Tag: Sonic Youth

Lyric Video: Ganser’s EP Title Track “You Must Be New Here”

With the release of last year’s critically applauded full-length debut, Odd Talk, the Chicago, IL-based post-punk act Ganser — founding members Alicia Gaines (bass, vocals) and Nadia Garofalo (keys, vocals) with Brian Cundiff (drums) and Charlie Landsman (guitar) received attention nationally for an angular post-punk sound heavily indebted to Sonic Youth and Magazine paired with incisive lyrics critiquing larger social issues. 

Now, as you may recall the members of the Chicago-based JOVM mainstays have spent the bulk of this past year in the studio, recording the material. which will comprise their forthcoming EP You Must Be New Here. Slated for a November 8, 2019 release, You Must Be New Here continues the band’s ongoing collaboration with Brian Fox — but joined in the control both with Electrelane‘s Mia Clarke. The EP’s first single “Buio” featured the angular and driving post-punk sound that first caught my attention and the rest of the blogosphere — but with a clean and precise studio sheen. And yet, at its core the song was centered around acutely self-aware observations on the tenuous and dysfunctional relationship between the author/creator and their audience.  

“You Must Be New Here,” the EP’s latest single and title track features shimmering key arpeggios, twisting and turning guitars and a stuttering rhythm that creates a tense and uneasy air while Alicia Gaines’ vocals vacillate between intention, magical thinking and making uneasy bargains with reality within a turn of a phrase. Importantly, the song is underpinned by a desperate fight for some semblance of agency within chaos and uncertainty. And in some way, it captures our current zeitgeist with a vivid accuracy. 

The lyric video takes place in a sunny, suburban-styled kitchen. The band’s Alicia Gaines has her back to us as she’s washing dishes and singing parts of the song to herself. She’s so lost in her own thoughts that she barely notices her bandmates, who come in and out of the kitchen to make themselves cups of coffee. The ordinariness of the situation gives the lyric video a surreal air. 

Advertisements

New Video: JOVM Mainstays Ganser Release a Probing and Cake Smashing Visual for “Buio”

Formed back in 2014, the Chicago, IL-based post-punk act Ganser — comprised of founding members Alicia Gaines (bass, vocals) and Nadia Garofalo (keys, vocals) with Brian Cundiff (drums) and Charlie Landsman (guitar) — have received attention both locally and nationally for a sound that has been largely influenced by the likes of Sonic Youth and Magazine paired with lyrics, which served as incisive critiques on larger social issues. The Chicago-based quartet’s critically applauded full-length debut Odd Talk thematically focused on communication breakdowns with the material centered around narrators, who desperately attempting to seek meaning in hopeless confusion and messiness. 

The members of Ganser have spent the bulk of this year in the studio recording new material, some of which will appear on their forthcoming EP You Must Be New Here. Slated for a November 8, 2019 release, You Must Be New Here finds the band working with longtime collaborator Brian Fox and Electrelane’s Mia Clarke. The EP’s first official single “Buio” features the angular and driving post-punk sound that first caught my attention and the rest of the blogosphere — with a clean and precise studio sheen. But at its core, the song  possesses acutely self-aware observations centered around the relationship with author/creator and audience. 

Directed by the band, the recently released video is set at a highly uncomfortable dinner party, where we follow a self-conscious and awkward woman, who happily kills the mood of the party by going wild on a cake with her bare hands.  In some way, by the woman deciding to not give a fuck, she finds her own power and agency. 

New Video: Seattle’s Moon Palace Releases a Contemplative Visual for Shimmering and Dance Floor Friendly “Bold”

Last month, I wrote about the Seattle-based indie rock act Moon Palace. The act which is led by twin sisters Cat (guitar, vocals) and Carrie Biell (bass, vocals) and joined by Jude Miqueli (drums) and Darcey Zoller (cello, synth) can trace some of their origins back to the unique musical bond the Biell Sisters cultivated as the children of deaf parents. And with the release of 2017’s self-titled full-length debut, the band drew comparisons to JOVM mainstays to Beach House and Warpaint, as they crafted hook-driven material centered around sometimes discordant guitars and gorgeous dual harmonies. Along with receiving praise from the likes of City Arts Magazine and KEXP, Moon Palace has shared stages with Thunderpussy, Y La Bamba and Sera Cahoone among others.

Thematically, the Seattle-based quartet’s recently released sophomore album Shadowcast finds a balance between light and dark. “Shadow self and trying to be positive through interactions with people you love,” the members of the band elaborate in press notes. “Outer world to the innermost personal world. Balancing the sun sign and moon sign. Knowing your inner personal self within the context of the universe.” Throughout the recording sessions, band members would text each other songs by Sonic Youth, Talking Heads, Duran Duran and Big Thief, all of which inspired and shaped the album’s sound and overall aesthetic.

Now, as you may recall I wrote about the shimmering, Beach House-like “Who You Are,” a track found the band effortlessly balancing intimate emotions within an atmospheric and cinematic song. At its core, the song focused on navigating difficult and uneasy relationships and questioning whether the other is showing their true self or not. Interestingly, the album’s latest single “Bold” is a dance-floor friendly take on shoegaze, centered around a propulsive, disco-like bass line, shimmering guitars, atmospheric synths ethereal vocals and a soaring hook — but as the band’s Cat Biell explains the song harkens back to that “nostalgic feeling to a time when you felt more care free.” And as a result, the song is imbued with a bittersweet air. 

The recently released video by Elope Productions stars Loren Othón  and Georgia Maxine, who contribute expressive and contemplative dance movements in a variety of different settings including a verdant field, urban rooftops and parking lots, which also helps to emphasize the nostalgia within the song.

Auckland, New Zealand-based indie rock outfit Miss June — comprised of Annabel Liddel (vocals, guitar), Jun Park (guitar), Chris Marshall (bass) and Tom Legget (drums) — have received attention both in their homeland and elsewhere for a jagged, feedback-driven alt rock meets New Wave meets No Wave sound that’s been described by some critics as “some unholy union between Sonic Youth and Le Tigre” and for a formidable, attention-grabbing live show that has earned them opening slots for Foo Fighters, Shellac, Wolf Alice, IDLES and Die! Die! Die!
Earlier this year, the Kiwi-based quartet signed to New York-based indie label Frenchkiss Records, who released their double A-side 7 “inch “Twitch”/”Best Girl” earlier this year. Now, as you may recall, I wrote about “Best Girl,” a riot grrrl-era punk and 90s alt rock-like track with a rousing, arena rock friendly, mosh-pit friendly hook. Both of those singles will be featured on the band’s highly-anticipated, full-length debut Bad Luck Party, which is slated for a September 6, 2019 release. Just a few days before the album hits the street, the band release the album’s final single, “Anomaly.” Built around a classic alt-rock song structure — quiet, loud, quiet — “Anomaly” may arguably feature the most straightforward yet explosive hook of the entire album.
“I have an incredible ability to attract individuals that are as flawed as I am. It’s made my life chaotic and beautiful. This song is about a girl. A girl I will never understand. A girl that’s a gun, a burning sun and an anomaly to me,” the band’s Annabel Lidell says of the song in press notes.”
The Auckland-based indie rock act will be embarking on a lengthy world tour throughout the fall and it’ll include an October 14, 2019 stop at Rough Trade. Check out the tour dates below.
TOUR DATES
September 6 – San Fran Bath House – Wellington
September 7 – Galatos – Auckland
September 11 – The Vanguard – Sydney
September 18 – Maze – Berlin
September 19 – Blue Shel – Cologne
September 20 – Reeperbahn Festival – Hamburg
September 23 – Cinetol – Amsterdam
September 24 – Trix – Antwerp
September 28 – The Flapper – Birmingham
September 29 – Yes – Manchester
September 30 – Headrow House – Leeds
October 1 – Poetry Club – Glasgow
October 2 – Sneaky Petes – Edinburgh
October 5 – Tiny Rebel – Cardiff
October 6 – Port Mahon – Oxford
October 7 – Rough Trade, Bristol
October 9 – Latest Music, Brighton
October 10 – The Lexington, London
October 14 – Rough Trade – Brooklyn, NY
October 15 – Once – Boston, MA
October 16 – DC9 – Washington, DC
October 17 – Kung Fu Necktie – Philadelphia, PA
October 19 – Velvet Underground – Toronto, ON
October 21 – Subterranean – Chicago, IL
October 23 – The Basement – Nashville, TN
October 24 – The Earl – Atlanta, GA
October 27 – Bronze Peacock – Houston, TX
October 28 – Hotel Vegas – Austin, TX
November 1 – Valley Bar – Phoenix, AZ
November 2 – Moroccan – Los Angeles, CA
November 4 – Rickshaw Stop – San Francisco, CA
+FURTHER NORTH AMERICA DATES TO BE ANNOUNCED

New Video: North Carolina’s Tracy Shedd Releases a Playful Stop Animation Visual for “Kissing and Romancing”

With the release of her five previous albums through labels like Teen Beat, New Granada Records and Devil In The Woods and stints in Band & The Beat, the Jacksonville, FL-born, Wilmington, NC-based singer/songwriter and guitarist Tracy Shedd has developed a reputation for being a musician’s musician, whose sound and approach has been compared to the likes of Alvvays, Belle & Sebastian, Liz Phair, My Bloody Valentine, Snail Mail, Sonic Youth and countless others.  

After Sonic Youth’s Steve Shelley sit in on drums during her last US tour, Shedd began writing the material, which would comprise her forthcoming album The Carolinas in her new home of North Carolina. The album reportedly finds Shedd drawing upon her indie rock roots with some of her electro pop experiences with Band & The Beat — and is arguably some of the most playful material she’s written and recorded to date. The album’s first single is the coquettish fuzz pop anthem “Kissing and Romancing.” Centered around fuzzy power chords, a big infectious hook and a decidedly lo-fi production, the song manages to recall 90s grunge and fuzz pop — Liz Phair’s “Supernova” immediately comes to mind; but with a playful, coquettish air. 

The recently released video features stop-motion animation of a wooden robot dancing and courting a blue alien. And while drawing some influence from The White Stripes “Fell in Love with a Girl,” the video, much like the song has a playful air. 

Shedd’s latest album, The Carolinas is slated for a September 20, 2019 digitally through Fort Lowell Records and on vinyl through Science Project Records. 

Led by twin sisters Cat (guitar, vocals) and  Carrie Biell (bass, vocals) and joined by Jude Miqueli (drums) and Darcey Zoller (cello, synth), the Seattle-based indie rock act Moon Palace can trace some of its origins back to the unique musical bond the Biell Sisters cultivated as the children of Deaf parents. Interestingly, with release of 2017’s self-titled, full-length debut, the members of the Seattle-based band drew comparisons to Beach House and Warpaint, as they crafted hook-driven material centered around sometimes discordant guitars and gorgeous dual harmonies. Along with receiving praise from the likes of City Arts Magazine and KEXP, Moon Palace has shared stages with Thunderpussy, Y La Bamba and Sera Cahoone among others.

Slated for an August 23, 2019 release, the band’s soon-to-be released album Shadowcast thematically finds a balance between light and dark. “Shadow self and trying to be positive through interactions with people you love,” the members of the band elaborate in press notes. “Outer world to the innermost personal world. Balancing the sun sign and moon sign. Knowing your inner personal self within the context of the universe.” Throughout the recording sessions, band members would text each other songs by Sonic Youth, Talking Heads, Duran Duran and Big Thief, all of which inspired and shaped the album’s sound and overall aesthetic.

Interestingly, Shadowcast‘s second and latest single “Who You Are” is a shimmering and contemplative song that finds the band effortlessly balancing intimate emotions within an atmospheric and cinematic sound featuring shimmering and slashing guitars, gorgeously ethereal vocals, a soaring hook and driving rhythm section. And while bearing a resemblance to Beach House, the song possesses an uncertain and uneasy air, as it focuses on navigating difficult relationships and questioning whether the other person is showing their true self or not.

 

 

 

 

Currently featuring founding members Cynthia Sley (vocals), Pat Place (guitar) and Dee Pop (drums) along with newest recruit Val Opielski, the New York-based act Bush Tetras can trace their origins back to when Sley, Place, Pop and Laura Kennedy (bass) formed the band back in 1979.  Interestingly, their full-length debut Too Many Creeps was considered one of their scene’s defining moments as it accurately captured the vibe, feel and ethos of that scene’s particular moment.

Building upon a growing profile, the members of Bush Tetras were an opening act during The Clash’s legendary, spring 1981 17 show run at Bond International Casino. After the release of their Topper Headon-produced Rituals EP, which featured the chart-placing “Can’t Be Funky,” Laura Kennedy and Dee Pop left the band and were replaced by Bob Albertson (bass) and Don Christensen (drums); however, the band broke up.

For the better part of the next three decades, the members of the band were fairly elusive, although interestingly enough, the band’s original lineup reunited on a couple of occasions — in 1995, which resulted in 1997’s Beauty Lies and recording sessions the following year, which resulted in a Don Fleming-produced album that was shelved when Mercury Records was sold. That album was finally released in 2012.

In 2005, Julia Murphy replaced Kennedy and they resumed playing and touring across New York. The band toured across Europe the following year. Sadly, Laura Kennedy died in 2011 after a long battle with liver disease. In 2013, Cindy Rickmond, a former member of Cheap Perfume, Grayson Hugh, Church of Betty and Unknown Gender briefly replaced Murphy. And in 2016, Val Opielski, a former member of Krakatoa, Walking Hellos, PSXO and 1000 Yard Stare joined the band.

Last year saw the release of Take The Fall EP through Wharf Cat Records, the first batch of new music from the band in over 10 years. Over the winter, Third Man Records cleared their Cass Corridor showroom floor, invited the band down to Detroit — and enlisted the help of Third Man Mastering’s Bill Skibbe and Warren Defever to record their recently released “There is a Hum”/”Seven Years” 7 inch. A side single “There is a Hum” is a slashing bit of post punk, reminiscent of Entertainment-era Gang of Four and Sonic Youth — but seething with a neurotic anxiousness. B side single “Seven Years” manages to be a mischievously anachronistic track that sounds as though it could have been released at any point within the past 30 years. The glitchy and spastic track features some blistering and energetic guitar work centered around cowbell-led percussion and a sinuous bass line. Both tracks find the legendary post punk/No Wave act boldly reminding the listener that although it’s been a while, they play with a fury, passion and purpose that many younger acts lack.

 

 

 

 

 

 

New Video: JOVM Mainstays Ganser Return with a Surreal and Symbolic Visual for Their First Single of 2019

Formed back in 2014, the Chicago, IL-based post-punk act Ganser — comprised of founding members Alicia Gaines (bass, vocals) and Nadia Garofalo (keys, vocals) with Brian Cundiff (drums) and Charlie Landsman (guitar) — have received attention both locally and nationally for a sound that was largely influenced by the likes of Sonic Youth and Magazine paired with lyrics, which served as incisive critiques on larger social issues. And as you may recall, the act’s critically applauded full-length debut Odd Talk focused on communication breakdowns with the material featuring narrators desperately seeking meaning in hopeless confusion and messiness. At points, narrators seem to be literally sorting through layers of syllables and signals in an attempt to find the right words to say what they wanted — or needed to say. 

The members of Ganser have been in the studio recording new material over the past few months while working on their second album. Their first single of this year, “Bad Form” is a furious song that seethes with anxiety,  self-loathing and self-flagellation that further cements the tense, angular sound that first caught my attention. While the song is a cathartic reaction to a year-long writing period, it finds the band increasingly adapting to a collaborative writing process. “When you’re in the middle of writing and recording, it’s very easy to fall into extreme feelings of guilt over procrastination, when you’re already stretched thin,” the band’s Alicia Gaines explains in press notes. “It’s nice to operate as a team, and act as a unit that can take the burden of some really ugly inner talk.” 

Co-directed by Kirsten Miccoli and Ganser, the recently released video features blinding light that paralyzes the band’s members, rapid-fire cuts, surreal vignettes that communicate the wishful thinking (and desire) of being someone else, a disorientating array of dopplegangers and lookalikes. The video suggests that the creative process as being a frustrating and soul crushing series of doubt, anxiety, uncertainty and procrastination and ugly self-talk. 

Live Footage: Up-and-Coming Danish Duo Mavoureen Performs “Bliss” at Tapetown Studios’ Spot Festival Special

Over the past couple of years, I’ve written quite a bit about Aarhus, Denmark-based recording studio Tapetown Studios and their longtime partnership with Sound of Aarhus. Together, the studio and the website have invited national, regional and internationally recognized touring bands to stop by Tapetown for a live session, which they film and then distribute to all of your favorite social media and streaming sites. During the live series’ history, they’ve invited British indie rockers Ulrika Spacek, Gothenburg, Sweden-based trio Pale Honey, the Bay Area-based JOVM mainstay Tim Cohen and his The Fresh & Onlys, renowned British psych rockers The Telescopes,  Malmo, Sweden-based punk rock act Sista Bossen, Copenhagen, Denmark-based indie rock quartet ONBC, up-and-coming, Los Angeles-based post punk rock act Moaning, Oslo, Norway-based punk trio  Dark Times

Tapetown Studios recently teamed up with Drowned in Sound and the folks at Spot Festival for another series of live sessions in which three internationally touring acts were invited to Tapetown to perform. The second act invited to Tapetown was the mysterious Danish post-punk duo Mavoureen. The act is putting the finishing touches on their forthcoming full-length debut, an effort recorded at Echo Canyon Studios with Sonic Youth’s Steve Shelley contributing drums. Interestingly, the act performed the blistering, Nirvana-like “Bliss,” a song that frenetic and furious track that features fuzzy power chords, howled vocals, thunderous drumming and a mosh pit friendly hook. Much like its predecessor, play this one as loudly as humanly possible.