Tag: shoegaze

Late last month, I wrote about Parrot Dream, an up-and-coming shoegaze duo comprised of the, Santiago, Chile-born, Brooklyn-based Christina Hansen Appel (vocals, keys) and Gonzalo Guererro (guitar) back in 2013, and as you may recall, after relocating to Brooklyn, the duo quickly began to develop a reputation for sprawling and shimmering soundscapes. which helped them amass more than 500,000 steams on Spotify.

Written and recorded over a two year period, the duo’s soon to be released full-length debut Light Goes is slated for release later this month through Good Eye Records, and the album’s material reportedly touches upon themes of connection, love, memory and clarity. Album single “Paradise & Prey” was a slow-burning and atmospheric track that managed to be elegiac yet uplifting, anthemic yet intimate — and while indebted to 4AD Records and the classic shoegaze sound, the Chilean-born, Brooklyn-based duo have a subtly modern take on it.”Cloudchaser,” Light Goes‘ latest single may arguably the most anthemic bit of shoegaze on the entire album as its centered around shimmering and arpeggiated synths, propulsive drumming, equally shimmering guitar chords and Hansen Appel’s ethereal vocals floating over the mix. And adding to the anthemic nature of the song, the duo in press notes admit that the song was written with playful metaphors in mind, reflecting the idea of being in a relationship with unpredictable, tumultuous patterns; and of feeling of seeking shelter and being energized by the storminess.”

Advertisements

New Audio: Ancestors Release a Shoegazer Take on Doom Metal

Earlier this summer, I wrote about the Los Angeles-based metal/doom metal/psych rock/stoner rock quintet Ancestors, and as you may recall, the band which is currently comprised of founding duo Justin Maranga (guitar, vocals) and Nick Long (bass, vocals) along with Jason Watkins (organ, piano, electric piano, mellotron, vocals), Matt Barks (modular synthesizer, Moog synthesizer, guitar, vocals) and Daniel Pouliot can trace their origins back to 2006 when Maranga, Long, and Brandon Pierce began the band as a trio; Englishman Chico Foley, who had met Pierce shortly after relocating to Los Angeles joined the band. Jason Watkins joined to complete the band’s initial line up. Their full-length debut was released in 2008 through North Atlantic Sound Records in Europe and Tee Pee Records in the States — and the album featured artwork by Arik Roper, who has done artwork of the likes of Sleep, High on Fire, and Earth. Their 2009 sophomore Of Sound Mind was produced by the band and Pete Lyman and featured collaborations with Melvins‘, Unwound and Slug’s David Scott Stone, Black Math Horseman‘s Sera Timms and cellist Ramiro Zapata.

2010 saw the first of several lineup changes as Chico Foley left the band and was replaced by Matt Barks and with a new lineup, they went into the studio to write and record the Kenny Woods-produced Invisible White EP.  And despite, a series of lineup changes, the band’s sound generally draws from prog rock, psych rock, stoner rock and doom metal — but they’ve also at points increasingly incorporated elements of experimental rock and musique concrete among others.  The Los Angeles-based rock quintet’s forthcoming album Suspended In Reflections is slated for release later on this month through Pelagic Records, and from album single “Gone,” the  single and the album itself reportedly reflects a different take on their sound and approach as the single is a slow-burning dirge that manages to bridge shoegaze and doom metal as it features enormous power chords, played through tons of effects pedals, soaring and ethereal synths within an expansive yet moody song structure that nods a bit at prog rock.

“Through A Window,” Suspended In Reflections’ latest single is a slow-burning and brooding dirge centered around shimmering guitar chords, soaring hooks and dramatic drumming — and interestingly enough, the single finds the band leaning heavily towards a mediative and thoughtful shoegazer territory.

New Video: The 120 Minutes-like Visuals and Sounds of The Purrs “Late Night Disturbance”

Currently comprised of founding duo Jima (bass, vocals) and Jason Milne (guitar, backing vocals), along with Liz Herrin (guitar, backing vocals) and Dusty Hayes (drums), the Seattle, WA-based indie rock band The Purrs can trace their origins back to when its founding members started the band close to two decades ago. Herrin, joined the band about a decade ago, and the band’s newest member, Hayes, joined the band about three years ago. And while going through lineup changes, the band has written, recorded and released five full-length albums, a couple of EPs and a number of singles through a number of indie labels.

Released last week through Swoon Records, their Johnny Sangster-produced full-length,
Destroy the Sun will further cement their long-held reputation for mixing slash-and-burn guitars with gorgeous and haunting melodies — but interestingly enough, as you’ll hear on the album’s latest single “Late Night Disturbance” possesses elements of eerie Country and Western, indie rock, shoegaze, New Wave and post-punk in a way that recalls David Lynch, Ennio Morricone  Joshua Tree-era U2, Gold Afternoon Fix-era The Church complete with widescreen vista-like vibes and tight hooks.

The recently released video by Cent-Dix Kilo features the members of the band playing the song in front of trippy superimposed visuals of late night highways and clouds — all of which emphasizes the shoegazer vibes of the song.

Fronted by primary songwriter and creative mastermind, Camella Agabalyan, the London-based, up-and-coming shoegaze quintet Cosmic Strip have described their work as “music to watch girls by, music to move the stars,” and “Heavenly,” the latest single from the band’s debut EP is a mesmerizing and anthemic track, centered by dexterous and shimmering power chords and soaring hook — and although some have compared the band and their sound to the likes of Beach House and Alvvays, to my ears, the band’s sound reminds me a bit of Wolf Alice and Lightfoils, but as the band says, the song is “. . . dedicated to the addictive feeling of your first love.”

The band has started to receive a attention from the blogosphere and as a result of a growing profile, the members of the band have made an appearance at The Great Escape  and are in the middle of a UK tour that includes a Wildness Festival set tonight. If you’re in the UK, check out the tour dates below.

Tour Dates
03 Aug – Wilderness Festival
24 Aug – The Sunflower Lounge, Birmingham
25 Aug – Night & Day Café, Manchester
27 Aug – Belgrave Music Hall, Leeds (This Must Be The Place Festival)
31 Aug – Sebright Arms, London (EP launch party)

 

 

 

New Video: JOVM Mainstays Release Lysergic and Summery Visuals for Cosmic Album Single “Light At The Edge Of The World”

Over the course of this site’s eight year history, I’ve written quite a bit about the  Liverpool-based shoegaze quintet and JOVM mainstays The Vryll Society, and as you may recall, the band, which is comprised of Michael Ellis, Ryan Ellis, Lewis McGuinness, Lloyd Shearer, and Benjamin Robinson received attention from across the blogosphere with the release of an early collection of singles that drew from a diverse array of influences, including Funkadelic, Aphrodite’s Child, krautrock and classic shoegaze.

The Liverpool-based shoegazers’ long-awaited full-length debut Course Of The Satellite is slated for an August 10, 2018 and the album’s first single “Andrei Rublev,” which was inspired by  Andre Tarkovsky’s 1996  historical, arthouse film Andrei Rublev was a slow-burning and meditative song that found the band’s sound simultaneously nodding at shoegaze and 70s AM rock. Course of the Satellite‘s second and latest single “Light At The Edge Of The World” possesses a shimmering cosmic glow familiar to space rock and shoegaze with subtle prog rock leanings while centered around enormous hooks and some swirling and towering guitar work. Interestingly enough, the band mentions in press notes that the album’s latest single finds them combining the influences of Tame Impala and Stereolab.

The recently released video for “Light At The Edge Of The World” continues the band’s ongoing collaboration with director Peter Fearon. “For the video, we wanted the idea of a girl listening to the track and falling into a dream,” the JOVM mainstays say in press notes. “The majority of it is shot in a country garden where Peter really enhanced the colours to give it a dreamy summery vibe. The girl seems to be looking for something throughout the video and we’ve left it up to the viewer to decide what that is.” And much like the visuals for “Andrei Rublev,” the visuals make a visceral connection between the earthly and the cosmic, with the clear idea that music can take you into a completely different (and perhaps enhanced) plane of existence.

Parrot Dream is an up-and-coming shoegaze duo formed by the Santiago, Chile-born, Brooklyn-based Christina Hansen Appel (vocals, keys) and Gonzalo Guererro (guitar) back in 2013. After relocating to Brooklyn, the duo have begun to develop a reputation for sprawling and shimmering soundscapes — and as a result, they quickly amassed more than half a million streams on Spotifty.

Written and recorded over a two year period, the duo’s forthcoming full-length debut Light Goes is slated for an August 24, 2018 release through Good Eye Records, and the album’s material reportedly touches upon themes of connection, love, memory and clarity. The album’s latest single “Paradise & Prey” is a slow-burning and atmospheric track that manages to be elegiac yet uplifting, anthemic yet intimate as the song is centered around Appel’s shimmering synths, Guerrero’s tightly controlled guitar pyrotechnics, a soaring hook and Appel’s ethereal vocals — and while clearly seeming indebted to 4AD Records and the classic shoegaze sound, the Chilean-born, Brooklyn-based duo have a subtly modern take on it.

 

 

 

 

 

 

 

New Audio: Los Angeles-based Quintet Ancestors Release a Slow-buring Shoegazer Take on Doom Metal

Currently comprised of founding duo Justin Maranga (guitar, vocals) and Nick Long (bass, vocals) along with Jason Watkins (organ, piano, electric piano, mellotron, vocals), Matt Barks (modular synthesizer, Moog synthesizer, guitar, vocals) and Daniel Pouliot (drums), the Los Angeles-based metal/doom metal/psych rock/stoner rock quintet Ancestors can trace their origins back to 2006 when Maranga, Long, and Brandon Pierce began the band as a trio; Englishman Chico Foley, who had met Pierce shortly after relocating to Los Angeles joined the band. Jason Watkins joined to complete the band’s initial line up. Their full-length debut was released in 2008 through North Atlantic Sound Records in Europe and Tee Pee Records in the States — and the album featured artwork by Arik Roper, who has done artwork of the likes of Sleep, High on Fire, and Earth. Their 2009 sophomore Of Sound Mind was produced by the band and Pete Lyman and featured collaborations with Melvins’, Unwound and Slug’s David Scott Stone, Black Math Horseman’s Sera Timms and cellist Ramiro Zapata.

2010 saw the first of several lineup changes as Chico Foley left the band and was replaced by Matt Barks and with a new lineup, they went into the studio to write and record the Kenny Woods-produced Invisible White EP.  And despite, a series of lineup changes, the band’s sound generally draws from prog rock, psych rock, stoner rock and doom metal — but they’ve also at points increasingly incorporated elements of experimental rock and musique concrete among others.  The Los Angeles-based rock quintet’s forthcoming album Suspended In Reflections is slated for an August 24, 2018 release through Pelagic Records, and from the album’s latest single “Gone,” the new single and the album itself reportedly reflects a different take on their sound and approach as the single is a slow-burning dirge that manages to bridge shoegaze and doom metal as it features enormous power chords, played through tons of effects pedals, soaring and ethereal synths within an expansive yet moody song structure that nods a bit at prog rock.

Live Footage: Knife Knights on KEXP

If you’ve been frequenting this site throughout the course of this site you’ve been made familiar with Ishmael Butler, the founder of the critically applauded and groundbreaking hip-hop acts Digable Planets and Shabazz Palaces. A decade ago Butler was preparing to emerge from several years of near-complete silence. In the summer of 2009, Butler unveiled Shabazz Palaces through a pair of self-released EPs that quickly established the project’s unique sound — complex and hyper literate verses paired with psychedelic sonic textures and refracted rhythms. And from the start confidentiality was essential: Butler wanted Shabazz Palaces to stand on its own strength, and not on his established reputation, so he adopted a pseudonym for himself.

As the project’s profile and network expanded, Butler recognized that he needed new monikers for his creative pursuits and collaborations; in fact, Knife Knights, was the name that he devised for his work with the then-Seattle based engineer, producer, songwriter and film composer Erik Blood, who’s also a vital and important collaborator in Butler’s Shabazz Palaces. Interestingly, Blood and Butler’s collaboration and friendship can trace its origins to when the duo were introduced at a Spiritualized show in 2003 through a mutual friend, whom Butler was about to record with. As the story goes, Blood was a diehard and obsessive fan of Digital Planets, and naturally he passed along a bootleg copy Blowout Comb for the mutual friend to have signed — and Butler dutifully provided.

Over the course of the next few years, they’d run into one another by chance and sometimes they’d make small talk about possibly working together. When Butler finally sent Blood a few sons to mix, their creative chemistry was obvious and immediate. Interestingly, Butler, who grew up a student of hip-hop began absorbing shoegaze and ambient soundscapes while Blood, an ardent hip-hop fan had always been an inclusive and obsessive music listener; in fact, on every Shabazz Palaces album, Butler and Blood have specifically focused on and delighted at that artistic intersection, constantly indoctrinating hip-hop in new sonic territories. “He [Blood] takes my ideas and clarifies and pronounces them, helps me realize them,” explains Butler in press notes. “He helps me get to the essence.”

After a decade of collaboration together and the development of a very rich and dear friendships, Butler and Blood have written and recorded a proper full-length together as Knife Knights — 1 Time Mirage, an album that finds the duo and a cast of collaborators and friends creating and weaving a unique sound that meshes soul, shoegaze, hip-hop, bass, noise and chaos wth the album representing a free space for unfettered and radical exploration. Interestingly, the album’s material was recorded in the three sessions, interrupted by Shabazz Palaces and Digable Planets tour schedules and Blood’s recording projects.

Butler, Blood, and a cast of collaborators and friends were invited into Seattle’s KEXP for their live debut, where they performed material off their forthcoming album, slated for a September 14, 2018 release through Sub Pop Records. And while bearing a subtle similarity to their work together in Shabazz Palaces, Blood and Butler’s Knife Knights work manages to feel like a refinement of it while being altogether separate. Yes, they employ samplers and synths but there’s an organic and muscular heft through the use of bass and guitar. And as you’ll hear from the songs they performed during this live session are a bit of a subtle refinement of the duo’s acclaimed work with Shabazz Palaces  but while leaning closer to shoegaze — it’s lysergic but with a swaggering hip-hop vibe that can only be possible through this unique and thrillingly weird collaboration. 

New Video: United Ghosts’ Trippy Visuals for Their Shimmering 4AD Records-Inspired New Single

The Los Angeles-based dream pop duo United Ghosts, comprised of Sha Sabi, who came to Southern California after stints in New York and San Francisco; and German-born Axel Ray, who spent a 12 year stint in London before relocating to the States — although on some level, it’s a bit of a misnomer, as they’ve received attention for a classic 4AD Records-like sound centered around boy-girl harmonizing and draws from dream pop, psych rock, shoegaze and krautrock.

The duo’s 2013 full-length, self-titled debut and its follow up, Dear Electric Sun EP received airplay from BBC’s Steve Lamacq and Lauren Laverne, KCSN’s Nic Harcourt, KLOS’ Mark Sovel and XFM’s John Kennedy and a number of others. And after three successful UK and European Union tours, a number of Stateside dates that included CMJ and SXSW, followed by an L.A. residency, the duo of Ray and Sabi returned to the studio to work on their Mark Rains and Axel Ray co-produced sophomore album, Saturn Days, an album that thematically and lyrically explores modern life, love and disconnect in a world that’s equally dystopian and beautiful, in which hope is laced with paranoia and where dreaming your way out might be the only chance to survive.

Saturn Days’ latest single “Waves,” will further cement the duo’s reputation for crafting material 4AD Records-era dream pop, the prerequisite shimmering guitar chords, motorik grooves, enormous power chord-based soloing and dreamy boy-girl harmonies — but with a subtly modern touch,.

The recently released video for “Saturn Days” is comprised of performance footage of the members of United Ghosts with their live band shot by Arian Soheili with superimposed drone footage by Steve Payne, underwater footage by Alex V. and images of Saturn courtesy of NASA and the Saturn Cassini mission.