Tag: Rush Moving Pictures

Over the past month or so I’ve written a bit about the emerging Brooklyn-based metal act Fliege. And as you may recall, the act which was founded back in 2016 began as an inside joke shared between its founding duo of Coleman Bentley and Peter Rittweger: a metal band based solo upon David Cronenberg’s 1986 remake of The Fly. Although they initially wrote and recorded their self-titled debut demo for a laugh, the effort received praise from Decibel, who called the six song set infectious, and went on to say “Every once in a while, a band comes along, transgresses all genre boundaries and cuts a demo that stands as a genuine demonstration of a singular sound.”

The band recently expanded into a trio with the addition of Chris Palermo (synths). Building upon a rapidly growing profile, the band’s soon-to-be released, highly-anticipated full-length debut The Invisible Seam is slated for release next week. Interestingly, the newly constituted trio’s full-length debut finds the band moving on to more serious cinema as an influence: Ingmar Bergman’s existential masterpiece, The Seventh Seal. “Our demo tackled The Fly, but we soon realized we had to expand from that universe in order to have anything new to say,” the band’s Coleman Bentley explains in press notes. “So for this one, we chose Bergman’s The Seventh Seal, the story of a Swedish knight returning home from the Crusades to find his homeland ravaged by the plague. He challenges Death to a game of chess, staving off his advances long enough to make it home one last time — questioning mortality, the meaning of life, and the existence of God, while trekking across a dying countryside.  Within the framework of that film, we tackle the nihilism of modern life and the paradox of depression – not wanting to live but not actively wanting to die.”

Musically, the material on The Invisible Seam reportedly features a much more refined sound than its immediate predecessor: the addition of Chris Palermo finds the band adding synths to their sonic palette; but along with that, the album features Bentley’s vocals taking up a more central role while ensuring that it’s also heavier, more heartfelt and more grander, in order to fit the epic concept behind it. Along with this decided refinement of their sound, the newly constituted trio’s full-length effort finds them drawing influences from the likes of Immortal, Nine Inch Nails, Judas Priest, Cloud Rat, John Carpenter and a lengthy list of others.

So far, I’ve written about two of the album’s previously released singles: album title track “The Invisible Seam,” a certifiable Headbanger’s Ball-inspired headbanger, centered around towering 80s metal riffage, thunderous, industrial metal-like drumming, Bentley’s howled vocals and a shimmering and brooding bridge — and “Four Suns” another Headbanger’s Ball-era ripper with atmospheric synths and a decided feel of unease and dread. “Love Plague,” The Invisible Seam‘s latest single features shimmering and atmospheric synth arpeggios, some crunchy 80s power chord-based riffage, pummeling drumming and Bentley’s howled vocals, and while nodding at Moving Pictures-era Rush, Ministry, Slayer and John Carpenter, the album’s latest single may arguably be the bleakest they’ve released to date, as it offers an intensely ambivalent view of love.

 

 

 

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New Video: Kick Ass with White Reaper in New Video for “Judy French”

Over the past couple of years, I’ve written quite a bit about the Louisville, KY-based JOVM mainstays White Reaper, who with the release of a blistering and urgent, self-titled EP and their critically applauded, hook-laden, breakneck full-length debut White Reaper Does It Again quickly received national attention.  After a relentless touring schedule to support their debut, the band spent the better part of the past two years or so writing and recording their sophomore effort, The World’s Best American Band, an effort that was released earlier this year. And from the album’s first single “Judy French,” the single reveals a decided change in sonic direction as the song leans heavily towards New Wave and prog rock — to my ears, the song reminds me quite a bit of The Cars “You Might Think” and Moving Pictures-era Rush while emphasizing a rousing, arena rock friendly hook but at its core, the track may be the most earnest love song they’ve released to date. 

Directed by Brandon Dermer and starring Alexandra Daddario, the recently released video for “Judy French” employs a relatively simple concept but with forceful effect, as the video quickly cuts back and forth between the members of White Reaper performing the song with Daddario presumably playing the role of the song’s Judy French, as we see her rocking out as hard as the boys in the band are; and of course, along with that are some subtly patriotic-leaning imagery to boot. 

New Video: The Mischievous Schoolhouse Rock-Influenced Animation and Live Action Visuals for White Reaper’s “The World’s Best American Band”

Now, if you’ve been frequenting this site for a while, you might recall that with the release of their self-titled EP and their critically applauded full-length debut White Reaper Does It Again, the Louisville, KY-based quartet White Reaper quickly became JOVM mainstays and received attention nationally and elsewhere. And after a busy touring schedule to support their full-length debut, the acclaimed band retreated and spent the past year writing and recording the material that would comprise their sophomore full-length effort The World’s Best American Band, which Polyvinyl Records released last month.

And from The World’s Best American Band’s first single, “Judy French,” which reminded me quite a bit of The Cars “You Might Think” and Moving Pictures-era Rush, the band has made decided change in sonic direction — and while retaining the power chords and sneering punk attitude, the material possesses a clean, studio sheen and anthemic hooks; in fact, the album’s second single, album title track “The World’s Best American Band” continues on the leaner, cleaner, meaner vein of its predecessor, nodding at Cheap Trick, revealing some ambitious yet incredibly accessible songwriting.
The recently released music video for “The World’s Best American Band” features a mischievous mix of Schoolhouse Rock-era animation and live action. Beginning with the typical pre-show/pre-set hijinks as the fans are waiting for their favorite band to get on the stage, we’re introduced to the animated dopplegangers of the band’s members — with lead singer Ryan picking up his bandmates and friends as they finish up some surreal situations, including a paying chess against an anthropomorphic hot dog. There’s also a dude who eats a psychedelic colored hot dog that makes him hallucinate that he’s turned into a different, anthropomorphic hot dog. And if there’s one thing to be certain of it’s this — don’t eat those concert hall hot dogs, man. They’ll fuck your shit up.

Live Footage: JOVM Mainstays White Reaper Performing New Album Single “Little Silver Cross”

Now, if you’ve been frequenting this site for the past couple of years, you may recall that with the release of both their self-titled EP and their critically applauded full-length debut White Reaper Does It Again, the Louisville, KY-based quartet White Reaper received national attention and toured with acts like Deerhoof, Young Widows, Priests and others while quickly becoming JOVM mainstays. And after touring to support their full-length debut, the members of the Louisville-based band retreated to write and record the material that would comprise their long-awaited sophomore effort, The World’s Best American Band, which Polyvinyl Records officially released today.

Over the past couple of months, I’ve written about The World’s Best American Band’s first two singles “Judy French,” which revealed that the band had gone through a decided change in sonic direction — going from scuzzy, power chord-based garage barn burners towards a sound that clearly draws from 80s New Wave, power pop and prog rock with a studio sheen that reminded me quite a bit of The Cars “You Might Think” and Moving Pictures-era Rush. The album’s second single, album title track “The World’s Best American Band” continued on a similar clean, lean vein, while being reminiscent of the anthemic power pop of Cheap Trick. And from the release of their sophomore album’s first two singles, several websites have begun to tab the album as one to be on the look out for, if not arguably one of the better releases of the year. Building on the growing buzz that The World’s Best American Band has received, the members of White Reaper recently released live footage of the album’s third and latest single “Little Silver Cross,” and like its preceding singles, it possesses incredibly self-assured and ambitious songwriting and an undeniable studio polish — while retaining a vibrant, forceful, punk rock and garage rock urgency, the band reveals an ability to craft arena rock worthy hooks paired with a propulsive rhythm section and some inspired, blistering guitar work.

Interestingly, the live footage will serve as a bit of a taste of what the band’s live set and sound is like, as they’re about to embark on a lengthy national tour to support their sophomore effort that includes a May 30, 2017 stop at Baby’s All Right.

New Audio: JOVM Mainstays White Reaper Return with an Arena Rock-Friendly Power Pop Anthem

With the release of their self-titled EP, their critically applauded full-length debut White Reaper Does It Again and a series of tours with nationally renowned acts like Deerhoof, Young Widows, Priests and others, the Louisville, KY-based quartet White Reaper quickly became JOVM mainstays and received attention nationally and elsewhere. After touring to support their White Reaper Does It Again, the band retreated to write and record the material that would comprise their long-awaited sophomore effort The World’s Best American Band, which is slated for an April 7, 2017 release through Polyvinyl Records.

Last month, I wrote about The World’s Best American Band’s first single “Judy French,” a single, which revealed that the band had gone through a decided change in sonic direction from scuzzy, power chord-based garage towards New Wave and prog rock and a bit of a studio sheen that reminded me a bit of The Cars “You Might Think” and Moving Pictures-era Rush while retaining a sneering punk attitude and rousingly anthemic hooks. Interestingly, the album’s second and latest single, album title track “The World’s Best American Band” continues on a somewhat similar cleaner, leaner vein as its preceding single while seemingly drawing to the anthemic power pop of Cheap Trick and others; and in fact, the single finds the band with the same sort of enormous sound you’d expect from the sorts of bands that have played arenas and stadiums.

Lyric Video: JOVM Mainstay White Reaper Returns with a New Wave-Leaning Anthemic Single

[youtube https://www.youtube.com/watch?v=cloP2ZIkxuo%5D

With the release of their blistering and urgent, self-titled EP, the Louisville, KY-based quartet White Reaper quickly received national attention — and after a number of tours with nationally renowned acts like Deerhoof, Young Widows, Priests and others, the quartet built upon the early buzz they received by recording and releasing their hook-laden, breakneck, full-length effort White Reaper Does It Again, which Polyvinyl Records released to critical praise two years ago. After touring to support their critically praised full-length debut, the band seemed disappeared for a bit; however as it turns out, the band had gone into the studio to write and record the material that would comprise their highly-anticipated, forthcoming sophomore effort The World’s Best American Band, which Polyvinyl Records on April 7, 2017. And from the album’s first single “Judy French,” the single reveals a decided change in sonic direction as the song leans heavily towards New Wave and prog rock — to my ears, the song reminds me quite a bit of The Cars “You Might Think” and Moving Pictures-era Rush; but with a garage punk sneer. Interestingly, the band has retained their ability to craft tight and anthemic hooks paired with earnest, swooning sentiment.