Tag: Slowdive

Live Footage: JOVM Mainstays A Place to Bury Strangers Perform “Punch Back” for Fuzz Club Live Sessions

I’ve written quite a bit about Brooklyn-based JOVM mainstays A Place to Bury Strangers over the course of this site’s nearly nine year history and as you may recall, the band, which is currently comprised of founding member Oliver Ackermann (vocals, guitar), Dion Lunadon (bass, guitar) and newest member Lia Simone Braswell (vocals, drums) have a long-held reputation for an unwavering and uncompromising commitment to an unpredictable live show: they’re known for never writing an actual set list, sometimes spontaneously writing new songs during the middle of sets — and for being arguably one of the loudest bands on the planet.

The Brooklyn-based shoegazers/noise rockers spent the bulk of last year touring to support Pinned and Re-Pinned, a remix album that featured re-imagined and re-worked A Place to Bury Strangers tracks from Slowdive, Trentemøller, No Age, METZ, Eric Copeland, Roly Porter, Davy Drones, and TBO — and while in London, during the tail end of a touring across Europe, the members of the band spent the day at Lovebuzz Studios to record a Fuzz Club Session. Slated for a February 15, 2019 release as a vinyl exclusive, and recorded in live in one take, the live album reportedly captures the band’s ethos and the intensity of their live some committed to wax like never before. Additionally, there were accompanying videos from the sessions, which will be released online.

“It’s good to record at the very end of the tour,” the band’s founding member Oliver Ackermann reflects in press notes. “You’ve been playing these songs all tour and there’s a certain point when you kind of get tired of them, so you have to reinvent what they mean and what happens in them. I feel like that always pushes things to the next level. It’s exciting.” The live session include two tracks off  2018’s Pinned “Never Coming Back” and “Punch Back,” one off 2015’s Transfixiation “We’ve Come So Far,” one off 2012’s Onwards To The Wall, “Drill It Up,” one off their 2007 self-titled debut Ocean and a previously unreleased track “Chrome Shadow,” and while essentially spanning the band’s lengthy catalog, the live session’s material features the songs reconfigured and pushed to their limits. Now, as you may recall that the live album’s second single was the previously unreleased “Chrome Shadow.” A decided sonic departure for the trio, the slow-burning, dirge-like track was centered around a snarling and throbbing Lunadon bass line, undulating waves of industrial clang, clatter and distortion, a propulsive drum machine and Ackermann’s plaintive and wailing vocals fed through layers of distortion — with the song evoking a towering fog of unease and malevolence.

Although I’m writing about this out of order, the live album’s first single is a furious and breakneck version of “Punch Back” that puts Braswell’s feral and snarling vocals and forceful drumming taking center stage while the song is propelled forward by Lunadon’s throbbing bass and Ackerman’s towering peals of feedback-fed guitar. 

Armed with their arsenal of strobes, projectors and smoke machines to accurately replicate their live show, the live footage captures the band’s current lineup at their fiercest, capturing the band working as a collaborative unit, which each member feeding off of and pushing one another.

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Live Footage: JOVM Mainstays A Place to Bury Strangers Perform a Previously Unreleased Single for Fuzz Club Sessions at Lovebuzz Studios

Over the course of this site’s nearly nine year history, I’ve written quite a bit about  Brooklyn-based JOVM mainstays A Place to Bury Strangers, and as you may recall the band, which is currently comprised of Oliver Ackermann (vocals, guitar), Dion Lunadon (bass, guitar) and its newest member Lia Simone Braswell (vocals, drums) have had a long-held reputation for having an unwavering and uncompromising commitment to unpredictable live shows: they’ve been known for never writing an actual set list, for  sometimes spontaneously writing new songs in the middle of the sets — and for arguably being one of the loudest bands on the planet. 

The Brooklyn-based shoegazers/noise rockers spent the bulk of last year touring to support Pinned and Re-Pinned, a remix album that featured re-imagined and re-worked A Place to Bury Strangers tracks from Slowdive, Trentemøller, No Age, METZ, Eric Copeland, Roly Porter, Davy Drones, and TBO — and while in London, during the tail end of a touring across Europe, the members of the band spent the day at Lovebuzz Studios to record a Fuzz Club Session. Slated for a February 15, 2019 release as a vinyl exclusive, and recorded in live in one take, the live album reportedly captures the band’s ethos and the intensity of their live some committed to wax like never before. Additionally, there were accompanying videos from the sessions, which will be released online. 

“It’s good to record at the very end of the tour,” the band’s founding member Oliver Ackermann reflects in press notes. “You’ve been playing these songs all tour and there’s a certain point when you kind of get tired of them, so you have to reinvent what they mean and what happens in them. I feel like that always pushes things to the next level. It’s exciting.” The live session include two tracks off  2018’s Pinned “Never Coming Back” and “Punch Back,” one off 2015’s Transfixiation “We’ve Come So Far,” one off 2012’s Onwards To The Wall, “Drill It Up,” one off their 2007 self-titled debut Ocean and a previously unreleased track “Chrome Shadow,” and while essentially spanning the band’s lengthy catalog, the live session’s material features the songs reconfigured and pushed to their limits. The live album’s second and latest  latest single is the previously unreleased “Chrome Shadow.” A decided sonic departure the trio, the slow-burning, dirge-like “Chrome Shadow” is centered around a snarling and throbbing bass line played by Lunadon, towering, undulating waves of industrial clang, clatter and distortion, a propulsive drum machine and Ackermann’s plaintive and wailing vocals fed through layers of distortion — with the end result being a towering fog of unease and malevolence. 

Armed with their arsenal of strobes, projectors and smoke machines to accurately replicate their live show, the live footage features the trio huddled around a drum machine and some other hardware that Ackermann uses to manipulate and distort his vocals and everything else. The live footage captures a band working as a collaborative unit, which each member feeding off of and pushing one another.  

With the release of 2016’s full-length debut Get Home Safe, the Brooklyn-based indie rock act Teen Body, comprised of Shannon Lee (guitar, vocals), Xela French (bass, vocals), Alex Bush (guitar) and Marcus McDonald (drums) quickly developed a reputation for a sound that brought the likes of Yo La Tengo, Slowdive, Galaxie 500 and others to mind.

Slated for an April 12, 2019 release through Broken Circles Records, the Brooklyn-based quartet’s long-awaited sophomore album Dreamo derives its name from a term coined by the band’s close friend Casey Halter, who after a show, wryly said to the band “Your music is like dream pop and emo . . . dreamo music.” Interestingly, the album which was written and recorded in Brooklyn reportedly features some of the most vulnerable, sentimental sincere and hopeful music of their growing catalog. And while the album’s latest single “Validation” manages to retain the gorgeous, shimmering 4AD Records and classic shoegaze inspired sound that first won them attention, the single is both wistful yet comforting, seemingly evoking a lover gently squeezing your hand when you’re at your most desperate and uncertain.

 

 

New Video: JOVM Mainstays A Place to Bury Strangers Release a Wild Lysergic-Tinged Visual for Album Single “Execution”

I’ve written quite a bit about long-time, Brooklyn-based JOVM mainstays A Place to Bury Strangers throughout its 8 year history, and over that same period of time, the band currently comprised of Oliver Ackermann (vocals, guitar), Dion Lunadon (bass, guitar) and its newest member Lia Simone Braswell have developed a reputation for an unwavering and uncompromising commitment to unpredictable live shows — and for being one of the loudest bands on the planet. They’re also known for never writing an actual set list, for writing new songs in the middle of their sets and for deliberately provoking and sabotaging sound engineers in a variety of cruel and innovative ways — and as a result, they’re arguably one of the most exciting contemporary live bands you will see.

Dead Oceans will be releasing Re-Pinned, a remixed record featuring re-imagined and re-worked A Place to Bury Strangers tracks from Slowdive, Trentemøller, No Age, METZ, Eric Copeland, Roly Porter, Davy Drones, and TBO. And to support the remix album and their latest effort, Pinned, the Brooklyn-based trio will be embarking on the second leg of their world tour with a NYC area date at the Doc Marten’s Union Square location — and you can check out the tour dates below; but before that, “Execution” is the latest single off Pinned and it finds the band adding subtle elements to their sound: scentered around noisy squalls of feedback,  a motorik groove, Ackermann’s pained, gritted teeth-like vocals and industrial clang and clatter, the song manages to feel much more tense and chillier while still remaining almost defiantly them.

Directed by Black Math’s Evan Fellers, the recently released video for the song is centered around jarring neon-tinged visuals thrown into an equally surreal  backgrounds and reality, creating a wildly lysergic visual mix. As Fellers explains “It was a blast to craft this dark nugget of visual energy for this edgy track by APTBS. Fueled by the contours of potential meaning found in ‘Execution’, a free-form fall into defining this world resulted in 70% confused trip, 26% weird brain juice on the run, 3% humor & 1% whatever the hell you want it to be.”

Earlier this month, I wrote about the up-and-coming  London-based, up-and-coming shoegaze quintet Cosmic Strip, and as you may recall, the band, which is fronted by  primary songwriter and creative mastermind, Camella Agabalyan, has described their work as “music to watch girls by, music to move the stars,” and with EP title track “Heavenly,” off the band’s recently released debut EP, the band seems to specialize in shimmering and soaring shoegaze that brought Wolf Alice and Lightfoils to my mind.  The EP’s latest single “Sugar Rush” is a decidedly 120 Minutes MTV-era bit of shoegaze, centered around squalling and towering feedback, shimmering guitar chords, ethereal vocals, soaring hooks and an alternating quiet, loud, quiet song structure that immediately brings Slowdive and A Storm in Heaven-era The Verve to mind, complete with a lysergic haze.

“I wanted to write a song about the feeling of addiction whether it’s sugar, love, a drug, whatever your vice is”, Camella Agbalyan says in press notes about the new single. “I personally really connect to dreamy, druggy songs like Air, My Bloody Valentine, Beach Fossils, Slowdive, The Jesus & The Mary Chain, etc., so I wanted to inspire myself from that feeling but also show the darker side of addiction that you might not always get from those types of songs”.

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”.

New Video: Introducing Kiev, Ukraine-based Post Punk Act On The Wane

With the release of their 2014 full-length debut Dry, the Kiev, Ukraine-based post-punk quartet On The Wane, currently comprised of Dari Maksimova (bass, vocals), Anna Lyashok (drums, vocals), Eugene Voitov (guitar, synth), and newest member, Eli Demyanenko (drums, drum machine), received attention across their native Ukraine and elsewhere for a sound that draws from shoegaze, goth, New Wave and noise rock — with the members of the band citing Sonic Youth, The Cure, Joy Division, Pixies, Bauhaus, My Bloody Valentine, Slowdive, Cocteau Twins and Ringo Deathstarr as influences on their work. 

Following a successful Ukrainian tour, the band, the quartet went into the studio and recorded a 6 track EP, Sick, which found the band’s sound drawing from the likes of Mudhoney, Fugazi and others with the effort being praised for a sound that drew from Sonic Youth, Gang of Four and The Damned among others; however, after the release of Sick, the band went through a lineup change with their newest member Demyanenko and with his addition, the Ukrainian-based post punk act added synthesizers and a drum machine to their sound. And as a result, the quartet’s sophomore effort Schism finds the band changing things up yet again — this time with the band taking on an increasingly goth-based, electronic rock sound that nods at 4AD Records, Garbage and Siouxsie and the Banshees, as you’ll hear on the album’s latest single “Sultry Song.” 

Directed by Mikhail Efimenko, the recently released video, was based on the band’s idea to create a non-complicated video showing the atmosphere of their rehearsal space/studio/workplace and to introduce the band to the world.