Interestingly, the Canadian trio’s self-titled effort’s third and latest single “Descent of Their Last End” continues on a similar vein as “No Alternative,” as it’s an anthemic bit of buzzing shoegaze that sounds as though it could have been released in 1993. We’re talking about buzzing power chords, thundering drumming and a propulsive groove that you can mosh to in a sweaty club — but with a hint of what sounds like synths that act like bookends to the song.
The recently released video is comprised of a TV siting in a middle of an urban street, and a suburban back yard with projections of weird psychedelic-like footage in empty rooms, suburban yards and slick split screens.
Earlier this year, I wrote about Kestrels, a Halifax, Nova Scotia-based indie rock/noise rock trio comprised of Chad Peck (guitar/vocals), Devin Peck (bass) and Paul Brown (drums). And with the 2014 release of The Moon Is Shining Our Way EP, the Canadian indie rock trio emerged both nationally and internationally as the EP’s title track received radio airplay on CBC Radio 3 and as a result of touring with internationally renowned acts including Speedy Ortiz, Ringo Deathstarr, Beliefs, Grays and Ash. Reportedly, the sessions that produced The Moon Is Shining Our Way laid the groundwork for the songwriting approach and sound the band would then take into the studio for their self-titled, third full-length effort, slated for a September 30, 2016 release through Hamilton, Ontario-based label Sonic Unyon.
The album’s first single “No Alternative” was a decidedly pedal effects-led power chord- are paired with thundering and propulsive drumming, a tight bass line, an anthemic hook you can hear kids shouting along to in a sweaty club and Chad Peck’s plaintive falsetto as the song reminded me quite a bit of Siamese Dream-era Smashing Pumpkins, Silversun Pickups, My Vitriol and others, complete with a swooning urgency. The album’s latest single “Waiting” sounds as though it owes a sonic debt to Brit Pop and shoegaze; in fact, to my ears, I’m reminded quite a bit of RIDE, as a motorik-like groove is paired with psych rock-leaning guitar chords, propulsive drumming, ethereal vocals and an anthemic hook.
With the 2014 release of The Moon is Shining Our Way EP, Kestrels, a Halifax, Nova Scotia-based indie rock/noise rock trio comprised of Chad Peck (guitar/vocals), Devin Peck (bass) and Paul Brown (drums), emerged both nationally and internationally as the EP’s title track received radio airplay on CBC Radio 3 — and as a result of touring internationally with the likes of renowned indie acts such as Speedy Ortiz, Ringo Deathstarr, Beliefs, Grays and Ash. Interestingly enough, the sessions for The Moon is Shining EP reportedly laid the groundwork for the songwriting approach and sound the band would eventually take into the studio for their forthcoming third full-length and self-titled album, slated for a September 30, 2016 release through Hamilton, Ontario-based label Sonic Unyon.
While the album features guest spots from Ringo Deathstarr’s Elliott Frazier and Alex Gehring, its first single “No Alternative” is a decidedly power chord-based 90s alt rock-inspired song as power chords are played through various effects pedals and are paired with thundering and propulsive drumming, a tight bass line, an anthemic hook you can hear kids shouting along to in a sweaty club and Chad Peck’s plaintive falsetto floating over mix. While sonically speaking, the song reminds me quite a bit of Siamese Dream-era Smashing Pumpkins, Silversun Pickups, My Vitriol and others, complete with a swooning urgency.
As an unabashed child of the 80s, Depeche Mode holds as much of a place in my heart as New Order; after all, so much of their material has managed to be part of my life’s soundtrack. More than enough ink has been spilled throughout the act’s influential career, so delving into their biography is largely unnecessary. Interestingly, over the past 20 years, an in impressive and growing number of artists have covered, remixed and reworked Depeche Mode including Smashing Pumpkins, Deftones, A-ha, Monster Magnet,Scott Weiland, The Cure (yes, seriously, The Cure!), Tori Amos, Nada Surf, Linkin Park‘s Mike Shinoda, Breaking Benjamin, Royskopp, Placebo and more.
Comprised of Paris-born and London-based duo Axel Basquiat (composer, vocals, bass) and Vincent T. (production, sound engineering and keys), The Penelopes are an indie electro pop act, production and DJ duo who have developed a reputation for propulsive, Giorgio Moroder-like remixes of Lana Del Ray, Pet Shop Boys, We Have Band, Night Drive, The Ting Tings, Alt J and a growing list of others, and for their own original material — which critics internationally have compared to Daft Punk, M83 and Air, among others. The Parisian-born, London-based duo add their names to a growing list of artists, who have covered Depeche Mode with their rendition of “Never Let Me Down Again,” which turns the slow-burning and moody industrial/goth song into a shimmering and anthemic, club-banger with a sinuous bass line and propulsive drum programming with Basquiat’s breathy baritone. And although The Penelopes uptempo rendition is warmer and dance floor friendly, it retains the original’s sense of longing and desire.
Check out how The Penelopes cover compares to Depeche Mode’s original below.
Frequently compared to RIDE, Smashing Pumpkins, Dinosaur, Jr. and Deerhunter, the critically praised Chicago, IL-based quartet Pink Frost originally formed under the name Apteka — and as Apteka, the quartet recorded their debut effort Gargoyle Days on analog tape before releasing the album back in 2011 to critical praise; the album landed on Time Out Chicago‘s Best of 2011 List, as well as several others. After changing their name to Pink Frost, the quartet’s 2014 sophomore effort, Sundowning was released to critical praise from nationally renowned media outlets including Pitchfork, SPIN Magazine, Noisey, Magnet Magazine, and Chicago Reader. And adding to a growing national profile, material from Sundowning appeared in The Lookalike and TV series such as The Vampire Diaries and CSI: Miami, among others.
The Chicago-based quartet will be releasing a painstakingly remixed and remastered update of the original analog masters, which reportedly will not only pack much more punch, but will also be representative of the band’s live sound. Of course, with new artwork reflecting the band’s change of name, the band intends for the re-release of their debut to be a metaphorical and literal rebirth. (Interestingly, the members of Pink Frost have been incredibly busy of late as they’ve also been busily recording the follow-up to Sundowning and Traitors EP with Gregoire Yeche at Steve Albini’s Electrical Audio Studios.)
The re-released album’s second and latest single “Where Days Go” is an power-chord based song with enormous, anthemic hooks that sounds as though it were inspired by 90s alt rock and shoegaze. I’m reminded quite a bit of The Posies‘ “Ontario,” Foo Fighters “This Is A Call” and The Black Angels‘ “Telephone” as “Where Days Go” possesses a similar forcefulness and mosh-pit ready feel while being incredibly radio friendly.
Initially influenced by No Doubt, Smashing Pumpkins, The Cranberries and Radiohead, the Australian-born, London-based singer/songwriter Lucy Mason first learned the guitar when she was 13, and after finishing school in Australia, the up-and-coming singer songwriter relocated to the UK, where she quickly wound up touring with fellow singer/songwriters Matt Corby and Josh Kumra across the UK. Adding to a steadily growing national profile, Mason is a winner of the UK Songwriting Contest, which naturally established her as one of the UK’s best, new songwriters.
Now, if you’ve been frequenting JOVM over the past eight or nine months, you might remember that I’ve written about Mason — and over that same amount of time, the Australian-born, London-based singer/songwriter has been receiving attention internationally across the blogosphere for dramatic yet deeply personally pop.
Her newest and latest single “Lightning Strikes” pairs Mason’s husky jazz-inspired vocals over a sparse and atmospheric production comprised of layers of trembling and ethereal synths, finger-snapped percussion and sudden tempo changes that gives the song a tense, jagged and almost anxious feel as the song builds in intensity. And as Mason explains in press notes, the song is inspired by a deeply personal experience — the sort that had required some time for Mason could write after some time and gaining some perspective. In fact, the song manages to be a bitter and regret-stained confession over a dysfunctional relationship that the narrator spent way too much time in.
Initially influenced by No Doubt, Smashing Pumpkins, The Cranberries and Radiohead, the Australian-born, London-based singer/songwriter Lucy Mason first learned the guitar when she was 13, and after finishing school in Australia, the up-and-coming singer songwriter relocated to the UK, where […]
Live Concert Review: New Music Seminar, New Music Nights Festival 2015 Misfires in its Attempt to Showcase New Music New Music Seminar can trace its origins back to 1980 when over 200 people gathered at […]
With the release of their first two albums, 2011′s self-titled debut and 2013′s Glow and Behold, the London-based quartet Yuck quickly became international blogosphere sensations, thanks in part to a sound that many of my […]
If you’ve been following JOVM for the better part of this year, you may be familiar with the Australian-born, London-based singer/songwriter Lucy Mason. Initially influenced by No Doubt, Smashing Pumpkins, The Cranberries and Radiohead, Mason […]
