Tag: Suicide Squeeze Records

New Video: JOVM Mainstays Death Valley GIrls Absurd Yet Defiant Visual for “I’m a Man Too”

I’ve spilled copious amounts of virtual ink over the course of the site’s 11+ year history covering Los Angeles-based garage rock/psych rock JOVM mainstays Death Valley Girls. Although the band has gone through a series of lineup changes throughout their history, the band — currently founding duo and primary songwriters Larry Schemel (guitar) and Bonnie Bloomgarden (vocals, guitar, keys) and a rotating cast of collaborators that includes Alana Amram (bass), Laura Harris (drums), Shannon Lay, members of The Make Up, The Shivas and Moaning, as well as The Flytraps’ Laura Kelsey — can quite literally trace its origins as a sort of safe haven for its founding duo, as they navigated the difficult path of getting clean from hard drugs.

Understandably, for Schemel and Bloomgarden, the band was a kind of rebirth for them, and an outlet for a new — perhaps clearer and cleaner — way of living. Their newfound appreciation for life, inspired a thirst for communal celebration. And their earliest shows wound up taking on a mystical fervor: While their overall aesthetic is influenced by The Manson Family, B movie theatrics and the occult, they paired that with adrenalized swagger, scuzzy garage rock and punk, without the hardened nihilism.

Glow in the Dark was a jittery and jubilant barnburner centered around scuzzy guitar riffle, rousingly anthemic choral hooks and thunderous rhythms. Thematically, the album sees the band reveling in the secret bond held between misfits and outcasts, who openly refused to submit to the crushing weight of “capitalism, classism and elitism” with the album’s songs being a rallying cry to like-minded souls. “Once you realize that money, government, and this whole system is a shitty construct that doesn’t work and stands in the way of our true magical infinite potential, we start to glow,” The Death Valley Girls’ Bloomgarden says about the album. “And we can see everyone that believes ‘cause they glow too!”

Physical copies of Glow in the Dark have been unavailable with the album being out of print since 2016. But thankfully, the good folks at Suicide Squeeze Records will officially re-issue Death Valley Girls’ sophomore album on August 27, 2021: The album will be available on all the digital platforms — and as an initial vinyl pressing limited to 2,000 copies (1,500 on Unite, Multiply, & Conquer splatter vinyl, 500 on Little Ghost tri-color vinyl).

brate the re-issue of Glow in the Dark, the band released a new video for album single “I’m a Man Too.” Centered around enormous and rousingly anthemic shout along worthy hooks, scuzz spattered power chords and a forcefully chugging rhythm section, “I’m a Man Too,” the song is a joyful and defiant anthem that calls for the end of societal ideals of gender and gender roles, pointing out that they’re complete restrictive bullshit.

“What it means to be a man and what we expect from a woman has negatively impacted all our lives. How we treat each other and ourselves shouldn’t be based on society’s ideals of gender!” Death Valley Girls’ Bonnie Bloomgarden explains in press notes, “Everyone is a unique combination of feminine and masculine energy. It’s constantly changing. Somebody outside of you telling you how to be yourself is the most ridiculous and harmful thing I can imagine. You are a beautiful combination of many different things. Get to know yourself, be the most authentic you you can be. Label yourself if you wanna, don’t if you don’t, respect yourself and who everyone else is; that’s who they are!”

The recently released video by Cherry and edited by Little Ghost is a surreal and nightmarish makeup tutorial set to the song.

Formed back in 2015, the rising  Los Angeles-based punk act The Paranoyds — founding members Staz Lindes (bass, vocals) and Laila Hashemi (keys vocals), Hashemi’s childhood friend Lexi Funston (guitar) and David Ruiz (drums) — derive their name as an apt summery of their general outlook on technology and modern culture. But ironically, the act can trace its origins to the friendship its founding duo forged through MySpace when they were in their early teens. Initially bonding over their shared interest and passion for local. underground music, Lindes and Hashemi eventually became friends in real life. Eventually the duo recruited Funston and Ruiz to complete the band’s lineup.

Since their formation, the band has developed a reputation as one of Los Angeles’ most exciting bands as a result of tours with the likes of DIIVWhite ReaperAlbert Hammond, Jr., Sunflower BeanTacocat,BRONCHO and others, and for playing major festivals like Coachella. Building upon a rapidly growing profile, the Los Angeles-based quartet released their critically applauded full-length debut Carnage Bargain, an album that was a raucous blend of gritty garage rock, New Wave, horror movie camp and a other left-of-center influences delivered with a sneering wink.

With the world literally burning down with us, the members of the acclaimed Los Angeles-based quartet return with a much-needed dose of musical levity. Slated for a November 27, 2020 release through Suicide Squeeze Records, the “Pet Cemetery”/”Hotel Celebrity” 7 inch is the first bit of new material from the band since Carnage Bargain. And reportedly, the effort is an embodiment of all of their influences. Interestingly, the 7 inch’s A side — and first single — firmly cements their identity and reputation for being a band fueled by campy horror movies and garage rock. Centered around sharply arpeggiated organs, a chugging guitar line, thunderous drumming and an expansive song structuc, “Pet Cemetery” is a Halloween-themed headbanger that’s become a staple of the band’s live sets. But while arguably being among the heaviest songs of their growing catalog, the song possesses a mischievous sense of humor: the song thematically focuses on undead lovers partaking in streamy PDA sessions. It’s an anthemic love song for the underworld.

“When your honeymoon phase has the strength to extend to the underworld – ‘Pet Cemetery’ will be playing. If you are lucky enough to experience the type of love that feels deep enough to follow you underground with you and your lover- you know what ‘Pet Cemetery’ is saying. It is the ultimate love song with a message of passion strong enough for both life and afterlife,” the band’s Staz Lindes explains.

Throughout the course of this site’s 10-plus year history, I’ve managed to spill a copious amount of virtual ink covering the acclaimed, Atlanta-based JOVM mainstay act The Coathangers. Now, as you may recall, the JOVM mainstay act can trace their origins back to 14 years ago, when four young women — Julia Kegel (vocals, guitar), Stephanie Luke (vocals, drums), Meredith Franco (bass, vocals) and Candace Jones (keys) — without prior musical experience or lofty aspirations decided that they were going to pick up instruments and start a band, so that they could play a friend’s party.

That particular house show led to more shows around town — and those raucous and fiery live sets wound up comprising the band’s self-titled, full-length debut. Recorded during a graveyard shift at a local studio and mixed the following night, the Atlanta-based JOVM mainstays’ full-length debut was a raw, rowdy, revelrous affair. What the album lacked in polish, it made up in energy, charisma and brassy moxie. “We didn’t think anyone was going to listen to it,” The Coathangers’ Julia Kegel recalls. “We knew our friends in Atlanta would get it, but we didn’t think it was going to go anywhere. We were just excited to make a record.” Little did Kugel or her bandmates know that their scrappy house show anthems would catch on, leading to several years of successful international attention and a handful of critically applauded albums, including their out-of-print full-length debut, as well as a number of singles.

I think that the members of The Coathangers could never have imagined that their longtime label home would re-issue their long out-of-print, full-length debut as a deluxe, re-mastered version with a handful of extra tracks. Interestingly, the re-issued full-length debut, should remind listeners and fans of the band’s mischievous genre-fluidity. The band’s multi-faceted approach and diversity is a direct result of having multiple songwriters, who have brought their unique tastes and styles to the collective table. “It’s cool to to see how genre-fluid we‘ve always been,” The Coathangers’ Kugel says in press notes. “We got labeled as punk, and that was cool because that set us up as being against something, going against the grain. But it’s always been a weird dynamic of different tastes, and it still ultimately comes across as a bunch of girls having fun.”

Of course, the album is a bit of blast from the past, with the material possessing a spontaneity and careful spirit that’s invigorating, inspiring — and perhaps more necessary now than ever before. “We were just brash and making fun of things,” Kugel says. “We weren’t thinking about lyrics. We weren’t thinking about the industry. There was no thought about ‘making it’ or how people were gonna perceive it.” And as a result, the album was viewed as a private conversation between close friends, full of in-jokes, references and frivolities that reflected the band’s insular audience at the time — and their casual approach. “With this band I’ve felt like we have to speak for all woman-kind and as the records went on it became more and more at the forefront, but with the first record it was more like ‘ugh, these fuckin’ haters!’ It’s stuff we thought was hilarious and that felt really good to say because we felt safe. We didn’t think anyone was going to listen to it.” Lyrically, the album finds the band at their most unfiltered. Essentially, the album celebrates being young, brash, independent and full of joie de vivre as they say.

The re-issued edition of the self-titled album features the bonus track “Wife Eyes,” is grimy and sweaty bit of garage punk with a mischievously winking sense of humor with the song’s title and chorus being a play on words that’s partially being a tongue-in-cheek jab at the patriarchy and gender roles, and the paranoia of constant connection. It’s goofy fun — but it’s full of a freewheeling energy that seems largely missing right now.

“We have always encouraged each-other to explore other instruments.  For us, switching instruments was a way to explore our creativity and expand our sonic landscape.  Plus it allowed everyone to take a turn at the mic!  You’re breaking up the standard (sometimes stagnant) structure of onstage dynamic and it feels exciting to both the audience and the people on stage,” Kugel says. “We have been told that watching us change instruments is empowering to people as well! It’s like ‘Hell ya! I can do that too! I can play the drums!’ The playfulness of switching sort of takes the pressure off of being so serious or possessive of a certain role or instrument.  It also gives you greater appreciation for each other’s skill sets. I think some of our most creative songs came out of the practice of switching instruments and ‘Wife Eyes’ is one of our earliest recorded songs where we switched instruments: Candice plays drums and Steph the keys.

“The title is an obvious play on words-inspired by a joke on 30 Rock that lent itself well to speaking on the roles of technology and patriarchy in our culture. It’s amazing to see that we are still dealing with these issues today.”

The re-issued self-titled debut album is slated for December 4, 2020 release through Suicide Squeeze.

Throughout the course of this site’s 10-plus year history, I’ve managed to spill quite a bit of virtual ink covering the Los Angeles-based garage rock/psych rock act JOVM mainstays Death Valley Girls. The act, which currently features founding duo Larry Schemel (guitar) and Bonnie Bloomgarden (vocals, guitar) and a rotating cast of collaborators that includes Alana Amram (bass), Laura Harris (drums), Shannon Lay, members of The Make UpThe Shivas and Moaning, as well as The Flytraps’ Laura Kelsey can trace their origins back to over a decade ago, when they were formed by Schemel, Bloomgarden, Rachel Orosco (bass) and Hole‘s Patty Schemel (drums). Interestingly, despite the fact that the band has had a series of lineup changes thrhgout their history, the band’s aesthetic and sound has been generally indebted to The Manson Family, B movie theatrics and the occult.

2020 has been a very busy year for the JOVM mainstays: Earlier this year, the band released the two song, seven-inch EP Breakthrough, an effort that saw the Los Angeles-based JOVM mainstays covering two songs that have a profound connection to the band — both in their spirit and aural alignment. One of the songs included on the EP was  Atomic Rooster‘s “Breakthrough,” a song the band originally discovered through an even more obscure cover by Nigerian psych act The Funkees.  The Death Valley Girls’ cover leans more towards The Funkees’ version — thanks to grimy power chords, fire-and-brimstone organ lines and an in-your-face, combative chorus — but all three versions are centered around the age-old desire to be free from prisons — both literal and figurative.

Continuing upon the momentum of Breakthrough EP, the members of the Los Angeles-based JOVM mainstays will be releasing their newest album Under the Spell of Joy through their longtime label home Suicide Squeeze Records on October 2, 2020. The album’s title is derived from the text on at-shirt that the San Diego-based heavy psych rock act Joy gave to Death Valley Girls’ Bonnie Bloomgarden. Bloomgarden regularly wore the shirt constantly over the next five years, treating it like a talisman. “I read it as being about manifesting your biggest dreams and responding thoughtfully and mindfully to everything that comes in your path with joy and compassion first,” Bloomgarden explains in press notes. “There is a lot to be really angry about in the world but joy is just as powerful if used correctly!”

With Under the Spell of Joy, the members of the Death Valley Girls sough to make a spiritual record — what Bloomgarden describes as a “space gospel” — with the intention of bringing people together and creating the kind of participatory musical experience people have in places of worship. And as a result, the album’s material is generally centered around chants, choirs and rousing choruses, written with the purpose of encouraging people to sing along. Where the band had once sought to connect people through more esoteric means, Spell of Joy finds them tapping into an age-old tradition of uniting people by inviting them to be an active participant.

Although Bloomgarden and Schemel knew their intention for the album’s material before they had written a single note, the nature and direction of the music was initially inspired by the Ethiopian funk records they had been listening to while touring — but once they began playing and recording the material they had written, the music, which they claim came from tapping into their subconscious seemed to come from the future.

So far I’ve written about two of the album’s previously released singles: the slow-burning and expansive, Wish You Were-era Pink Floyd-like “The Universe,” which featured elements of shoegaze and classic psych rock — and the straightforward and soaring “Hold My Hand,” a track that evoked the swoon of new love, and the urge to improve oneself through deep personal reflection. Interestingly, Under the Spell of Joy‘s third and latest single, album title track “Under the Spell of Joy” is a hallucinogenic fever dream featuring chanted lyrics, fiery blasts of saxophone, enormous hooks and even bigger power chords. Seemingly one-part Fun House-era The Stooges, one-part acid-tinged psych rock, one-part Giant Steps-era Coltrane, the track is a rock”n’ roll take on the good news gospel stomp — while centered around an ebullient and mischievous joy.

New Video: JOVM Mainstays Death Valley Girls Release a Feverish Visual for “Hold My Hand”

I’ve also spilled quite a bit of virtual ink covering the Los Angeles-based garage rock/psych rock act JOVM mainstays Death Valley Girls throughout the bulk of this site’s 10 year history.  The act which features founding duo Larry Schemel (guitar) and Bonnie Bloomgarden (vocals, guitar) and a rotating cast of collaborators that includes Alana Amram (bass), Laura Harris (drums), Shannon Lay, members of The Make Up, The Shivas and Moaning, as well as The Flytraps’ Laura Kelsey can trace their origins back to over a decade ago, when they were formed by Schemel, Bloomgarden, Rachel Orosco (bass) and Hole‘s Patty Schemel (drums).  And despite the fact that they’ve gone through a series of lineup changes throughout their history, the band’s sound and aesthetic for much of their history has been heavily indebted to The Manson Family and B movie theatrics — while thematically concerned with the occult. 

Earlier this year, the longtime JOVM mainstays released a two song, seven-inch EP Breakthrough. The EP found the Los Angeles-based act covering two songs which have a deep and profound connection to the band — both in their spirit and aural alignment. One of those songs was Atomic Rooster‘s “Breakthrough,” a song discovered through an even more obscure cover by Nigerian psych act The Funkees.  While the Death Valley Girls’ cover leans more towards The Funkees’ version — thanks to grimy power chords, fire-and-brimstone organ lines and an in-your-face, combative chorus — all three versions of the song evoke the age-old desire to be free from prisons both real and mental.

Although they’ve been unable to tour because of COVID-19 pandemic-related lockdowns and quarantines, the Los Angeles-based JOVM mainstays have managed to make 2020 a busy year: Slated for an October 2, 2020 release through their longtime label home, Suicide Squeeze Records, the band’s forthcoming album Under the Spell of Joy derives its title from the text on a t-shirt that the San Diego-based heavy psych rock act Joy gave to Death Valley Girls’ Bloomgarden. As the story goes, Bloomgarden regularly wore the shirt constantly over the next five years, treating it like a talisman. “I read it as being about manifesting your biggest dreams and responding thoughtfully and mindfully to everything that comes in your path with joy and compassion first,” Bloomgarden explains in press notes. “There is a lot to be really angry about in the world but joy is just as powerful if used correctly!”

With Under the Spell of Joy, the members of the Death Valley Girls sough to make a spiritual record — what Bloomgarden describes as a “space gospel” — with the intention of bringing people together and creating the kind of participatory musical experience people have in places of worship. And as a result, the album’s material is generally centered around chants, choirs and rousing choruses, written with the purpose of encouraging people to sing along. Where the band had once sought to connect people through more esoteric means, Spell of Joy finds them tapping into an age-old tradition of uniting people by inviting them to be an active participant.

Although Bloomgarden and Schemel knew their intention for the album’s material before they had written a single note, the nature and direction of the music was initially inspired by the Ethiopian funk records they had been listening to while touring — but once they began playing and recording the material they had written, the music, which they claim came from tapping into their subconscious seemed to come from the future. Now, as you may recall, last month, I wrote about Under the Spell of Joy’s first single, the slow-burning. expansive and yearning “The Universe,” a track which seemed to simultaneously nod at Dark Side of the Moon and Wish You Were Here era Pink Floyd, 60s psych rock and shoegaze. 

Under the Spell of Joy’s second and latest single “Hold My Hand” is simultaneously a return to form and arguably one of the album’s seemingly more straightforward songs: centered around stomping drums, reverb drenched guitars, soaring organs and a rousingly anthemic hook, the song evokes both the urgent swoon of new love, as well as the urge to improve upon oneself deep personal reflection and through love. 

“Relationships are really tricky and can be super messy and complicated! I used to keep repeating the same mistakes over and over again,” Death Valley Girls’ Bonnie Bloomgarden explains in press notes. “I realized it’s cause I thought relationships were an agreement you made with another person. And that meant giving away my power to the other person and letting them navigate our way along our path. Then I realized things either happen to you or for you! Any relationship you have is an opportunity to make an agreement with yourself! It’s a chance to learn to be more compassionate and to grow stronger and more powerfully into the person you want to be and are meant to be! Hopefully, the other person will help along the way and grow with you! If not, peace and next, please.”

Curated by Andi Avery and Kate E. Hinshaw, the recently released video for “Hold My Hand” features painted film by a collection of artists. The end result is a visual that’s lysergic, urgent and feverish.  

New Video: JOVM Mainstays Death Valley Girls Release an Ebullient and Soaring New Single

Throughout the bulk of this site’s 10 year history, I’ve also spilled quite a bit of virtual ink cover the Los Angeles-based garage rock/psych rock act JOVM mainstays Death Valley Girls. Featuring core and founding duo Larry Schemel (guitar) and Bonnie Bloomgarden (vocals, guitar) and a rotating cast of collaborators that includes Alana Amram (bass), Laura Harris (drums), Shannon Lay, members of The Make Up, The Shivas and Moaning, as well as The Flytraps’ Laura Kelsey, the JOVM mainstays can trace their origins back to over a decade ago, when they were formed by Schemel, Bloomgarden, Rachel Orosco (bass) and Hole‘s Patty Schemel (drums). And although they’ve gone through a series of lineup changes throughout their history, the band’s sound and aesthetic for much of their history was heavily indebted by The Manson Family and B movie theatrics — while thematically focused on the occult. 

Last month, the longtime JOVM mainstays and Suicide Squeeze Records, released a two song, seven-inch EP Breakthrough. The EP found the Los Angeles-based act covering two songs which have a deep and profound connection to the band — both in their spirit and aural alignment, including  Atomic Rooster‘s “Breakthrough,” a song discovered through an even more obscure cover by Nigerian psych act The Funkees.  While the Death Valley Girls cover leans more towards The Funkees’ version — thanks to a grimy power chords, fire-and-brimstone organ chords and an in-your-face, combative chorus — all three versions of the song evoke the age-old desire to be free from prisons both real and mental. 

Although they’ve been unable to tour because of COVID-19 pandemic-related lockdowns and quarantines, the Los Angeles-based JOVM mainstays have managed to make 2020 a busy year: Slated for an October 2, 2020 release through their longtime label home, the band’s forthcoming album Under the Spell of Joy derives its title from the text on a t-shirt that the San Diego-based heavy psych rock act Joy gave to Death Valley Girls’ Bloomgarden. As the story goes, Bloomgarden regularly wore the shirt constantly over the next five years, treating it like a talisman. “I read it as being about manifesting your biggest dreams and responding thoughtfully and mindfully to everything that comes in your path with joy and compassion first,” Bloomgarden explains in press notes. “There is a lot to be really angry about in the world but joy is just as powerful if used correctly!”

With Under the Spell of Joy, the members of the Death Valley Girls sough to make a spiritual record — what Bloomgarden describes as a “space gospel” — with the intention of bringing people together and creating the kind of participatory musical experience people have in places of worship. And as a result, the album’s material is generally centered around chains, choirs and rousing choruses, written with the purpose of encouraging people to sing along. Where the band had once sought to connect people through more esoteric means, Spell of Joy finds them tapping into an age-old tradition of uniting people by inviting them to be an active participant. 

Although Bloomgarden and Schemel knew their intention for the album’s material before they had written a single note, the nature and direction of the music was initially inspired by the Ethiopian funk records they had been listening to while touring — but once they began playing and recording the material they had written, the music, which they claim came from tapping into their subconscious seemed to come from the future. 

centered around soaring and soulful saxophone, shimmering keyboard arpeggios, a sinuous bass line, a propulsive bass line and a shout along worthy chorus, “The Universe,” Under the Spell of Joy’s first single is a slow-burning and expansive song with a cosmic sheen that yearns and arches itself into a higher — and seemingly lysergic — plane of existence. Simultaneously nodding at Dark Side of the Moon and Wish You Were Here era Pink Floyd, 60s psych rock and shoegaze, the song bristles with a mischievous and ebullient joy that’s infectious. 

“The world is crazy right now and it feels like we should be doing more than just trying to perpetuate joy,” Bloomgarden says. “I think music becomes a part of you. Like Black Sabbath’s first record is as much a part of me as my own music. I think you can listen to music or song to get lost in it, or you can listen to music to find something in your self or the world that either you never had or just went missing. I want people to sing to this record, make it their own, and focus on manifesting their dreams as much as they can!” 

Directed by Bradley Hale, the recently released video for “The Universe” is a collage of newspaper and magazine clippings featuring occult and horror films, astral projection, UFOs and abductions and psychedelic blasts of color. And all of it centered around the desire to seek something beyond oneself, beyond their limited plane of existence and knowledge. 

Suicide Squeeze Records · Death Valley Girls – Breakthrough

Throughout the bulk of this site’s ten year history, I’ve spilled copious amounts of virtual ink writing about the Los Angeles-based garage rock/psych rock act Death Valley Girls — founding duo Larry Schemel (guitar) and Bonnie Bloomgarden (vocals, guitar) and a rotating cast of collaborators that includes Alana Amram (bass), Laura Harris (drums), Shannon Lay, members of The Make Up, The Shivas and Moaning, as well as The Flytraps‘ Laura Kelsey — can trace their origins back well over a decade ago, when they were formed by Schemel, Bloomgarden, Rachel Orosco (bass) and Hole‘s Patty Schemel (drums). Although they’ve gone through a series of lineup changes throughout their history, the JOVM’s sound and aesthetic for much of their history was influenced by The Manson Family and B movie theatrics while thematically focusing on the occult.

Slated for a June 12, 2020 release through their longtime home, Suicide Squeeze Records, the band’s two-song seven-inch EP Breakthrough finds the JOVM mainstays covering two songs that have a deep and profound connection to the band — both in their spirit and aural alignment: The EP’s first single is a cover of Atomic Rooster‘s “Breakthrough,” a song discovered through an even more obscure cover by Nigerian act The Funkees.  Centered around grimy power chords, fire-and-brimstone organ chords and an in-your-face, combative chorus, the Death Valley Girls cover, leans more towards The Funkees’ cover and although all three versions manage to hew closely to their long-held aesthetic, the song also manages to be remarkably contemporary, as it evokes an age-old desire to be free from all kinds of prisons, both real and mental.

The band was drawn to something far deeper than its melody and sound. “It spoke to me because of the lyrics about breaking free from an invisible prison… we all have invisible or visible prisons we are trapped in,” the band’s Bonnie Bloomgarden explains in press notes. Interestingly, the song’s discovery coincided with the band’s interest in The West Memphis Three’s Damien Echols and his ability to endure his lengthy imprisonment by learning to astral project through meditation.

 

 

 

 

 

 

 

New Video: The Paranoyds Release an Interactive and Trippy, 360º Visual for “Face First”

Formed back in 2015, the buzz-worthy Los Angeles-based punk act The Paranoyds, derive their name as a bit of an apt summary of their general outlook on technology and modern culture — but ironically, the act can trace its origins to a friendship forged between its founding members Staz Lindes (bass, vocals) and Laila Hashemi (keys vocals) over MySpace in their early teens. Initially bonding over a shared interest in local underground music, the duo eventually became friends in real life. Eventually, the duo recruited Hashemi’s childhood friend Lexi Funston to join the band — with David Ruiz (drums) completing the band’s lineup in 2015.

Since their formation, the band has developed a reputation as one of Los Angeles’ most exciting bands as a result of tours with the likes of DIIV, White Reaper, Albert Hammond, Jr., Sunflower Bean, Tacocat, BRONCHO and others, and for playing major festivals like Coachella. The band’s highly-anticipated (and long-awaited) full-length debut Carnage Bargain is slated for a September 13, 2019 release through Suicide Squeeze Records — and the album is reportedly a raucous blend of gritty garage rock, New Wave swagger, B movie camp and a myriad of other left-of-center influences.

Earlier this year, I wrote about the album’s second single, album title track “Carnage Bargain,” a track which found the band pairing ironically delivered lyrics that offered a scathing observation of our world of instant gratification with quirky yet infectious pop hooks, fuzzy power chords  and forceful drumming. Beginning with a pair of alternating half-tones that sound like sirens piercing through the air, the album’s third and latest single, album opener “Face First”  quickly develops a motorik groove featuring some explosive blasts of post punk skronk and squeal. And over that the band’s Lexi Funston sings lyrics about watching other people’s private lives unfold on social media and on our phones. 

Directed by David Gantz and Theo Cohn, the recently released video for “Face First” is  trippy 360º and interactive visual that follows a stalker. “We wanted the video to be driving, as the song has always reminded us of some sort of forward movement, like running, driving in a car late at night, etc.,” the members of The Paranoyds say in a statement. “The song is loosely about a stalker and we wanted that idea to be involved in the movement somehow. The video directors, our friends Theo Cohn and David Gantz, wanted to challenge themselves by doing something they had never done before–shooting with a 360º camera. This allowed us to show the point of view of these stalkers, where you could watch the video multiple times and still notice little Easter eggs each time depending on where you look. So many people watch videos on their phones now, and a 360º video makes for a much more interesting and fulfilling experience on a phone.”

New Video: Los Angeles’ SadGirl Releases a Stylistic and Surreal Visual for “Miss Me”

SadGirl is a Los Angeles-based garage rock trio who specializes in a vintage sound — and interestingly, their latest album, Water, which Suicide Squeeze Records released earlier this year, finds the trio tapping into the romantic and nostalgic spirit of their hometown while exuding an authenticity that suggests that they’ve peeked at the scuzzy underside of the manicured lawns, glitzy boulevards and relentless sunshine.

“If you want to learn about water, go to the desert,” the Los Angeles-based garage trio’s recording engineer and friend Max Garland has sagely said in press notes, and unsurprisingly that statement made a huge impact on the band’s Misha Lindes (guitar, vocals). “Here we are in Los Angeles, a desert ping-ponging between drought and El Nino. This record is just an attempt to share a very small portion of my experience growing up and living here,” Lindes says of the album. “It’s basically just about the fluidity of water and its power and importance.” And while seemingly post-apocalyptic, the album is a collection of old-school tinged pop songs, recorded with vintage recording techniques with the album being pieced together from a series of recording session over the past two years that employed a variety of tape machines in different setups — from living rooms to professional studios. 

Water‘s later single is the slow-burning, Roy Orbison-like ballad “Miss Me.” And while rooted in a traditional of bittersweet and aching love songs written from the perspective of the tortured and heartbroken lover, yearning for that love interest, who has cruelly spurned them — for another or for no particular reason. But underneath that bitter sentiment is a heartbroken tell-off to that lover, to “miss me with that bullshit” before walking away from them for good with your sanity and dignity. “This song is about realizing someone close to you isn’t the person you thought you knew, and coming to terms with the fact that they may never share the same values as you,” SadGirl’s Lindes says of the song. “Getting to that point where you decide that it’s no longer worth the effort and it’s better to walk away with what’s important to you still intact.”

Directed, produced and edited by Nathan Castiel, the recently released video for “Miss Me” is a slick and stylistically shot visual that’s split between the band perfuming the song in a sparsely furnished studio and some goofy footage of people drinking “Water” branded water. “This song really hits close to the heart,” the band’s Misha Lindes say sin press notes, “so it was awesome to have so many friends involved and making cameos. It’s also the first time that we’ve ever done a non “narrative” video, so it was a totally new experience for me. We love collaborating and working with friends on projects, so getting so many homies involved was awesome. I feel like the video perfectly captures that thin corny smile that sometimes disguises someone’s true intentions.”

New Video: Los Angeles’ The Paranoyds Release a Trippy B Movie-Inspired Visual for “Carnage Bargain”

Formed back in 2015, the buzz-worthy Los Angeles-based punk act The Paranoyds, derive their name as a bit of an apt summary of their general outlook on technology and modern culture — but ironically, the act can trace its origins to a friendship forged between its founding members Staz Lindes (bass, vocals) and Laila Hashemi (keys vocals) over MySpace in their early teens. Initially bonding over a shared interest in local underground music, the duo eventually became friends in real life. Eventually, the duo recruited Hashemi’s childhood friend Lexi Funston to join the band — with David Ruiz (drums) completing the band’s lineup in 2015.  

Since their formation, the band has developed a reputation as one of Los Angeles’ most exciting bands as a result of tours with the likes of DIIV, White Reaper, Albert Hammond, Jr., Sunflower Bean, Tacocat, BRONCHO and others, and for playing major festivals like Coachella. The band’s highly-anticipated (and long-awaited) full-length debut Carnage Bargain is slated for a September 13, 2019 release through Suicide Squeeze Records — and the album is reportedly a raucous blend of gritty garage rock, New Wave swagger, B movie camp and a myriad of other left-of-center influences. 

Carnage Bargain’s second and latest single, the album title track will further cement their long-held reputation for pairing ironically delivered lyrics with quirky yet infectious pop hooks, fuzzy power chords and forceful drumming. And while being the sort of mosh pit friendly track in which you can envision sweaty concertgoers bopping about and singing along at your local music venue, the track is centered around a scathing observation of our current world of instant gratification that has left us unhappier. “People want things all the time—there seems to be a constant manic need of consuming now more so than ever. ‘Carnage Bargain’ is about the people higher up wanting to get all this evil work done at a wholesale price,” the band’s Staz Lindes says in press notes. 

“It’s an extremely vulnerable time in America—things aren’t sugar coated anymore,”Lindes adds. “The dirt and grime that was swept under the rug has risen to surface. It’s impossible for us to get through a day without thinking of the thousands of migrant children in cages at the border alone, some without proper beds, soap, toothbrushes, and with lights on 24/7. We can not continue to ignore the black lives, young and old, taken by police almost every week. The plastic crisis. The mass shootings. The extreme need for prison reform. The opioid crisis. The water crisis in Flint, Michigan. The list goes on, and the hole gets deeper. Sometimes I can’t sleep and I wonder: do they sleep well in the White House? What else can I do as a privileged citizen? They want to get a Carnage Bargain. I want to pick up garbage.”

Directed by David Ruiz and Max Flick, the recently released video immediately brings 120 Minutes to mind as its split between placing the band in a seemingly dysfunctional and dystopian reality and their studio — while nodding at constant commercials.