Tag: shoegaze

New Video: JOVM Mainstays The Vryll Society Release Trippy Yet Meditative Visuals for Album Single “Andrei Rublev”

Over the past handful of years, 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 have received attention from both this site and across the blogosphere with a series of singles that revealed a sound and songwriting approach that draws from a diverse array of influences, including Funkadelic, Aphrodite’s Child, krautrock and classic shoegaze.

The Liverpool-based shoegazers latest single “Andrei Rublev” is the first official single from the band’s long-awaited full-length debut, Course of the Satellite slated for an August 10, 2018 release, and interestingly enough, the song is inspired by Andre Tarkovsky’s 1996 arthouse film Andrei Rublev, a historical period piece and biographical film on the life of the 15th century Russian icon painter, during one of several incredibly turbulent periods of Russian history, which lead to the creation of the Tsardom of Russia. Thematically, the film concerned itself with several themes — artistic freedom, religion, political ambiguity and uncertainty, autodidacticism, and the creation of art under a cruel and repressive regime. And while the film’s characters lived over 400 years ago, there’s so much that should resonate with modern viewers. In any case, the understandably slow-burning and meditative song manages to nod at shoegaze and 70s AM rock in a way that brings another JOVM mainstay to mind, Chicago’s Secret Colours, but while hinting at an urgent ache for something far bigger and permanent than oneself. 

The recently released video features an alien like orb that floats in the distance that reflects and refracts the images so that they’re given a fish-eye effect, as the band walks through the British woods in a brooding fashion; throughout the song, the band’s individual members are shown with the very setting they’re walking superimposed behind them but upside down, which creates a meditative yet trippy effect. 

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Now, if you had been frequenting this website over the past few years, you may have come across a couple of posts featuring the Brooklyn-based indie rock act Lazyeyes, and as some of you may recall, the band, which initially began as a trio and now currently consists of Jason Abrishami (guitar, vocals), Sam Maynard (guitar, vocals), Jeremy Sampson (drums) and Jermey Rose (bass, vocals) received quite a bit of attention after the release of their 2013 self-titled EP: The Deli Magazine named the band the “Best Psych Rock/Shoegaze band,” Purple Sneakers praised the EP as a “moody and anthemic record, equal parts shoegaze and dream pop,” Stereogum described their sound as a “a muscular, riff-happy brand of guitar based dream-pop” and they were a featured artist in the November 2014 issue of NME — and adding to a growing profile, tracks from the EP received airplay from BBC Radio, XM Radio and a number of FM stations across the globe.

2015’s self-released, sophomore EP New Year was eventually picked up and reissued by Burger Records‘ cassette imprint Weiner Records, and “Adaptation,” the EP’s first single received quite a bit of attention across the blogosphere, including this site. Some time has passed since I’ve last written about them — but their long awaited full-length debut Echoes is slated for a summer release through Egghunt Records and 2670 Records. Interestingly, Echoes first single, album title track “Echoes” is a brooding and seamless synthesis of 80s British post-punk and shoegaze as you’ll hear angular and propulsive bass chords, four-on-the-floor drumming and towering, pedal effected guitar pyrotechnics paired with rousingly anthemic hooks — and while the song may initially strike you as drawing influence from Heaven Up Here-era Echo and the Bunnymen, it reveals a band confidently expanding upon the sound that first captured attention.

 

 

 

Over the past handful of years, 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 have received attention from both this site and across the blogosphere with a series of singles that revealed a sound and songwriting approach that draws from a diverse array of influences, including FunkadelicAphrodite’s Child, krautrock and classic shoegaze.

The Liverpool-based shoegazers latest single “Andrei Rublev” is the first official single from the band’s long-awaited full-length debut, slated for release sometime this summer, and interestingly enough, the song is inspired by Andre Tarkovsky’s 1996 arthouse film Andrei Rublev — and as a result, the deeply meditative song which is centered around boom bap-like drums, a sinuous bass line and some gorgeous guitar manages to nod at both classic shoegaze and 70s AM rock  — all while hinting at an urgent ache for something far bigger than oneself.

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New Video: JOVM Mainstays Modern Time Machines Send Up Classic TV Shows in Video for Album Single “Freefall (Can’t Stop)”

Over the past couple of years of this site’s history, I’ve written quite a bit about the Los Angeles, CA-based shoegazer act Modern Time Machines, and as you may recall with the release of singles like Dweeb,” the band comprised of Ben Golomb, Justin Bond, Nadia Franks and Neil Johnson have received attention for a pairing dreamy boy/girl harmonizing with a sound that has drawn comparisons to  M83, Medicine, Sonic Youth and others. Adding to a growing profile, the band has received airplay on  KROQ 106.7FM, have appeared on Adult Swim’s The Eric Andre Show and will have some of their music featured in director Ashley York’s upcoming film So Help You God. 
The up-and-coming, Los Angeles-based shoegazers’ Josiah Mazzaschi-produced, sophomore effort MTM is slated for release next week, and the album features guest spots from Nightmare Air‘s Dave Dupuis, Bell Gardens’ Kenneth James Gibson, that dog.’s Kaitlin Wolfberg and a remix from electronic music production and artist duo De Lux. Earlier this year, I’ve written about the A Storm in Heaven-era The Verve “High Noon” and the  Dinosaur, Jr-like “Failsafe,” off the album — both of which further cemented their reputation for crafting 120 Minutes-era MTV-like indie rock. And much like its predecessors, MTM’s latest single “Freefall (Can’t Stop) continues in a similar vein as the band has a penchant for soaring hooks, feedback drenched guitars and dreamy boy/girl harmonizing, centered around earnest and plaintive lyrics. 

Directed by the band’s Ben Golomb and featuring a lengthy cast, the recently released video is a hilarious and ridiculous send up on a number of classic TV shows including Mary Tyler Moore, Small Wonder, Gilligan’s Island and others.  

Nostalgist is a Seattle, WA-based post-punk/shoegaze act led by founding member and primary songwriter Asa Eisenhardt (vocals, guitar)  — and with the release of 2013’s Monochromatic EP and 2015’s Of Love and Days Ago, the Seattle-based project received attention for a heavy and moody sound that’s been influenced by Lowlife, Slowdive, Lycia, The Comsat Angels, The Chameleons, Killing Joke, Fields of the Nephilim, Hum and Red House Painters among others.

Recorded and mixed throughout 2016 and 2017, Disaffection, the long-awaited follow up to Of Love and Days Ago features guest spots from renowned drummer Aesop Dekker, who’s been a member of Khorada, Worm Ouroboros, Extremity and a former member of ex-Agalloch; Alex Entrekin (drums), who joined on as the project’s new drummer; and Monte McCleery (bass) who’s also a member of Seattle-based doom act Un. Interestingly, the effort features five originals and a cover of Catherine Wheel’s “Texture.” Disaffection‘s second and latest single “Smoldering Amber” finds the band drawing from post-punk, shoegaze and grunge, as the song is centered around a familiar structure — quiet, loud, quiet, with the quieter verses featuring towering and shimmering guitar chords over which Eisenhardt’s mournful vocals ethereally float over, and the blistering power chord-based chorus, held together with a propulsive rhythm section and arpeggiated synths. Without a doubt, the song will immediately bring 120 Minutes-era MTV to mind with a cinematic quality; but underneath the surface is a plaintive and aching yearning that gives the song a Romantic quality.

As Nostalgist’s Asa Eisenhardt says in press notes, “This is the most lyrically intimate thing I’ve written to date. As with many of my songs, it chronicles the beginning, middle and end of some manner of relationship, but here the words are especially dramatic (even for me, ha) and visceral. Infatuation is the most central theme. The instrumental arrangement emphasizes a dub rhythm in the verses, and I expect that influence to become even more prominent in future material. Dub was an enormous influence on ’80s post-punk, so following the throughline from bands I hold near and dear as influences (Comsat Angels, The Chameleons and Killing Joke to name but a few) and investigating that sound continues to be a natural progression for me.”

“At the same time, I do my best to really blend things up when I write, and both the mix and contrast of the heavy and the ethereal in ‘Smoldering Amber’ is easily the most pronounced of the songs on Disaffection. The verse section is minimal and grooving, but the chorus is huge and lumbering. The bridge is fragile and deliberate, the outro is hard-charging, uptempo and intertwined with synth melody. Dynamics are another dimension of musical color one can explore and manipulate, really. All in all, I think this track is especially exemplary of our elemental makeup”.

Deriving their name from Leos Carax’s hallucinatory 2012 film Holy Motors the Tallinn, Estonia-based quintet, Holy Motors, have cloaked much of their operation and backstory in mystery — but from what has been made publicly available, the band which features Ellian Tulve (vocals), Lauri Raus and Kaspar Kiinvald, formed in 2013 and soon after their formation began playing shows, including that year’s Tallinn Music Week Festival. And as the story goes, Merchandise’s Carson Cox saw the band and then introduced them to Florida-based label Hidden Eye, which along with renowned indie label Wharf Cat Records released the band’s debut single “Heavenly Creatures”/”Running Water” in 2015.

“Sleepydr,” the Estonian band’s breakthrough 7 inch was released to critical praise early last year from Stereogum, who described it as “psychedelic rock that hits like a dream despite undoubtedly seeking to soundtrack nightmares.” Building upon their growing international profile, the Tallinn-based quintet’s full-length debut effort Slow Sundown is slated for release this week, and from the album’s latest single “Signs,” is a slow-burning and moody bit of cinematic shoegaze that evokes long, late night drives: white lines, blacktop, highway signs, taillights and headlights, music blaring and your distracted thoughts. Interestingly, the album thematically speaking centers around motion — the celestial motions of satellites orbiting a planet, the motion of passengers in a car and so on, as it relates to larger, universal scale, while pointing out the existential isolation within all moving bodies, particularly people.

 

 

New Audio: Up-and-Coming Los Angeles-based Shoegazers Modern Time Release PT Anderson-Inspired Visuals for Wistful New Single “High Noon”

With the release of their debut single “Dweeb,” which received airplay on KROQ 106.7FM and several other singles, the Los Angeles, CA-based shoegazer act Modern Time Machines, comprised of Ben Golomb, Justin Bond, Nadia Franks and Neil Johnson, have received attention for pairing dreamy boy/girl harmonies with feedback and distortion pedal effected guitars — while drawing comparisons to M83, Medicine, Sonic Youth and others. Adding to a growing profile, the Los Angeles-based shoegazers appeared on Adult Swim’s The Eric Andre Show and will have some of their music featured in director Ashley York’s upcoming film So Help You God.

Modern Time Machines’ Josiah Mazzaschi-produced, sophomore effort MTM is slated for an April 6, 2018 release and will feature guest spots from Nightmare Air’s Dave Dupuis, Bell Gardens’ Kenneth James Gibson, that dog.’s Kaitlin Wolfberg and a remix from electronic music production and artist duo De Lux. “High Noon,” MTM’s latest single will further cement their growing reputation for pairing wistful, boy/girl harmonizing with layers of feedback drenched guitar chords, soaring hooks and four-on-the-floor drumming — and in some way, the track to my ear is reminiscent of A Storm in Heaven-era The Verve.

Directed and edited by the band’s Ben Golomb, the recently released music video begins with the members of the band driving around Los Angeles on a gloriously sunny day, stopping to pick up instruments and band members before shifting to the band in their rehearsal room performing the  song. Throughout the video, there are reportedly over a dozen mischievously hidden Paul Thomas Anderson-related visual gags.

New Video: The Trippy and Sounds Visuals for Mint Field’s Expansive New Single “Quiero Otoño de Nuevo”

With the release of their debut EP Primeras Salidas, the Tijuana, Baja California, Mexico-based duo Mint Field, comprised of 21 year-olds Estrella Sanchez and Amor Amezcua, quickly received international attention that included sets at some of North America’s […]