Tag: Rolling Stone

Live Footage: Up-and-Coming Danish Act Collider Performs “Glockster” at Tapetown Studio

With the release of “Bruno” last year, the Danish psych rock act Collider, comprised of Mikkel Fink, Marie Nyhus, Johan S. Polder, and Troels Damgaard-C quickly emerged into the national scene. Building upon a rapidly growing profile, the members of the Danish psych rock act have been playing showcases across the European Union and the States without much of an internet presence — until recently. But despite that, from what I’ve been told the band has received some attention from the likes of Rolling Stone and other internationally recognized outlets.

Now, if you’ve been frequenting this site over the past 15-18 months or so, you would have come across a couple of live sessions shot in the Aarhus, Denmark-based recording studio Tapetown Studio, and as you may recall the studio along with Sound of Aarhus started a live video series in which they invite national, regional and even internationally recognized touring bands to come into their studio. The newest installment features the aforementioned Collider, who played their latest single, the trippy and chaotic track that nods at krautrock, psych rock and space rock simultaneously while being centered around anthemic, grunge rock-like hooks.

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New Video: The Breezy and Summery Visuals and Sounds of Wooden Shjjips’ Road Trip Anthem “Already Gone”

Over the past couple of months, I’ve written a bit about the renowned San Francisco, CA-based psych rockers Wooden Shjips, and as you may recall, although the act is currently comprised of founding member and primary songwriter Ripley Johnson (guitar, vocals), Dusty Jermier (trumpet, bass), Omar Ahsanuddin (drums) and Nash Whalen (organ), the band can trace their origins back to 2003 when Johnson started the band with the intention of finding a group of non-musicians and creating music with them, centered by the underlying idea that untrained musicians would have a different outlook on what music is and how it’s played, essentially bringing something fresh to to the table in a fashion reminiscent of the garage rockers of the early 60s, the  Velvet Underground and 70s punk rockers did. As the story goes, Dusty Jermier, one of the longest tenured members of the band was originally recruited to play saxophone, an instrument he had never picked up before while members of earlier iterations of the band frequently had such a lack of interest in playing live for anyone that the band didn’t bother looking for gigs. 
Eventually, the band settled to its current lineup but with different intentions. Johnson, who’s a fan of largely impenetrable albums and arcane, small-press poetry books was fascinated by the idea of books that went unread or became largely out of favor and/or of print that were rediscovered by collectors or some bored critic looking for something different, and praised for being lost and under-appreciated gems. The band had purposely set out to make obscure albums that Johnson envisioned randomly leaving in libraries, thrift store margin bins and on park benches. Eschewing a MySpace page, a Soundcloud account or a website with MP3 downloads, the band gave away a limited pressing of 300 copies of their debut 10 inch vinyl album, paying the shipping costs for out of town requests — and unexpectedly, the album received some rave reviews, including one from Rolling Stone, which raised the album’s cachet and the band’s profile, thanks in part to a sound that the band has described as “a minimal, droning kind of garage band-influenced psychedelia with a noticeable 60s Krautrock influence” with some comparing the band to Suicide, The Velvet Underground, The Doors, Soft Machine and Guru Guru.

Building upon the growing buzz surrounding them, the members of Wooden Shjips released 2006’s “Dance California”/”Clouds Over the Earthquake,” to mark the centennial of the 1906 San Francisco earthquake, which sold enough for the band to break even on their investment, and “Summer of Love 2007,” a single inspired by groups, who worked to make the world the kind of place they wanted to live in, like the Diggers, a local anarchist collective that founded the first Free Store and served free meals in Golden State Park to any and all comers, and the proceeds from the single went to the charitable foundation Food Not Bombs. Adding to a growing profile, the band’s second, real gig found them opening for the psych rock legend Roky Erickson.

The band’s self-produced and self-recorded full-length debut was recorded in the band’s rehearsal space, using a half-inch eight-track console that Jermier found, making the album a strictly analog affair aimed at getting high-quality and high-fidelity on an extremely low budget. Some tracks were layered-up demos while others were live studio jams with drum parts adding later, since they only had two tracks of the drums and no way to keep instruments from bleeding into each other noisily. But despite — or perhaps because of its DIY fashion, the album was released to critical applause that lead to the “Loose Lips”/”Start to Dreaming” 7 inch released by Sub Pop Records. Since then, the band has released three more full-length albums, 2009’s Dos, 2011’s West, 2013’s Back to Land and two compilations 2008’s Volume 1 and 2010’s Volume 2 — and they’ve managed this while the band’s Johnson has been busy with his acclaimed side project Moon Duo, with Sanae Yamada that has released four full-length albums and one EP.  Interestingly, V, the Bay Area-based psych rock band’s fifth full-length album and first album in over five years, finds the band reportedly expanding upon their sound while lightening the overall vibes, with the material being decidedly laid back, almost summery jams. 

Written last summer, Johnson has publicly said that he has viewed the material as a necessary antidote to the pervasive political anxiety and apocalyptic panic of American life; in fact, as Johnson says in press notes,“We had huge forest fires just outside of Portland and there was intense haze and layers of ash in the city. I was sitting on my porch every evening, watching ash fall down like snow, the sky looking like it was on fire. It was an apocalyptic feeling. Summer in Portland is usually really chill and beautiful, and we were working on a ‘summer record,’ but the outside world kept intruding on my headspace.” V., a graphic representation of the Peace sign, seemed apt to an album focused on the power of peace, beauty and resistance. The music is a balm against the noise and negativity.” 

V’s first single ““Staring at the Sun” featured a shimmering guitar pop sound with a steady groove reminiscent of Buffalo Springfield‘s “For What It’s Worth” and Psychic Ills‘ Inner Journey Out, and “Red Line,” its shoegazer rock meets classic psych rock-inspired follow up single may strike listeners and fans as a bit of return to form, as it features a hypnotic groove — while much like its predecessor, emphasizing slowing, down and pressing the reset button in a world gone absolutely mad. The album’s latest single is the twangy, Buffalo Springfield and Neil Young and Crazy Horse-like “Already Gone” — with a subtle twist to the proceedings, twinkling synths reminiscent of Who Are You-era The Who; but regardless of its influences, it’s the perfect road trip song, as it possesses an overwhelmingly optimistic view, centered on the possibility of new adventures, new friends, of transformation, of being lost and found within the double lines. Unsurprisingly, the recently released video begins with the band’s Johnson getting his bike to ride to the band’s studio space on a glorious day — much like today here in New York — to meet the rest of the band. And of course, they play some hackeysack together — because they’re hippies. But all is right and glorious: bullshitting with your friends and playing music is necessary in a world that’s mad. It’s sometimes the only thing you’ve got. 

New Video: Acclaimed Country Duo Rogue + Jaye Releases a Hauntingly Gorgeous Meditation on Intimacy and Vulnerability

Last year, I wrote a bit about the the country music duo Rogue + Jaye, and as you may recall, the act which is comprised of Los Angeles-based singer/songwriter Courtney Jaye, who has spent stints living in Nashville, Atlanta, Austin and elsewhere; and Bay Area-based singer/songwriter Zach Rogue, the frontman of indie rock act Rogue Wave can trace its origins back to a December 2013 songwriting session in which the duo quickly recognized they had an easygoing simpatico centered around the fact that as songwriters, who were deeply influenced by country, their material possesses a wistful, late night, drinking and thinking in a divey honky tonk vibe, reflected on their critically applauded debut single together “Til It Fades.”  

Pent Up, the duo’s full-length debut features a backing band consisting of Bands of Horses’Bill Reynolds (bass), Floating Action’s Seth Kauffman (guitar) and Grace Potter and The Nocturnals’ and Natalie Prass’ Michael Libramento (drums), and it was released last year to critical praise from a number of  major media outlets including  The Associated Press, Rolling Stone, Entertainment Weekly, American Songwriter and others, with Rolling Stone Country recently naming the duo one of their “10 New Artists You Need to Know,” and with the album single “Golden Lady,” the duo’s sound seemed to draw from indie rock, 70s AM Rock and Renegade Country, complete with an understated emotional honesty; the sort that comes from living a full and messy life of mistakes, foibles, joy, heartache, loneliness, being lost and found and lost again, and profoundly life altering experiences and experiencing them as completely and fully as possible — and with an effortless gracefulness.

“Open Your Mind,” Pent Up’s latest single finds the duo drawing from jazz, psych rock and psych country in an effortless and slickly produced  fashion — and while sonically the song will further cement their reputation for anachronistic-leaning pop/country that could have been released in 1968, 1972, 1982 or 2012, and much like its predecessor, the song comes from the perspective of those who have lived full and messy lives — with dignity and quiet resolve; but as Jaye says, the song is “about opening up to intimacy and vulnerability without fear, as well as exploring the unknown in ourselves and through another.”

Directed by Ben Bennett, the recently released video for “Open Your Mind” is a gorgeously sun-dappled dream of two people trying to connect in an intimate and powerful fashion.

 

Currently comprised of founding members  and primary songwriters Chuck Cleaver (vocals, guitar), known for being a member of Ass Ponys  and Lisa Walker (vocals, guitar), along with Mark Messerly (bass, keys), John Erhardt (pedal steel, guitar), and Joe Klug (drums), the Cincinnati, OH-based shoegaze quintet Wussy can trace their origins back to 2001 when its founding duo began playing together as a dare during a brief run of solo Cleaver shows. The first show they played together while being largely unplanned went without incident, so they agreed that they should continue as a fully fleshed band. Cleaver and Walker recruited Dawn Burman (drums) and Messerly in 2002 And as a quartet, Wussy released three full-length albums and a critically applauded EP that received praise from a number of major media outlets including Rolling StoneSPINVillage VoiceNPRThe Washington PostUncut and the legendary Robert Christgau, who placed the Cincinnati act’s first two efforts Funeral Dress and Left for Dead on his best of the decade list, and their third, self-titled release on his best of 2009 list.

After receiving critical success, the band went through a series of lineup changes, as Burman left the band and was replaced with Cincinnati music scene vet Joe Klug, who joined the band for Attica! and Forever Sounds. The band’s newest member John Erhardt has helped evolve the band’s sound, adding a twangy psychedelic vibe as they’ve expanded their profile with recorded sessions for BBC 6 Music and KEXP, appearances at SXSW and CMJ, touring with the likes of The Afghan Whigs, and have shared stages with Yo La TengoThe BreedersBest CoastMudhoneyOkkervil RiverThe MekonsCOMEWreckless Eric and Jeffrey Lewis.

The Cincinnati-based indie rock act’s seventh studio album What Heaven Is Like is slated for release later this month through Damnably Records in Europe and Shake It! Records in the States, and as you may recall, earlier this year, I wrote about “Gloria,” a song that was reportedly inspired by the protagonist of Fargo‘s Season 3, Gloria Burgle, played by Carrie Coon — but in a much larger sense, the song is meant to paint a portrait of an inscrutable everywoman, who dares to stand up to an omnipresent, almost supernatural, villain. The album’s latest single “Cake,” while continuing in a similar, cinematic yet 90s inspired vein of its predecessor is arguably one of the album’s bleaker songs, evoking the sort of existential dread and anxiety that feels inescapable and pervasive. Shit has gone bad and quickly, and it’s time to start hunkering down because it’s about to get much worse.

 

 

 

Although currently comprised of founding member and primary songwriter Ripley Johnson (guitar, vocals), Dusty Jermier (trumpet, bass), Omar Ahsanuddin (drums) and Nash Whalen (organ), the renowned San Francisco, CA-based psych rock act Wooden Shjips can trace their origins back to 2003 when Johnson started the band with the intention of finding a group of non-musicians and creating music with them — with the underlying idea behind it being that untrained players would have a new outlook on what music is and how it’s played, and as a result bring something fresh to the table in a way that many of the garage punks of the early 60s and the Velvet Underground did. In fact one of the longest tenured members of the band, Jermier was originally recruited to play saxophone, an instrument he had never even picked up before while other members from their earliest iterations often had such a lack of interest in playing live for anyone that the band didn’t bother looking for gigs.

Eventually, the band settled to its current lineup — but this time, the intention was different: Johnson, a fan of seemingly impenetrable albums and arcane, small-press poetry books, was fascinated by the idea of books that went unread or became largely out of favor and/or of print that were rediscovered by collectors or some bored critic looking for something different, and praised for being lost and under-appreciated gems. And unsurprisingly, the band set about to make purposely obscure albums that Johnson envisioned leaving in libraries, thrift store bargain bins and on park benches. Eschewing a MySpace page, a Soundcloud account or a website with MP3 downloads, the band gave away a limited pressing of 300 copies of their debut 10 inch vinyl album, paying the shipping costs for out of town requests — and unexpectedly, the album received some rave reviews, including one from Rolling Stone, which raised the album’s cachet and the band’s profile, thanks in part to a sound that the band has described as “a minimal, droning kind of garage band-influenced psychedelia with a noticeable 60s Krautrock influence” with some comparing the band to Suicide, The Velvet Underground, The Doors, Soft Machine and Guru Guru.

Building upon the growing buzz surrounding them, the members of Wooden Shjips released 2006’s “Dance California”/”Clouds Over the Earthquake,” to mark the centennial of the 1906 San Francisco earthquake, which sold enough for the band to break even on their investment, and “Summer of Love 2007,” a single inspired by groups, who worked to make the world the kind of place they wanted to live in, like the Diggers, a local anarchist collective that founded the first Free Store and served free meals to Golden State Park to any and all comers with the proceeds from the single going to Food Not Bombs. Interestingly, their second real gig as a band was a single release show, opening for the psych rock legend Roky Erickson.
The band’s self-produced and self-recorded full-length debut was recorded in the band’s rehearsal space on an half-inch eight-track console that Jermier found, making the album an strictly analog affair aimed at getting high-quality and high-fidelity on an extremely low budget. Some tracks were layered up demos while others were live studio jams with drum parts added later, since they only had two tracks of the drums and no way to keep instruments from bleeding into each other noisily. But despite — or perhaps because of its DIY fashion, the album was released to critical applause that lead to the “Loose Lips”/”Start to Dreaming” 7 inch released by Sub Pop Records.Since then, the band has released three more full-length albums, 2009’s Dos, 2011’s West, 2013’s Back to Land and two compilations 2008’s Volume 1 and 2010’s Volume 2 — and they’ve managed this while the band’s Johnson has been busy with his side project Moon Duo, his acclaimed dup with Sanae Yamada that has released four full-length albums and one EP.  Interestingly, V, the Bay Area-based psych rock band’s fifth full-length album and first album in over five years, finds the band reportedly expanding upon their sound while lightening the overall vibes, with the material being decidedly laid back, almost summery jams.

 

Written last summer, Johnson viewed the material as a necessary antidote to the pervasive political anxiety and apocalyptic panic; in fact, as Johnson says in press notes,
“We had huge forest fires just outside of Portland and there was intense haze and layers of ash in the city. I was sitting on my porch every evening, watching ash fall down like snow, the sky looking like it was on fire. It was an apocalyptic feeling. Summer in Portland is usually really chill and beautiful, and we were working on a ‘summer record,’ but the outside world kept intruding on my headspace.” V., a graphic representation of the Peace sign, seemed apt to an album focused on the power of peace, beauty and resistance. The music is a balm against the noise and negativity.”
 Now, as you may recall V’s first single “Staring at the Sun” was an expansive and shimmering guitar pop sound with a steady groove that seemed as though it owed a big sonic debut to Buffalo Springfield‘s “For What It’s Worth” and Psychic Ills‘ Inner Journey Out; however, V‘s latest single “Red Line” is a bit of a return to form, with the band nodding at both classic psych rock and contemporary shoegaze as the track is centered around droning instrumentation and a propulsive and hypnotic, motorik like groove. But much like its predecessor, the band emphasizes slowing, down and pressing the reset button in a world gone absolutely mad.

The band is currently touring to support their forthcoming fifth album, and you can check out the tour dates below.

Tour Dates:

 

April 20 – Half Moon Bay, CA – Old Princeton Landing [tickets]

April 21 – Santa Cruz – Michael’s On Main [tickets]

April 29 – Austin, TX – Levitation Festival

May 25 – Portland, OR – Mississippi Studios [tickets]

May 26 – Seattle, WA – Crocodile [tickets]

June 1 – Nelsonville, OH – Nelsonville Music Festival

June 2 – Chicago, IL – Empty Bottle [tickets]

June 4 – Detroit, MI – Marble Bar [tickets]

June 5 – Toronto, ON – Horseshoe Tavern [tickets]

June 7 – Los Angeles, CA – The Lodge [tickets]

June 9 – Sonoma, CA – Huichica Music Festival

Over the past few months, I’ve written a bit about Alice Merton, a Frankfurt-am-Main, Germany-born, Berlin, Germany-based singer/songwriter and pop artist, who has lived a rather nomadic life, as she was raised in Canada, finished high school in Germany and then with the rest of her family, relocated to England. Understandably, music managed to be a major part of her life, no matter where on Earth her and her family was; in fact, she started taking classical piano lessons when she was five, and when she was nine, she was introduced to vocal training. After spending the better part of a decade of her life in classical training, Merton discovered contemporary songwriting during one of her high school courses in Germany. And as the story goes, from that point forward, Merton went on to study songwriting and began pursing her dream of becoming a professional singer/songwriter.

While in school, Merton wound up working with a number of producers on projects, and finding the right producer, who can both compliment and challenge a singer/songwriter as a true collaborator in the creative process is a rarity. And when she met the Berlin-based producer Nicolas Rebscher, Merton quickly recognized that she found her musical match; in fact, the duo collaborated on Merton’s swaggering, hook-driven smash hit debut “No Roots,” a song that’s deeply influenced by her own nomadic youth. Speaking of smash hits, “No Roots” held the #1 spot for 2 consecutive weeks at the alternative radio charts here in the states, and held for 8 weeks in Canada. And as a result, she cracked the Top 30 on the pop charts, the Top 15 on the Hot Adult Contemporary charts and entered the Billboard Hot 100. Adding to a growing profile, the song is synced in a Mini Cooper ad campaign and was recently featured in Rolling Stone‘s “One To Watch” and Billboard‘s “Chartbreaker” section, which has previously featured artists such as Cardi B and Khalid — and earlier this year, she made her national TV debut on The Tonight Show Starring Jimmy Fallon.

Building upon the buzz of her breakthrough single, Merton’s latest single “Lash Out” comes on the heels of her recently released No Roots EP, and much like “No Roots,” the Berlin-based pop artist’s latest single continues on the first-person perspective of its predecessor and the anthemic, hook-driven song focuses on a woman, who feels the need to speak up boldly (and loudly!) about what you want, need and what you’re ready to fight for; to confidently answer your own needs in your own way.  And in some way, the song is an earnest, empowering feminist anthem.

Merton will be touring to support her debut EP and it’ll include performances on the festival circuit with appearances at Shaky Knees Fest, Hangout Music Festival and Governor’s Ball, and a tour opening for Vance Joy that includes a June 14, 2018 stop at BRIC Celebrate Brooklyn! at the Prospect Park Bandshell. Check out the tour dates below.

 

Tour Dates:
5/6 Atlanta, GA Shaky Knees Fest
5/15 Charlottesville, VA Spring Pavilion*
5/16 Columbus, OH Express Live!*
5/18 Pittsburgh, PA Stage AE*
5/19 Portsmouth, VA Portsmouth Pavilion*
5/20 Gulf Shores, AL Hangout Music Fest
5/22 Detroit, MI Fox Theatre*
5/24 Grand Rapids, MI 20 Monroe Live*
5/25 Chicago, IL Rosemont Theatre*
5/26 St. Louis, MO Fox Theatre*
5/27 Napa, CA BottleRock Napa Valley
5/30 Morrison, CO Red Rocks Amphitheater*
6/1 St. Paul, MN Myth Live*
6/2 Milwaukee, WI Eagles Ballroom*
6/3 – New York, NY – Governors Ball Music Festival
6/14 Brooklyn, NY Prospect Park*
6/15 Boston, MA Blue Hills Bank Pavilion*
6/16 Hunter, NY NY Mountain Jam
6/14-6/17 Dover, DE – Firefly Music Festival
8/4 Montreal, QC Osheaga Festival
8/7 Toronto, ON Echo Beach^
* W/ Vance Joy
^ W/ Tash Sultana

 

New Video: JOVM Mainstay El Dusty Returns with a Swaggering, Genre Mashing, Club Banger

Born Horacio Olivera, El Dusty is a  Corpus Christi, TX-based JOVM mainstay producer, DJ and electronic music artist, who has seen attention across the blogosphere as a pioneer of a sub-genre he’s dubbed “nu-cumbia,” which features elements of hip-hop, drum ‘n’ bass and house music and samples of classic and beloved cumbia songs — with the end result being a swaggering, club-banging take on Latin music that as you may recall resulted in a Latin Grammy nomination. Adding to a growing profile, the Corpus Christi, TX-based producer, DJ and electronic music artist has bee named one of Rolling Stone’s 10 New Artists You Need to Know, Billboard’s New Latin Act and to Watch and was placed on Pandora’s Latin Artists to Watch. He’s also played at EDC Las Vegas, EDC Mexico, Ciudad Sonido Festival, Fiesta De La Flor, Universal Records’ Latin Grammy Showcase, Brisk Bodega Tour, the Mad Decent Block Party, Austin City Limits, SXSW, and others.

Olivera’s highly-anticipated full-length debut Cumbia City is slated for a May 11, 2018 release through AfterCluv Records, and while the album will further his reputation as one of electronic Latin music’s highly-sought after producers and collaborators, the album also finds Olivera pushing his signature sound in new directions as the album’s material crosses genres, trends and cultures while redefining what both Latin music and electronic music should and could sound like. “This album is cool as hell and funky!” Olivera says in press notes. “This takes the old with the new and it becomes a new style, a new song, a new genre – it is more than Cumbia, it’s electronic styles with live drums and modern beats.” El Dusty adds “I approach the whole album with live recordings in mind. Every sample was re-recorded live to create a mashed up turntable-like production meets a song-like format.” Unsurprisingly, El Dusty’s full-length debut, is deeply influenced by his musical upbringing which included Tejano anthems, Chicano soul music, classic rock, boom bap hip hop, house music, drum ‘n’ bass, turntablism, but mashed up and re-imagined for a new generation of bass-heavy and soundsystem music.

Album title track “Cumbia City” is a swaggering track around tweeter and woofer rocking boom bap beats, trap snares, an iconic sample from San Jacinto,  Colombia-born cumbia star Andres Landero and Boogat spitting fire in Spanish — and while mischievously bending and playing with genre boundaries, it’s an anthemic and crowd pleasing banger.

Set on the streets of Corpus Christi, the brightly colored video for “La Cumbia” is a cinematically shot video that features dancers of all ages and from a variety of the city’s cultural traditions — from the ancient and contemporary — to the song’s thumping beats.

 

Although currently comprised of founding member and primary songwriter Ripley Johnson (guitar, vocals), Dusty Jermier (trumpet, bass), Omar Ahsanuddin (drums) and Nash Whalen (organ), the renowned San Francisco, CA-based psych rock act Wooden Shjips can trace their origins back to 2003 when Johnson started the band with the intention of finding a group of non-musicians and creating music with them — with the underlying idea behind it being that untrained players would have a new outlook on what music is and how it’s played, and as a result bring something fresh to the table in a way that many of the garage punks of the early 60s and the Velvet Underground did. In fact one of the longest tenured members of the band, Jermier was originally recruited to play saxophone, an instrument he had never even picked up before while other members from their earliest iterations often had such a lack of interest in playing live for anyone that the band didn’t bother looking for gigs.

Eventually, the band settled to its current lineup — but this time, the intention was different: Johnson, a fan of seemingly impenetrable albums an arcane, small-press poetry books, was fascinated by the idea of books that went unread or became largely out of favor and/or of print that were rediscovered by collectors or some bored critic looking for something different, and praised for being lost and under-appreciated gems. And unsurprisingly, the band set about to make purposely obscure albums that Johnson envisioned leaving in libraries, thrift store bargain bins and on park benches. Eschewing a MySpace page, a Soundcloud account or a website with MP3 downloads, the band gave away a limited pressing of 300 copies of their debut 10 inch vinyl album, paying the shipping costs for out of town requests — and unexpected, the album received some rave reviews, including one from Rolling Stone, which raised the album’s cachet and the band’s profile, thanks in part to a sound that the band has described as “a minimal, droning kind of garage band-influenced psychedelia with a noticeable 60s Krautrock influence” with some comparing the band to Suicide, The Velvet Underground, The Doors, Soft Machine and Guru Guru.

Building upon the growing buzz surrounding them, the members of Wooden Shjips released 2006’s “Dance California”/”Clouds Over the Earthquake,” to mark the centennial of the 1906 San Francisco earthquake, which sold enough for the band to break even on their investment, and “Summer of Love 2007,” a single inspired by groups, who worked to make the world the kind of place they wanted to live in, like the Diggers, a local anarchist collective that founded the first Free Store and served free meals to Golden State Park to any and all comers with the proceeds from the single going to Food Not Bombs. Interestingly, their second real gig as a band was a single release show, opening for the psych rock legend Roky Erickson.
The band’s self-produced and self-recorded full-length debut was recorded in the band’s rehearsal space on an half-inch eight-track console that Jermier found, making the album an strictly analog affair aimed at getting high-quality and high-fidelity on an extremely low budget. Some tracks were layered up demos while others were live studio jams with drum parts added later, since they only had two tracks of the drums and no way to keep instruments from bleeding into each other noisily. But despite — or perhaps because of its DIY fashion, the album was released to critical applause that lead to the “Loose Lips”/”Start to Dreaming” 7 inch released by Sub Pop Records.

Since then, the band has released three more full-length albums, 2009’s Dos, 2011’s West, 2013’s Back to Land and two compilations 2008’s Volume 1 and 2010’s Volume 2 — and they’ve managed this while the band’s Johnson has been busy with his side project Moon Duo, his acclaimed dup with Sanae Yamada that has released four full-length albums and one EP.  Interestingly, V, the Bay Area-based psych rock band’s fifth full-length album and first album in over five years, finds the band reportedly expanding upon their sound while lightening the overall vibes, with the material being decidedly laid back, almost summery jams.

Written last summer, Johnson viewed the material as a necessary antidote to the pervasive political anxiety and apocalyptic panic; in fact, as Johnson says in press notes,
“We had huge forest fires just outside of Portland and there was intense haze and layers of ash in the city. I was sitting on my porch every evening, watching ash fall down like snow, the sky looking like it was on fire. It was an apocalyptic feeling. Summer in Portland is usually really chill and beautiful, and we were working on a ‘summer record,’ but the outside world kept intruding on my headspace.” V., a graphic representation of the Peace sign, seemed apt to an album focused on the power of peace, beauty and resistance. The music is a balm against the noise and negativity.”
V‘s first single “Staring at the Sun” is an expansive, laid-back, shimmering delay pedal effected, guitar pop with a steady groove that sounds as though it owes a big sonic debt to Buffalo Springfield‘s “For What It’s Worth” and Psychic Ills‘ Inner Journey Out paired with a slowly building narrative centered around the gentle push and pull between the desire for sun and escape and the pressing tug of anxiety and uncertainty — with peaceful resistance to that anxiety and uncertainty winning the day and guiding the overall tone.   At one point, the song’s narrator seems to say “come on, man slow it down, daydream in the sun for a bit,” and you know what, goddamn it, the guy is right. Even in the face of a world constantly on the brink of annihilation, of a government on the verge of collapse and a social order being shredded apart, sometimes you need to push the reset button or you’ll go crazy.

 

The band will be embarking on a tour to support their newest effort and you can check out the tour dates below.

Tour Dates:

April 13 – Portland, OR – Bunk Bar [tickets]

April 14 – Bellingham, WA – Shakedown [tickets]

April 20 – Half Moon Bay, CA – Old Princeton Landing [tickets]

April 21 – Santa Cruz – Michael’s On Main [tickets]

April 29 – Austin, TX – Levitation Festival

May 25 – Portland, OR – Mississippi Studios [tickets]

May 26 – Seattle, WA – Crocodile [tickets]

June 1 – Nelsonville, OH – Nelsonville Music Festival

June 2 – Chicago, IL – Empty Bottle [tickets]

June 4 – Detroit, MI – Marble Bar [tickets]

June 5 – Toronto, ON – Horseshoe Tavern [tickets]

June 7 – Los Angeles, CA – The Lodge [tickets]

June 9 – Sonoma, CA – Huichica Music Festival

 

Currently comprised of founding members  and primary songwriters Chuck Cleaver (vocals, guitar), known for being a member of Ass Ponys  and Lisa Walker (vocals, guitar), along with Mark Messerly (bass, keys), John Erhardt (pedal steel, guitar), and Joe Klug (drums), the Cincinnati, OH-based shoegaze quintet Wussy can trace their origins back to 2001 when its founding duo began playing together as a dare during a brief run of solo Cleaver shows. The first show they played together while being largely unplanned went without incident, so they agreed that they should continue as a fully fleshed band. Cleaver and Walker recruited Dawn Burman (drums) and Messerly in 2002 And as a quartet, Wussy released three full-length albums and a critically applauded EP that received praise from a number of major media outlets including Rolling StoneSPINVillage Voice, NPRThe Washington PostUncut and the legendary Robert Christgau, who placed the Cincinnati act’s first two efforts Funeral Dress and Left for Dead on his best of the decade list and their third, self-titled release on his best of 2009 list.

After receiving critical success, the band went through a series of lineup changes, as Burman left the band and was replaced with Cincinnati music scene Joe Klug joined the band for Attica! and Forever Sounds. The band’s newest member John Erhardt has helped evolve the band’s sound, adding a twangy psychedelic vibe as they’ve expanded their profile with recorded sessions for BBC 6 Music and KEXP, appearances at SXSW and CMJ, touring with the likes of The Afghan Whigs, and have shared stages with Yo La Tengo, The Breeders, Best Coast, Mudhoney, Okkervil River, The Mekons, COME, Wreckless Eric and Jeffrey Lewis.

Wussy’s forthcoming seventh studio What Heaven Is Like is slated for  May 18, 2018 release through Damnably Records in Europe and Shake It! Records in the States, and the album’s latest single “Gloria” is reportedly inspired by the protagonist of Fargo‘s Season 3, Gloria Burgle, played by Carrie Coon — but in a much larger sense, the song is meant to paint a portrait of an inscrutable everywoman, who dares to stand up to an omnipresent, almost supernatural, villain. As the band’s Lisa Walker explains in press notes, “This season of Fargo was so bleak and unrelenting. The V.M. Varga character seemed like an undefeatable entity, something between a robber baron and whoever’s secretly watching you from the other side of your screen in real-time. Gloria’s purity of heart made her this bright shining light.. the only person actually impervious to the enemy. But even beyond that, I was very inspired this year by several women who dared to put everything on the line, even their own lives, to stand up for what is right. I tried to show my respect for this great courage in the re-telling of Gloria’s story.” Interestingly, the band pairs this narrative story within a song that manages to be cinematic yet intimate while nodding at Americana and early 90s Pearl Jam — i.e., “Tremor Christ,” off Vitalogy and so on.