Tag: Sego Neon Me Out

New Video: JOVM Mainstays Sego Releases a Decidedly Lo-Fi and Trippy Visual for “Give Me”

I’ve written quite a bit about the Los Angeles, CA-based JOVM mainstays Sego over a significant portion of the site’s almost nine-year history — and as you may call, the act which was founded by and initially comprised of Mapleton, UT-born founding duo Spencer Peterson and Thomas Carroll expanded to a quartet with the addition of Alyssa Davey (bass) and Brandon McBride (guitar, keys) last year.

Released last month, the newly-constituted quartet’s sophomore album Sego Sucks derives its name from a hashtag created by a disgruntled concertgoer — and while marking the first album as a quartet, the material was partially inspired by the band’s extensive touring across North America, Europe and the UK, as well as the addition of the band’s newest members. All of these events have led to a much more focused sound and approach — but with a raucous, rowdy, beer soaked spirit. Album single “Shame” was centered around a shout worthy series of hooks, buzzing and distorted guitars, thumping beats and pulsating electronics paired with ironically delivered lyrics — all while finding the band moving towards a pop-leaning take on post-punk. “Neon Me Out” sort of continues in a similar vein as it was centered round an anthemic, shout along worthy hook and a propulsive hook — and in some way, the track sounds like a seamless and mischievous synthesis of Odelay-era Beck and Gang of Four-like post punk.

Sego Sucks’ latest single “Give Me” continues a run of anthemic and pointedly ironic post-punk centered around slashing guitars and a propulsive and percussive rhythm section — but unlike its predecessors, “Give Me” the track touches upon self-loathing, good ol’ American empty phoniness and bullshit. Interestingly, the recently released video also continues a run of incredibly lo-fi videos: in this case, the video is centered around shitty, taped footage from a local public access TV station featuring old timers country line dancing in what appears to either be a VFW or Elks Hall, interspersed with VHS-taped footage of the band members while on tour, which creates a weird and frenzied feel.

New Video: JOVM Mainstays Sego Return with a Trippy Visual for the Post Punk Anthem “Neon Me Out”

Now, over the a significant portion of this site’s nearly nine year history,  I’ve written quite a bit about the Los Angeles, CA-based JOVM mainstays Sego. Initially comprised of Mapleton, UT-born founding duo Spencer Peterson and Thomas Carroll, the band expanded to a quartet with the addition of Alyssa Davey (bass) and Brandon McBride (guitar, keys) last year.

As you may recall, the band’s long-awaited sophomore album Sego Sucks is slated for an April 5, 2019 release through Roll Call Records, and the album is partially inspired by  the band’s extensive touring across North America, Europe and the UK and by the addition of the band’s newest members. Unsurprisingly, both events have made the band’s sound and approach much more focused — while retaining a raucous and rowdy spirit. The rowdy and anthemic album single “Shame” was centered around a shout worthy series of hooks, buzzing and distorted guitars, thumping beats and pulsating electronics paired with ironically delivered lyrics. Sonically speaking, the song found the band moving towards a radio friendly, somewhat pop-leaning take on pop. Interestingly, Sego Sucks’ latest single “Neon Me Out” sort of continues in a similar vein — it’s centered around anthemic, sing along and shout along worthy hooks and a propulsive bass line; however, the song to my ears  is a seamless and mischievous synthesis of Odelay-era Beck and Gang of Four-like post punk. And while radio friendly, the song touches upon social media distortions and social media fame, boredom, phoniness, the desperate attempt to fit into a scene, and so on with a post-modern sense of ironic aplomb. 

Decidedly lo-fi, the recently released video is a lysergic-tinged trip, comprised of a series of collages of the band hanging out, fucking around and so on, the members of the band playing in front of a fun house mirror-like distortion. It creates a weird view of the band’s innermost world.