Tag: Seattle WA

New Video: Deep Sea Diver Teams Up with Sharon Van Etten on the Vulnerable and Anthemic “Impossible Weight”

Led by its accomplished, Los Angeles-born, Seattle-based singer/songwriter, multi-instrumentalist and frontperson Jessica Dobson, the Seattle-based indie rock act Deep Sea Diver can trace its origins back to when Dobson was 19: Dobson, who has had stints  playing with a who’s who list of contemporary acts, including Beck, Conor Oberst, Spoon, Yeah Yeah Yeahs and The Shins signed with Atlantic Records. And while with Atlantic Records, Dobsons wrote and recorded two albums that she wasn’t completely satisfied with — and Atlantic ultimately shelved the material and dropped her from the label.

After leaving Atlantic, Dobson wrote and recorded her official solo debut EP New Caves under the name Deep Sea Diver. The project expanded to a full-fledged band with the addition of John Raines (bass) Dobson’s spouse Peter Mansen (drums), Garrett Gue (bass), and Elliot Jackson (guitar, synth), who helped to flesh out the project’s sound. Since then the band has released two albums — 2012’s self-released debut History Speaks, 2014’s Always Waiting EP and 2016’s acclaimed Secrets.

The band’s third album Impossible Weight is slated for an October 16, 2020 release through High Beam Records/ATO Records, and the album follows a busy year of touring with Wilco and Joseph. The album’s sonic and emotional expanse reportedly stems from a period of sometimes brutal self-examination — a process that began for Dobson, not long after the Seattle-based indie quartet finished touring to support Secrets. “We went into the studio pretty quickly after the tour ended, and I sort of hit a wall where I was feeling very detached from making music, and unable to find joy in it,” Dobson recalls in press notes. “I realized I had to try to rediscover my voice as a songwriter, and figure out the vocabulary for what I needed to say on this album.”

Stepping back from music and the studio, Dobson focused on dealing with the depression she had been struggling with, and soon started volunteering for Aurora Commons, a  drop-in center for unhoused people, most whom are drug-dependent and frequently engage in street-survival-based sex work. “I spent a lot of time with the women who frequent the Commons, and it taught me a new depth of empathy,” she says. “They’re people who don’t have the luxury of going back to a home at the end of the day and hiding behind those four walls, so they’re sort of forced to be vulnerable with what their needs are. Talking with them and listening to them really freed me up to start writing about things I’d never written about before in my songs.”

Co-produced by Dobson and Andy D. Park and recorded at Seattle’s Studio X and The Hall of Justice, Impossible Weight finds Dobson and company digging far deeper emotionally than ever before — and pairing it with a bigger, more grandiose sound. While revealing Dobson’s dexterous and powerful guitar work, the album’s lush textures and mercurial arrangements allow room for Dobson to fully demonstrate her vocal range in a way that she hadn’t before. “’I’d never produced a record before and I started out with low expectations for myself, but at some point I realized, ‘I can do this,’” Dobson recalls. “I decided to completely trust my voice and make really bold decisions in all my production calls—just push everything to the absolute outer edges.” 

Interestingly, for Dobson redefining the limits of her artistry goes hand-in-hand with deeper identity issues that came up while Dobson and her bandmates were working on the band’s third album. “I was adopted and just recently met my birth mother, and found out that I’m half-Mexican and half-Jewish,” Deep Sea Diver’s frontperson explains. “Discovering my heritage and learning things about myself that I never knew before really fed into that question of ‘Where do I belong?’” Simultaneously, Dobson rediscovered the sense of possibility, adventure and joy that she first felt when she started out as a 19 year-old.  “I think being signed at such a young age messed me up in terms of the expectations I put on myself,” she says. “Somewhere along the way I lost confidence in my own vision, but after making this record I feel a much larger freedom to go in whatever direction I want with my music.”  

With Impossible Weight, Dobson hopes that others might reclaim a similar sense of freedom in their emotional lives. “Especially right now when the world is in disarray and there’s so much fear, I want this record to give people room to feel whatever they need to feel,” she says. “I hope it helps them recognize that it’s okay to fall apart, and that they’re meant to let others in instead of trying to work through everything on their own. Because the point is that the impossible weight isn’t yours to carry alone—that’s why it’s impossible.”

Last month, I wrote about Impossible Weight’s third single “Lights Out,”  a track that managed to be defiant and anthemic, yet delicate and vulnerable, centered around a slick studio sheen, Dobson’s expressive guitar work, a thunderous and propulsive rhythm section, an enormous raise-your-beer-in-the-air-and-shout-along worthy hook paired with Dobson’s equally expressive vocals, which alternated between an achingly tender croon and a self-assured, courageous growl. And perhaps unlike many of the songs I’ve previously written about this year, the song features a bold and fearlessly vulnerable narrator, who seems to say “It’s perfectly okay to recognize and admit that you’re not okay and that you need help to climb out of dark places.” 

Impossible Weight’s fourth and latest single, album title track “Impossible Weight” continues a run of slickly polished material that nods at New Wave and arena rock with enormous hooks, twinkling synths, Dobson’s expressive and explosive guitar work paired with urgent, heart-fully-on-sleeve songwriting. While revealing Dobson’s unerring knack for crafting an anthemic hook, the song captures a narrator on the emotional brink with an uncanny psychological attention to detail. And the song features a guest spot from Sharon Van Etten, which gives the song an even bigger emotional punch. 

Co-directed by the band’s Jessica Dobson and Peter Hansen along with Tyler Kalberg, the cinematically shot visual for “Impossible Weight” features Dobson taking her light box, which is a big part of the band’s live shows to a variety of gorgeous and untraditional places — including the desert, the woods, a city rooftop, in front of a suburban house, as well as an empty concert venue. “For this video I thought, well… if we cant play shows right now then I’m going to take my light box (a prop we bring on tour that I stand on top of when I play guitar solos) and I’m going to bring it into a myriad of untraditional places,” Deep Sea Diver’s Jessica Dobson explains. “We wanted to create scenes of absolute beauty, of loneliness, of power—of the human spirit being fully alive, even in a time of sadness and uncertainty.”

“I chose The Neptune as the final shot because that is the venue in which I saw Sharon Van Etten play at the night before we recorded the song,” Dobson continues. “I’ve been a huge fan or hers for quite some time and I was deeply moved and inspired by that show. The next day, I literally said out loud as we were recording, “I wonder if Sharon would ever sing on this?” Having never met her, it was definitely a pipe dream question that somehow ended up working out and I’m eternally grateful for it. She brought so much to this song and brought it alive even more.”

Lyric Video: Seattle’s Deep Sea Diver Releases an Anthemic and Vulnerable New Single

Led by its accomplished, Los Angeles-born, Seattle-based singer/songwriter, multi-instrumentalist and frontperson Jessica Dobson, the Seattle-based indie rock act Deep Sea Diver can trace its origins back to when Dobson was 19: Dobson, who has had stints  playing with a who’s who list of contemporary acts, including Beck, Conor Oberst, Spoon, Yeah Yeah Yeahs and The Shins signed with Atlantic Records. And while with Atlantic Records, Dobsons wrote and recorded two albums that she wasn’t completely satisfied with — and Atlantic ultimately shelved the material and dropped her from the label. 

After leaving Atlantic, Dobson wrote and recorded her official solo debut EP New Caves under the name Deep Sea Diver. The project expanded to a full-fledged band with the addition of John Raines (bass) Dobson’s spouse Peter Mansen (drums), Garrett Gue (bass), and Elliot Jackson (guitar, synth), who helped to flesh out the project’s sound. Since then the band has released two albums — 2012’s self-released debut History Speaks, 2014’s Always Waiting EP and 2016’s acclaimed Secrets. 

Slated for an October 16, 2020 release through High Beam Records/ATO Records, Deep Sea Diver’s third album Impossible Dream follows a busy year of touring with Wilco and Joseph. The album’s sonic and emotional expanse reportedly stems from a period of sometimes brutal self-examination — a process that began for Dobson, not long after the Seattle-based indie quartet finished touring to support Secrets. “We went into the studio pretty quickly after the tour ended, and I sort of hit a wall where I was feeling very detached from making music, and unable to find joy in it,” Dobson recalls in press notes. “I realized I had to try to rediscover my voice as a songwriter, and figure out the vocabulary for what I needed to say on this album.”

Stepping back from music and the studio, Dobson focused on dealing with the depression she had been struggling with, and soon started volunteering for Aurora Commons, a  drop-in center for unhoused people, most whom are drug-dependent and frequently engage in street-survival-based sex work. “I spent a lot of time with the women who frequent the Commons, and it taught me a new depth of empathy,” she says. “They’re people who don’t have the luxury of going back to a home at the end of the day and hiding behind those four walls, so they’re sort of forced to be vulnerable with what their needs are. Talking with them and listening to them really freed me up to start writing about things I’d never written about before in my songs.”

Co-produced by Dobson and Andy D. Park and recorded at Seattle’s Studio X and The Hall of Justice, Impossible Weight finds Dobson and company digging far deeper emotionally than ever before — and pairing it with a bigger, more grandiose sound. While revealing Dobson’s dexterous and powerful guitar work, the album’s lush textures and mercurial arrangements allow room for Dobson to fully demonstrate her vocal range in a way that she hadn’t before. “’I’d never produced a record before and I started out with low expectations for myself, but at some point I realized, ‘I can do this,’” Dobson recalls. “I decided to completely trust my voice and make really bold decisions in all my production calls—just push everything to the absolute outer edges.” 

Interestingly, for Dobson redefining the limits of her artistry goes hand-in-hand with deeper identity issues that came up while Dobson and her bandmates were working on the band’s third album. “I was adopted and just recently met my birth mother, and found out that I’m half-Mexican and half-Jewish,” Deep Sea Diver’s frontperson explains. “Discovering my heritage and learning things about myself that I never knew before really fed into that question of ‘Where do I belong?’” Simultaneously, Dobson rediscovered the sense of possibility, adventure and joy that she first felt when she started out as a 19 year-old.  “I think being signed at such a young age messed me up in terms of the expectations I put on myself,” she says. “Somewhere along the way I lost confidence in my own vision, but after making this record I feel a much larger freedom to go in whatever direction I want with my music.”  

With Impossible Weight, Dobson hopes that others might reclaim a similar sense of freedom in their emotional lives. “Especially right now when the world is in disarray and there’s so much fear, I want this record to give people room to feel whatever they need to feel,” she says. “I hope it helps them recognize that it’s okay to fall apart, and that they’re meant to let others in instead of trying to work through everything on their own. Because the point is that the impossible weight isn’t yours to carry alone—that’s why it’s impossible.”

Impossible Weight’s third and latest single “Lights Out” is a track that’s defiant and anthemic, yet delicate and vulnerable, centered around a slick production, Dobson’s expressive work, thunderous and propulsive rhythm section, enormous, raise-your-beer-in-the-air and shout along worthy hooks and Dobson’s equally expressive vocals alternating between an achingly tender croon and a self-assured defiant growl. And while reminding me a bit of Bad Bad Hats and Nicole Atkins, “Lights Out” features a narrator expresses her needs with a bold and fearless vulnerability. “‘Lights Out’ was written around the time I hit that wall when we first started working on the record; it’s about fumbling through the darkness and knowing I damn well need help getting out,” Dobson explains. 

The recently released lyric video was created by Dobson and features the guitar tablature for the song as the notes are being played. 

New Video: Mike Edel Releases a Hook-Driven and Joyous Single

Mike Edel is a Linden, Alberta, Canada-born singer/songwriter and guitarist, who currently splits his time between Seattle, WA and Victoria, British Columbia, Canada. Since  2008, Edel has released two EP’s 2008’s , 2008’s Hide from the Seasons and 2012’s The Country Where I Came From and three full-length albums 2011’s The Last of Our Mountains, 2015’s India, Seattle and last year’s Chris Walla-produced THRESHOLDS.

Now, as you may recall, THRESHOLDS was a decided change in sonic direction for the Canadian-born signer songwriter and guitarist.  Shortly before he went went into the studio, he adopted a “consistency-is-boring” mantra, which helped him transform his sound and songwriting approach towards hook driven rock anthems centered around earnest songwriting. 

Co-written by Edel and Parker Bossley, Edel’s latest single  “Hello Universe” is a decidedly upbeat and optimistic anthem centered around boom bap beats, atmospheric synths, shimmering guitar, Edel’s plaintive vocals and a rousing, arena rock friendly hook. While continuing a run of hook-driven rock paired with earnest songwriting, “Hello Universe” focuses on finding life’s joys. 

The recently released video for “Hello Universe” was shot in Morocco and follows Edel, accompanied with an old school boom box, as he traveled through the North African country. And while giving the viewer a small glimpse into Moroccan life, the video reminds us all that although we all may have different cultures, languages and even different religions, we can all bond over simple yet profound things —  a smile from a kind face when you’re a stranger in a foreign land, a favorite song blasted on a boom box and so on.

“Somehow, Jordan Clarke and I ended up shooting the best music video we’ve ever made in Morocco – a single day before all the borders shut down due to the pandemic,” Edel says in press notes. “We were chased by a snake charmer for filming, but the people we met during the shoot loved the boombox. We almost didn’t make it home!”

Starlight Girls · Teenage Crime

Brooklyn-based indie rock act Starlight Girls can trace their origins back to 2011, when Christina Bernard (vocals), an Ohio-born megachurch chorister turned rocker and Shaw Walters (guitar), a San Francisco-born, guitar savant and tech wizard met and decided to start a band. Bernard and Walters found their bandmates — Sara Mundy (keys) and Isabel Alvarez (backing vocals), two Long Island-born theater junkies, Tysen Arveson (bass), a Seattle-born, Hawaii-raised art freak and Josh Davis (drums), a University of Michigan educated jazz drummer through Craigslist.

The band initially emerged into the public eye through a wildly successful April Fool’s prank: they recorded an impression of acclaimed artist Joanna Newsom covering one of their songs and a handful of blogs took the bait, covering the song with rapturous praise. Unsurprisingly, as a result, Starlight Girls quickly became a buzz worthy band, eventually releasing an EP that they supported with a handful of national tours — including an opening slot for Sharon Jones and the Dap Kings. Building upon a growing profile, the Brooklyn-based at played one of Europe’s biggest festivals, and they followed that up with their noisy and attention-grabbing Jamie Stewart-produced 7 x 3 EP.

2016 saw the release of their enigmatic and cinematic, full-length debut Fantasm, which they supported through tours with an eclectic array of artists including Kate Nash, St. Lucia, Tilly and the Wall, Nick Waterhouse, Total Slacker, Crystal Fighters and Lucius. Since then, the members of the band have ventured outside of music and outside of Brooklyn in a variety of different creative projects: Christina Bernard has delved into film and directing, directing a self-penned short film shot in California, which will be released later this year. Shaw Walters has become a rising star in the tech world, traveling around the world creating holographic augmented reality projects for performers and artists, including a mixed-reality collaboration with acclaimed artist Marina AbramovićThe Life, which has become a lightning rod for alt-right conspiracy theorists. The rest of the band has continued to solider on as musicians, during what may be the most difficult time for artists and creatives in recent memory.

Interestingly the band’s Christina Bernard-produced EP Entitled was recorded at Upstate New York-based Marcata Recording— and the material is a dark yet upbeat come-on to an unknowable future while evoking a sexy freak-out from the edge of oblivion. That sounds and feels familiar, doesn’t it? Last month, I wrote about Entitled‘s expansive first single “Get Right,” a kaleidoscopic and cinematic track that possesses elements of shoegaze, art rock, goth rock, psych rock and 70s AM rock — all while being one of the sexiest songs they’ve released to date.

“Teenage Crime,” Entitled‘s second and latest single is a slow-burning and atmospheric single centered around reverb and pedal effected guitars, twinkling keys and a soaring hook — and while reminding me a bit of Slow Air-era Still Corners and Stevie Nicks, the track’s lyrical themes, as the band’s Christina Bernard explains touches upon spiritual exploration, hope for the future and reconciling the past.

“As far as songwriting goes, most of the music came together spontaneously during rehearsals,” Bernard says of the EP’s creative process. “There was a lot of change happening for us around the time we wrote it—a lot of times when we played we didn’t know when our next time playing together might be. So the energy was insane every time we played.

“We’d gotten really in sync as a band through playing live so much, so someone would pull a riff out of the air in rehearsal and we’d just run with it full speed for four minutes and that would be the song. I’d always record rehearsals in case magic happened, and it did a lot. Then I would write lyrics (if I hadn’t already written them on the spot) and later we’d recreate what we’d played.

The only song that didn’t happen that way was Teenage Crime, which I wrote one night in my room. The guys in the band hated it at first because it’s like the slowest thing we do. But when we played it live all the ladies started swaying and I think that’s when everyone changed their minds.”

 

 

 

 

 

 

Our influences are hard to pin down. We all listen to really different music and I can’t remember what we were each into while recording. I personally was out dancing a lot to some pretty out there international drum circles. I was getting into the idea of music as a ceremonial thing—repetitive and rhythmic and visceral—so I was influenced by that, and how those ideas would translate to rock.

 

Lyric Video: Seattle’s The Unfit Return with a Feral Howl into the Void

Formed back in 2012, the Seattle-based punk act The Unfit — longtime friends and grizzled Seattle scene veterans Jake Knuth, Michael Lee, T.J. Johnson and Tyler Johnson — have a history of sporadic recording sessions and scattered postings of tracks online. But after a decade of being together, the members of the Seattle-based punk quartet will finally be releasing their self-titled, full-length debut on June 5, 2020 through Share It Music. 

The Unfit’s full-length debut finds the band firmly establishing their sound, a sound that draws from ’80s and ’90s punk, grunge and indie rock in a way that’s forceful and extremely loud. Thematically, the album touches upon finding meaning, belonging and honesty in a bleak and unrelenting hells cape, where those things are difficult to find — and figuring out a way to cope with the lack thereof.  Interestingly, the material is underpinned by the sentiment that in our morally bankrupt world, the survival of the fittest is tilted towards those with the greatest capacity for dishonesty, grift, shamelessness and zealous self-interest, and that one can perhaps take pride in finding belonging as one of the proverbial unfit.

Last month, I wrote about the album’s feral and furious ripper “Caged Rats and Hamster Wheels,” a mosh pit friendly song and incisive criticism of the capitalist rat race that was seemingly fueled by the desperate urgency of our moment. “The Picture,” the Seattle-based act’s latest single further establishes the band’s knack for crafting feral and cathartic rippers — but in this case, “The Picture” may be the most desperate song of the album released to date: it’s an a power chord-driven howl into an unceasing and indifferent void.

“We tend to want to play with a lot of energy and noise, and you might hear this song and think why did they make this so slow and simple. It’s definitely different from our other songs,” the band says in a statement. “It’s been like an exercise in restraint for us and took a while to gel with the band. I guess that’s part of why we like it and chose it for this release and lyric video.”

Sophie Allison is a Swiss-born, Nashville-based singer/songwriter and guitarist, best known as the creative mastermind behind the critically applauded indie rock project Soccer Mommy.  Allison first picked up guitar when she was six — and as a teenager, she attended Nashville School of the Arts, where she studied guitar and played in the school’s swing band. By 2015, the Swiss-born, Nashville-based singer/songwriter and guitarist began posting home-recorded songs as Soccer Mommy to Bandcamp during the summer of 2015, just as she was about head off to New York University, where she studied music business at the University’s Steinhardt School of Culture, Education and Human Development.

While she was in college, Allison played her first Soccer Mommy show at Bushwick, Brooklyn’s Silent Barn. The Swiss-born, Nashville-based singer/songwriter and guitarist caught the attention of Fat Possum Records, who signed her to a record deal. After spending two years studying at NYU, Allison returned to Nashville to pursue a full-time career in music.

Upon her return to Nashville, the acclaimed Swiss-born artist wrote and released two Soccer Mommy albums — 2016’s For Young Hearts through Orchid Tapes and 2017’s Collection through Fat Possum Records. Her proper, full-length debut, 2018’s Clean was released to widespread critical acclaim, and as a result of a rapidly growing profile, Alison has wound up touring with Stephen Malkmus, Mitski, Kacey Musgraves, Jay Som, Slowdive, Frankie Cosmos, Liz Phair, Phoebe Bridgers, Paramore, Foster the People, Vampire Weekend, and Wilco.

Before the COVID-19 pandemic, 2020 was gearing up to be a massive year for the young and rising singer/songwriter and guitarist: she began the year by playing at one of Bernie Sanders’ presidential rallies and had joined a list of contemporary artists, who endorsed his presidential campaign. Allison’s highly-anticipated sophomore album color theory was released to critical applause — and building upon a rapidly growing profile, the Nashville-based artist had been gearing up for a massive year: she was about to embark one a headlining tour with a number of dates sold-out months in advance, along with that, she had lined up appearances across the global festival circuit that included a stop at Glastonbury. Additionally, she was supposed to make her late-night, nationally televised debut on Jimmy Kimmel Live!

With touring being on an indefinite half for the music industry, the Swiss-born, Nashville-based singer/songwriter and guitarist recognized that this was a unique opportunity to get creative and experiment with new ideas. Combining her love of video games and performing, Allison held a digital concert on the online gaming platform Club Penguin Rewritten with over 10,000 attendees, who all had to make their own penguin avatars to attend it. The concert was so popular, that her fans crashed the platform’s servers, forcing a rescheduling of the event. Allison has also performed a number of live streams events, including  NPR’s Tiny Desk At Home (which she kicked off) and Pitchfork‘s IG Live Series. And she also recently released her own Zoom background images.

Recently, Allison and company embarked on a an Bella Clark-directed 8-bit virtual, music video tour in which the band plays some of the cities she was meant to be passing through — Minneapolis, Chicago,Seattle, Toronto, and Austin. Instead of virtually playing at the more common tourist locations or a traditional music venue, the members of the band are mischievously placed in unusual locations: an abandoned Toronto area subway station, a haunted Chicago hotel, a bat-filled Austin bridge and more.performing album track “crawling in my skin.”

Continuing some wildly creative ways to maintain the momentum of her full-length debut, Allison recently launched a singles series, Soccer Mommy & Friends that sees some of her most accomplished friends and associates covering her work — and Allison covering their work. The singles series will see contributions from MGMT‘s Andrew VanWyngarden, Beabadoobee, Beach Bunny, Jay Som and a list others — with releases dropping every two weeks. The singles series first release finds the acclaimed Oakland-based singer/songwriter and multi-instrumentalist Melina Duterte, the creative mastermind behind the acclaimed indie rock act Jay Som covering Soccer Mommy’s “Lucy.”

Interestingly, Jay Som’s take on “lucy” turns the jangling guitar pop anthem into a shimmering and brooding track, centered around atmospheric synths, thumping beats and ethereal vocals that to my ears reminds me quite a bit of Air’s ethereal remix of Beck’s “Heaven Hammer.” “I had an extremely fun time recording the ‘lucy’ cover,” Duterte says in press notes. “Sophie has such a special way of entwining catchy melodies and sometimes dark chord progressions. I feel very lucky to be a part of this comp!”

All net profits from Bandcamp sales from the series will be donated to Oxfam‘s COVID-19 relief fun. Oxfam is working with partners to reach more than 14 million people in nearly 50 countries and the US to prevent the spread of the COVID-19 in vulnerable communities and support people’s basic food needs and livelihoods. As we’re all aware women and girls usually bear a disproportionate burden of care in a crises like COVID-19, and Oxfam has a proven record of helping women cope during and recover after these crises in ways that allow them to be safer and stronger than ever.

 

 

 

 

 

 

New Video: Starlight Girls Release a Woozy and Trippy Visual for “Get Right”

Brooklyn-based indie rock act Starlight Girls can trace their origins back to 2011, when Christina Bernard (vocals), an Ohio-born megachurch chorister turned rocker; Shaw Walters (guitar), a San Francisco-born, guitar savant and tech wizard met and decided to start a band. They find their bandmates Sara Mundy (keys) and Isabel Alvarez (backing vocals), two Long Island-born theater junkies, Tysen Arveson (bass), a Seattle-born, Hawaii-raised art freak and Josh Davis (drums), a University of Michigan educated jazz drummer through Craigslist. 

The band initially emerged into the public eye through a wildly successful April Fool’s prank: they record an impression of acclaimed artist Joanna Newsom covering one of their songs and a handful of blogs take the bait, covering the song with rapturous praise. As a result, they quickly became a buzz worthy band, eventually releasing an EP that they support with a handful of national tours — even opening for Sharon Jones and the Dap Kings. Building upon a growing profile, the Brooklyn-based at played one of Europe’s biggest festivals, which they followed up with their noisy and attention-grabbing Jamie Stewart-produced 7 x 3 EP. 

2016 saw the release of their enigmatic and cinematic, full-length debut Fantasm, which they supported through tours with an eclectic array of artists including Kate Nash, St. Lucia, Tilly and the Wall, Nick Waterhouse, Total Slacker, Crystal Fighters and Lucius. Since then, the members of the band have ventured outside of music and outside of Brooklyn in a variety of different creative projects: Christina Bernard has delved into film and directing, directing a self-penned short film shot in California, which will be released later this year. Shaw Walters has become a rising star in the tech world, traveling around the world creating holographic augmented reality projects for performers and artists, including a mixed-reality collaboration with acclaimed artist Marina Abramović, The Life, which has become a lightning rod for alt-right conspiracy theorists. The rest of the band has continued to solider on as musicians, during what may be the most difficult time for artists and creatives in recent memory. 

Interestingly the band’s Christina Bernard-produced EP Entitled was recorded at Upstate New York-based Marcata Recording– and the material reportedly is a dark yet upbeat come-on to an unknowable future while evoking a sexy freak-out from the edge of oblivion. That sounds and feels familiar, doesn’t it?  Hinting at Ennio Morricone film scores, shoegaze, art rock, goth rock, psych rock and Fleetwood Mac, the EP’s expansive first single “Get Right” further establishes the band’s cinematic and kaleidoscopic sound — but while arguably being the sexiest song they’ve released to date. 

Directed by the band’s Christina Bernard, the recently released video for “Get Right” was shot on a commune in rural North Carolina and is a feverishly surreal and psychedelic spoof on 90s karaoke videos that seems — to me, at least — to nod at Dario Argento films, as it’s part lysergic freak out, and part sensual slow dance into the dark recesses of the psyche. 

New Video: Acclaimed Indie Artist Soccer Mommy Goes on a Virtual 8-Bit Tour

Sophie Allison is a Swiss-born, Nashville-based singer/songwriter and guitarist, best known as the creative mastermind behind the critically applauded indie rock project Soccer Mommy.  Allison first picked up guitar when she was six — and as a teenager, she attended Nashville School of the Arts, where she studied guitar and played in the school’s swing band. By 2015, the Swiss-born, Nashville-based singer/songwriter and guitarist began posting home-recorded songs as Soccer Mommy to Bandcamp during the summer of 2015, just as she was about head off to New York University, where she studied music business at the University’sSteinhardt School of Culture, Education and Human Development. 

While she was in college, Allison played her first Soccer Mommy show at Bushwick, Brooklyn’s Silent Barn. She caught the attention of Fat Possum Records, who signed her to a record deal — and after spending two years at NYU, she returned to Nashville to pursue a full-time career in music. Upon her return to Nashville, the acclaimed Swiss-born artist wrote and released two Soccer Mommy albums — 2016’s For Young Hearts through Orchid Tapes and 2017’s Collection through Fat Possum Records. Her proper, full-length debut, 2018’s Clean was released to widespread critical acclaim, and as a result of a rapidly growing profile, Alison has wound up touring with Stephen Malkmus, Mitski, Kacey Musgraves, Jay Som, Slowdive, Frankie Cosmos, Liz Phair, Phoebe Bridgers, Paramore, Foster the People, Vampire Weekend, and Wilco.  

Before the COVID-19 pandemic, 2020 was gearing up to be a massive year for the young and rising singer/songwriter and guitarist: she began the year by playing at one of Bernie Sanders’ presidential rallies and had joined a list of contemporary artists, who endorsed his presidential campaign. Allison’s highly-anticipated sophomore album color theory was released to critical applause — and building upon a rapidly growing profile, the Nashville-based artist had been gearing up for a massive year: she was about to embark one a headlining tour with a number of dates sold-out months in advance, along with that, she had lined up appearances across the global festival circuit that included a stop at Glastonbury. Additionally, she was supposed to make her late-night, nationally televised debut on Jimmy Kimmel Live!

With touring being on an indefinite half for the music industry, the Swiss-born, Nashville-based singer/songwriter and guitarist recognized that this was a unique opportunity to get creative and experiment with new ideas. Combining her love of video games and performing, Allison held a digital concert on the online gaming platform Club Penguin Rewritten with over 10,000 attendees, who all had to make their own penguin avatars to attend it. The concert was so popular, that her fans crashed the platform’s servers, forcing a rescheduling of the event. Allison has also performed a number of live streams events, including  NPR’s Tiny Desk At Home (which she kicked off) and Pitchfork’s IG Live Series. And she also recently released her own Zoom background images. 

Recently, Allison and company embarked on a an Bella Clark-directed 8-bit virtual, music video tour in which the band plays some of the cities she was meant to be passing through — Minneapolis, Chicago, Seattle, Toronto, and Austin. Instead of virtually playing at the more common tourist locations or a traditional music venue, the members of the band are mischievously placed in unusual locations: an abandoned Toronto area subway station, a haunted Chicago hotel, a bat-filled Austin bridge and more. Interestingly, the video four features the virtual band playing the album’s latest single “crawling in my skin.” Centered around looping and shimmering guitars, a sinuous bass line, shuffling drumming and subtly shifting tempos, the track reveals a remarkably self-assured young songwriter, who has an unerring knack for pairing earnest songwriting with an infectious hook. (Oh, and you’ll see the band adhering to social distancing rules while virtually performing!)  

“It’s really hard having our tour be postponed because I was really excited to play all of the songs on color theory for everyone, ‘crawling in my skin’ in particular,” Allison says. “I hope this little 8-bit performance can hold everyone over until the tour can happen.”

New Video: Jupe Jupe Releases a Stylish Visual for New Order-Inspired “Leave You Lonely”

Seattle-based indie electro pop act Jupe Jupe — My Young (vocals, synths), Bryan Manzo (guitar, bass, sax), Patrick Partington (guitar), and Jarrod Arbini (drums, percussion) — have released four albums since their formation in 2010 — Invaders, Reduction in Drag, Crooked Kisses, and Lonely Creatures — that have firmly established their sound: an infectious, dance floor friendly sound influenced by post-punk, synth pop and Americana. Adding to a growing profile, the act has collaborated with the likes of The Afghan Whigs‘ Rick G. Nelson, Lusine, Mike Simonetti, Erik Blood and a number of others on their remix album Cut Up Kisses. 

Released earlier this year, the Seattle-based quartet’s Matt Bayles-produced Nightfall EP was recorded at Seattle-based Studio Litho and continues their ongoing collaboration with Bayles, who produced and engineered their last album.  Meticulously written over the course of a year, the five song EP features five hook-driven upbeat yet simultaneously melancholy songs that thematically focuses on yearning and desire — with the addition of a saxophone to their sound.

EP single “Leave You Lonely”is a shimmering and decidedly New Order-like track centred around shimmering synth arpeggios, angular guitar blasts, a propulsive bass line, four-on-the-floor drumming, My Young’s plaintive vocals and an infectious hook. And while being a pop-inspired confection with ambitious songwriting, the song evokes a swooning and earnest yearning. 

The recently released video features a meshing of three distinct visual styles — line animation, live footage shot in a high contrast negative and a lyric video — while being decently 80s influenced — and in a way that brings A-Ha’s “Take On Me” to mind. 

New Video: Seattle’s Jupe Jupe Releases an 80s MTV-Influenced Visual for Brooding Disco-Tinged “How Could We Both Be In Love”

Seattle-based indie electro pop act Jupe Jupe, which features My Young (vocals, synths), Bryan Manzo (guitar, bass, sax), Patrick Partington (guitar) and Jarrod Arbini (drums, percussion) have released four albums since their formation 2010 — Invaders, Reduction in Drag, Crooked Kisses, and Lonely Creatures — that have firmly established their sound: an infectious, dance floor friendly sound influenced by post-punk, synth pop and Americana. Adding to a growing profile, the act has collaborated with the likes of The Afghan Whigs‘ Rick G. Nelson, Lusine, Mike Simonetti, Erik Blood and a number of others on their remix album Cut Up Kisses.

Released earlier this year, the Seattle-based quartet’s Matt Bayles-produced Nightfall EP was recorded at Seattle-based Studio Litho and continues their ongoing collaboration with Bayles, who produced and engineered their last album.  Meticulously written over the course of a year, the five song EP features five hook-driven upbeat yet simultaneously melancholy songs that thematically focuses on yearning and desire — with the addition of a saxophone to their sound. 

Now, as you may recall, I wrote about the shimmering, New Order-like “Leave You Lonely,” a decidedly ambitious and cinematic pop confection that expresses an aching yearning. Centered around a sinuous bass line, four-on-the floor drumming, shimmering synth arpeggios, plaintive vocals, an anthemic hook, and a mournful saxophone line, “How Could We Both Be In Love” continues a run of brooding yet disco-tinged pop confections. But unlike its immediate predecessor, the track sonically manages to bring Avalon-era Roxy Music and Duran Duran to mind while evoking late night, noir-ish vibes. The recently released video by Dirty Sidewalks’ Erik Foster is an incredibly stylish and moody visual that nods at French nouvelle vague and 80s MTV.