 through Modern Outsider Records. Recorded with engineer Louie Lino at Resonate Studio in Austin, the band’s sophomore effort reportedly finds the band expanding upon their sound and songwriting approach, as there’s a concerted effort for diversity in rhythm, volume and instrumentation, including the incorporation of pedal steel. Along with that the album features guest spots from Nada Surf‘s Matthew Caws, A Giant Dog‘s and Sweet Spirit‘s Sabrina Ellis and former bandmates Karen Skloss, Jolie Flink and Laura Colwell.

The album’s latest single “Baby Blues” is a decidedly anthemic track, centered around shimmering power chords, a propulsive rhythm section, ethereal vocals and a soaring hook that recalls Sunflower Bean’Twentytwo in Blue as the song seems to draw from psych rock, shoegaze and 70s arena rock performed with the easygoing self-assuredness of old pros; but underneath the self-assured performance, there’s the recognition of time rushing by, of people moving in and out of your life — sometimes without even knowing why or how. As the song seems to say, “Remember friends, life is confusing and when you think you may have handle on it, life will throw a monkey wrench or two your way — and you’ll get through it somehow, some way.”

 

New Video: Introducing the Soaring and Earnest Synth Pop of Norway’s Chain Wallet

With the release of their self-titled debut, the Bergen, Norway-based dream pop act Chain Wallet, featuring core members Stian Iversen, Christian Line and Frode Boris, quickly received attention both nationally elsewhere for material that was infectious yet hazy and melancholic synth-based pop. Written in and by inspired by the trio’s hometown, their full-length debut is centered around a narrative structure in which a deeply conflicted protagonist is followed throughout — while thematically, the album focused on unresolved ambition and the desperate attempt to let go of the past. 

The trio’s highly-anticipated sophomore album No Ritual which is slated for a February 15, 2019 release through Jansen Records found the members of the up-and-coming Norwegian dream pop act retreating to a small cabin on a remote beach in southwestern Norway. And while walking the beaches and hanging out among surfers, the members of the band were inspired by the surroundings — and interestingly enough, the album continues to follow the protagonist of their self-titled debut but thematically speaking, the album finds him in a state of spiritual limbo, desperately reaching out and trying to establish new symbolic meanings.  Interestingly, the album’s first single “Ride” is a gorgeous and cinematic bit of synth pop featuring an arrangement of shimmering synths, equally shimmering guitar lines, a motorik groove and a soaring hook that to my ears reminds me a little bit of John Parr’s “St. Elmo’s Fire (Man in Motion)” and contemporaries like Moaning and others; but with an earnest yet effortless slickness. As the members of the band explains in press notes, “Ride” was the first song they wrote for their sophomore album, and “thematically, the song evokes elements of ‘the drifter on a cook bike’ trope. It’s about riding away from something, not realizing that you can’t outride your own demons.” 
Directed by the members of the band, the recently released video finds the members of the band literally riding different modes of transportation but juxtaposed with shots in static environments. The video is decidedly DIY in nature, but as the members of the band explain, “To be honest, the idea for this video would be too complex to capture with the technology we had at hand (a VHS camera and iMovie),” the band continues. “We adjusted the artistic vision, and went for a literal interpretation of the title. This is why the video ended up being a neat collection of shots of the band riding different means of transportation, juxtaposed with shots in static environments.” 

New Video: Introducing the 4AD Records-Inspired Shoegaze Sound of Los Angeles’ Tennis System

With the release of their latest effort PAIN earlier this year through Graveface Records,the up-and-coming Los Angeles, CA-based noise rock/shoegaze trio Tennis System has developed a reputation for a classic 4AD Records sound: squalling feedback-tinged power chords fed through delay and effect pedals, thundering drumming and ethereal melodies, centered around a rather sunny ambivalence, and a sense of profound loss — and for quickly establishing themselves as one of their hometown’s best, new live bands. In fact, the trio have played sets at Austin Psych Fest, Noise Pop Fest, Echo Park Rising and the Air & Style Festival, and have shared stages with The Flaming Lips, Ride, Dinosaur Jr., Kendrick Lamar and Diiv among others. 

“COMINGDOWN,” PAIN’s latest single will further cement the band’s reputation for crafting a familiar and beloved sound — in this case, recalling My Bloody Valentine, A Storm in Heaven-era The Verve, JOVM mainstays Dead Leaf Echo, My Vitriol and others but with an anxiety of wha the future could hold, after a horrible event that the song’s narrator knows they will regret. 

Directed by Logan Rice, the video follows  Niamh Hannigan as she distractedly goes through her day — and through a series of rapidly changing colors, grainy fade outs and fade ins, the video suggests that its protagonist is slowly coming down from the throes of hallucinogenic fugue.