“Sweep Me Off My Feet,” is the first bit of new material from the band since last year’s Man, It Feels Like Space Again and interestingly enough the single sounds as though it could have been a Tame Impala B side — and that’s not a terrible thing, really. Sonically speaking, the band pairs boom-bap like drums, layers of buzzing synths, chiming percussion, plaintive falsetto vocals, buzzing yet bluesy guitar solo and an anthemic hook in a slow-burning and trippy bit of psych pop that possesses an urgent, carnal need and vulnerability underneath it’s arena rock swagger. Unsurprisingly, “Sweep Me Off My Feet” is also the first single from the band’s forthcoming, Kevin Parker produced, untitled full-length album slated for release in early 2017.
Tag: SXSW
Comprised of Diego Garcia (vocals, guitar), Alejandro de Lucas (bass) and Daniel “Larry” Balboa (drums), Madrid, Spain-based trio The Parrots quickly became an DIY underground sensation with the release of a demo, which was released without much promotion and little fanfare; in fact, the video for “I Did Something Wrong” off their Aden Arabie EP initially received over 15,000 YouTube hits — and caught the attention of music bloggers across Europe and the rest of the world for a sound that drew from old school, garage rock and psych rock but with a loose, boozy feel. And unsurprisingly, the band’s sound compares favorably to the likes of Thee Oh Sees, Black Lips, Raccoon Fighter, High Waisted, White Mystery and others.
Last year, NME named the Spanish trio as one of SXSW‘s “buzziest bands” and since then the members of The Parrots have been incredibly busy — they’ve released a critically applauded EP Weed for The Parrots, have toured relentlessly and played an incredible 14 shows at this year’s SXSW (in which they were later signed by renowned indie label Heavenly Recordings). Building on the growing buzz, the trio will be releasing their latest single “Let’s Do It Again.”
Recorded at Paco Loco Studios in El Puerto de Santa Maria in Cadiz, Southern Spain, The Parrots’ latest single is reportedly inspired by the members of the band drinking beers and Horchata, eating Moroccan delicacies and feelings of deep friendship and loyalty and as a result the song possesses a shuffling, intoxicated feel of elation and adventure — the sort that would come about when you’ve drunkenly stumbled along a new best friend. Sonically, the song will further cement the Spanish trio’s growing reputation for raw and shaggy garage rock as Garcia’s passionate howls are paired with a shuffling and jangling garage rock chords, propulsive drumming and a throbbing bass line, and in some way the song sounds as though it could have easily been released in 1962 or so.
Influenced by The Strokes, The Clash, Haim, Velvet Underground, Courtney Love, Charli XCX and Mazzy Star and comprised of siblings Marika Justad and Miro Justad, and Toby Kuhn, Seattle, WA-based trio Tangerine was formed back in 2012. And in a short period of time, the Seattle-based trio quickly rose to national and intentional prominence from the likes of NME, The Guardian, Vice Noisey, Rookie Mag and others for a sound that draws from 90s alt rock, 80s New Wave, indie rock, R&B and pop; in fact the band’s sound has been compared favorably to the likes of Best Coast, Camera Obscura and Speedy Ortiz — as shimmering guitar chords are paired with tight pop-leaning hooks.
The trio’s latest EP Sugar Teeth was released earlier this year through Swoon Records and the material is reportedly inspired by life on the road as a touring band and the artists they toured with, who coincidentally were major influences on the band — while exploring youthful rebellion, a chaotic and dysfunctional relationship and a wistful nostalgia over faded friendships. And the EP’s second and latest single “Tender” will continue to cement the band’s reputation for shimmering guitar-based surfer rock-leaning pop that sounds as though it draws from The Go-Gos — complete with a similar bittersweet playfulness wrapped around infectiously pop-leaning hooks.
The band is currently on a rather extensive tour that includes several SXSW sets and a late April NYC area stop at Cake Shop. Check out tour dates below.
Tour Dates
3/16/2016 – Austin, TX @ SCRATCH HOUSE
3/18/2016 – Austin, TX @ Westin Hotel in Downtown Austin
3/20/2016 – Austin, TX @ Spider House (day party)
3/22/2016 – San Diego, CA @ The Hideout
3/24/2016 – Reno, NV @ Holland Project
3/25/2016 – Boise, ID @ Treefort Festival
4/2/2016 – Pullman, WA @ Washington State University
4/16/2016 – Spokane, WA @ Observatory
4/17/2016 – Boise, ID @ Neurolux
4/18/2016 – SLC, UT @ Kilby Court
4/20/2016 – Sioux Falls, SD @ Total Drag Records
4/21/2016 – Des Moines, IA @ Vaudeville Mews
4/22/2016 – Chicago, Ill @ Emporium
4/23/2016 – Detroit, MI @ UFO Factoy
4/24/2016 – Toronto, ON @ Smiling Buddha
4/26/2016 – Providence, RI @ Aurora
4/27/2016 – Boston, MA @ Middle East
4/28/2016 – New York, NY @ Cake Shop
4/30/2016 – Richmond, VA @ Hardywood Park Craft Brewery
5/1/2016 – Raleigh, NC @ Neptune’s
5/2/2016 – Ashevile, GA @ Tiger Moungain
5/4/2016 – Athens, GA @ Georgia Theater , Rooftop
5/5/2016 – New Orleans, LA @ Siberia
5/6/2016 – Houston, TX @ Walter’s
5/10/2016 – Los Angeles, CA @ TBA
5/11/2016 – San Francisco, CA @ Rickshaw Stop
5/12/2016 – Eureka, CA @ Shanty Tavern
5/13/2016 – Portland, OR @ The Know
05/27-30/2016 – George, WA @ Sasquatch Festival
Comprised of Leslie Sisson (vocals, guitar), best known as a member of The Wooden Birds, Matt Pond PA, Western Keys, Black Lipstick, Black Forest Fire, Tanworth-in-Arden, and Aero Wave, collaborations with The American Analog Set, Windsor for the Derby, Rhythm of Black Lines, RIDE‘s Mark Gardener, Dan Mangan, John Wesley Coleman, Snowden, and Broken Social Scene, as well as a solo artist; Rozie Castoe (bass); and Karen Skloss (drums), a member of Black Forest Fire, the Austin, TX-based dream pop trio Moving Panoramas can trace their origins to when Sisson had returned to home to Texas to be closer to the members of her previous full-time band The Wooden Birds and her family. Sisson took on a job teaching music at School of Rock where she met Castoe, who was in an ’80s show that Sisson directed. And while this was going on Sisson was subbing on bass in Black Forest Fire with Skloss, who was a longtime friend and former graduate film school student. When each individual member’s various projects broke up, the trio of Sisson, Castoe and Skloss decided to form a band together, based on their mutual love of shoegaze.
The trio has been praised by the likes of NPR, Tom Tom Magazine, Austin Chronicle and others, and as a result they’ve seen a rapidly growing local and national profile for their full-length album One, which possesses a sound that’s indebted to 4AD Records, 90s alt rock and classic shoegaze; in fact, the album’s first single and album title track “One” sounds as though it could have been recording and released in the 80s as the band pairs shimmering guitar chords, a tight groove, propulsive drumming and anthemic hooks with gorgeous harmonies with Sisson’s gorgeous crooning. To my ears the song reminds me quite a bit of The Sundays, The Go-Gos and even contemporary acts like Seapony. The album’s second single “Radar” is a shimmering and slow-burning ballad that employs the use of a gorgeous harmony, and sonically speaking the song sounds as though it draws from 120 Minutes MTV-era alt rock but with a subtly modern sheen. In some way, both songs evoke road trips — the sense of endless possibility and adventure; the regrets and mistakes you’re leaving behind; and the road and horizon rushing past your window . . .
Moving Panoramas will be on a rather extensive tour throughout the Spring which includes several SXSW sets and two NYC area dates. Check out tour dates below.
SXSW SHOWS:
March 13th @ Spider House (Main Patio Stage) – 2908 Fruth St at 9PM
March 13th @ The Volstead – 1500 E 6th St at 1AM
March 14th @ Boat Show on Lady Bird Lake – 208 Barton Springs Rd – 3:30PM
March 15th @ The Sidewinder (Inside Stage) – 715 Red River at 12AM
March 16th @ Hotel Vegas (Patio Stage) – 1500 E 6th St at 2PM
March 16th @ Scratch House (Backyard Stage) – 617 E 7th St at 11PM
March 17th @ El Sapo Cantina – 1900 Manor Rd at 3PM
March 18th @ Maggie Mae’s – 323 E 6th St at 12:45PM
March 18th @ Guacamole Showdown – COLLiDE on Rainey at 3PM
March 18th @ Hotel Vegas Annex – 1504 E 6th St at 6:30PM
March 19th @ Street Legal Guitars (Storefront Stage) – 2200 E 7th St at 3 PM
March 19th @ TOMS Austin – 1401 South Congress at 5PM
Tour Dates:
03/23 – Dallas, TX – Crown & Harp
03/24 – Tulsa, OK – The Vanguard
03/25 – Springfield, MO – Outlands
03/26 – Kansas City, MO – Replay Lounge
03/27 – Lincoln, NB – Duffy’s
03/28 – Rock Island, IL – Rozz-Tox
03/29 – Madison, WI – Mickey’s
03/30 – Chicago, IL – Tonic Room
03/31 – Milwaukee, WI – Cactus Club
04/01 – Fort Wayne, IN – The Tiger Room
04/02 – Grand Rapids, MI – Pyramid Scheme
04/04 – Toronto, ON – Silver Dollar
04/05 – Montreal, QC – L’Escogriffe
04/06 – Boston, MA – O’Brien’s Pub
04/07 – New York, NY – Pianos
04/08 – Brooklyn, NY – Union Hall
04/09 – Asbury Park, NJ – The Saint
04/10 – Richmond, VA – Strange Matter
04/11 – Asheville, NC – The Mothlight
04/13 – Athens, GA – Georgia Theatre Roof
04/14 – Atlanta, GA – 529
04/15 – Nashville, TN – TBA
04/21 – Austin, TX – The Scoot Inn – w/ Brass Bed
05/13 – Austin, TX – Barracuda
05/14 – Marfa, TX – Lost Horse
05/15 – Phoenix, AZ – Rhythm Room
05/16 – Los Angeles, CA – TBA
05/18 – San Francisco, CA – DNA Lounge
05/20 – Portland, OR – Kelly’s Olympian
05/21 – Seattle, WA – The Black Lodge
05/22 – Missoula, MO – TBA
05/24 – Denver, CO – Bluebird Theater *
05/25 – Kansas City, MO – Crossroads *
05/28 – Dallas, TX – Granada Theater *
05/29 – Houston, TX – White Oak Music Hall **
* w/ Nada Surf
** w/ Nada Surf, Flaming Lips, Roky Erickson, Lucero, Title Fight, Diiv
Back in January, I wrote a post on Reno, NV-born and Nashville, TN-based alt rock/blues/rock artist Jack Berry. Berry can trace the origins of his recording career to when he wrote and recorded his first album while studying in Los Angeles. Berry then worked and performed along the West Coast as one half a of a duo before before he decided that it was time to go solo. Relocating to Nashville, Berry spent several months couch-surfing and writing and recording material with the hopes that he could catch the attention of that city’s local press. Eventually, Berry began receiving praise from outlets such as Nashville Scene, The Deli Magazine, Blues Rock Review and others, which resulted in slots at Toronto‘s North by Northeast (NXNE), CMJ and SXSW‘s Red Gorilla Festival. Since then, Berry has played a number of venues between his hometown and NYC; however, 2016 may be his breakthrough year with the Spring 2016 release of his latest album, Mean Machine.
Now, as I mentioned a little earlier, back in January I wrote about Mean Machine‘s first single “The Bull,” a sultry and bluesy single that paired arena rock-friendly power chords, propulsive and carefully syncopated drumming, an anthemic hook and Berry’s seductive crooning and howling that sonically seems to draw from Soundgarden (think of “Mailman” “Spoonman,”and “Fell on Black Days” off Superunknown) as it does from old-school blues and contemporary rock. Mean Machine‘s latest single “Bad Dog” continues where “The Bull” left off: arena-friendly power chords, propulsive drumming paired with Berry’s sultry crooning; however, the song possesses a cocksure swagger and menace that pushes the song towards the old school blues territory — in particular think of Howlin’ Wolf, Muddy Waters and John Lee Hooker.
New Audio: Check Out A Digital 45 from Daptone Records’ First Old School/Lo-Fi Rock-Leaning Signing
Comprised of Mike Brandon (guitar and vocals), L.A. Solano (guitar), Alex Q. Amini (bass) and Kevin Harris (organ), New York-based quartet The Mystery Lights specialize in old timey garage rock and psych rock sound that’s […]
New Audio: Yeasayer’s Infectiously Upbeat New Single
Comprised of Chris Keating (vocals, songwriting and production), Ira Wolf Tuton (vocals, songwriting and production) and Anand Wilder, the New York-based experimental/psych pop/electro pop trio Yeasayer have been blogosphere darlings since playing at SXSW […]
Back in 2013, I wrote quite a bit about Anika Henderson, best known under the mononym that she writes, records and performs under, Anika . Initially, Henderson spent her professional career as a political journalist, who split time between Berlin and Bristol, UK. While in Bristol, Henderson was introduced to Geoff Barrow, who’s best known for his work with Portishead. And at the time, Barrow was looking for a vocalist, who would work with his band Beak> for what would be a side project. As the story goes, Henderson and Barrow bonded over a mutual love of punk, dub and 60s girl groups — and about a week later, Barrow, Henderson and the members of Beak> went into the studio to record what would eventually turn out to be Henderson’s 2010 self-titled full-length debut, completely live with Henderson and the band in the same room without overdubs — and in 12 days.
2013 saw the release of Henderson’s self-titled EP, a collection of covers and remixes that included Henderson’s murky, Portishead and The Velvet Underground and Nico-inspired cover of Chromatics’ “In the City.” And what the self-titled EP revealed is that Henderson, Barrow and company have a way of covering a song with a unique take that makes a song their own — and in the case of Chromatics’ “In The City,” their cover feels as though it was always their song. That’s a rare thing, indeed. Last week, as February was coming to a close, Invada Records, released an icy, lo-tech analog synth electro pop and dub-leaning cover of Nena’s “99 Red Balloons” by the mysterious Invada All Stars featuring Anika on vocals as part of that weekend’s Stop Trident National anti-nukes demonstration in London, a demonstration protesting the renewal of Britain’s nuclear weapons system. Proceeds from the digital single will go to the Campaign for Nuclear Disarmament (CND).
Also in that post, I mentioned that Henderson is part of a new project Exploded View — and as it turns out, Exploded View is something of a side project from her solo work with the members of Beak>. Although the project’s full-length debut is slated for release later on this year through Sacred Bones Records, they will be performing several sets at this year’s SXSW. But before that, the project released their single “No More Parties in the Attic,” that draws from post-krautrock, krautrock, dub and industrial music as the band pairs electronic bloops and bleeps, industrial clang and clatter, buzzing and angular synth and guitar chords with Anika’s signature icy delivery to craft a sound that’s tense and icy — while evoking the contemporary zeitgeist of trying to navigate in a world that’s gone absolutely mad all the time.
The Internet can be a wonderful and thrilling place as it can inspire the sort of serendipitous discovery that’s necessary if you’re an audiophile or a music blogger; however, the Internet can also be a powerful reminder of the relentless passing of time — and that no matter what, you’re not getting any younger. Now, as a child of the 80s, Nena‘s “99 Red Balloons” or if you preferred the original German version, “99 Luftballoons” was a mega-hit back in 1984 as it captured and evoked everyone’s fear of nuclear annihilation.
Back in 2013, I wrote quite a bit about Anika Henderson, best known under the mononym that she writes, records and performs under, Anika . Initially, Henderson spent her professional career as a political journalist, who split time between Berlin and Bristol, UK when she was introduced to Geoff Barrow, who’s best known for his work with Portishead. At the time Barrow was looking for a vocalist, who would work with his band Beak> for what would be a side project. And as the story goes, Henderson and Barrow bonded over a mutual love of punk, dub and 60s girl groups. About a week later, Barrow, Henderson and the members of Beak> went into the studio to record what would eventually turn out to be Henderson’s 2010 self-titled full-length debut, completely live with Henderson and the band in the same room without overdubs — and in 12 days.
2013 saw the release of Henderson’s self-titled EP, a collection of covers and remixes that included Henderson’s murky, Portishead and The Velvet Underground and Nico-inspired cover of Chromatics’ “In the City.” And what the self-titled EP revealed is that Henderson, Barrow and company have a way of covering a song with a unique take that makes a song their own — and in the case of Chromatics’ “In The City,” their cover feels as though it was always their song. That’s a rare thing, indeed.
Recently Invada Records, run by Barrow released an icy, lo-tech analog synth electro pop and dub-leaning cover of Nena’s “99 Red Balloons” by the mysterious Invada All Stars featuring Anika on vocals as part of this weekend’s Stop Trident National anti-nukes demonstration in London, a demonstration protesting the renewal of Britain’s nuclear weapons system. Proceeds from the digital single will go to the Campaign for Nuclear Disarmament (CND).
Additionally Henderson is part of a new project Exploded View which will release their debut single in March and play SXSW. The project’s debut effort is slated for release later this year through Sacred Bones Records.
Comprised of founding member Hugh Matthews (guitar and vocals), Drew Schapper (drums and Johnny Moretti (guitar) Melbourne, Australia-based shoegaze trio Pretty City can trace their origins to when Matthew sent demos to Schapper and Moretti, who all knew each other from Melbourne’s music scene. And as the story goes, after two rehearsals the newly formed trio began playing shows around Australia and receiving attention for a sound that’s indebted to The Jesus and Mary Chain, My Bloody Valentine and The Smashing Pumpkins; in fact, their Heights EP was released in 2013 to critical praise from several national outlets including The Music.
Building upon the success of Heights, the band recently finished a tour of Australia’s East Coast to support the release of their critically applauded single “Mary Go Round” and to build buzz for the forthcoming release of their full-length debut effort, Colorize. The album’s latest single “Running Around” is an enormous, arena-friendly song with equally enormous and anthemic hooks paired with dense, fuzzy, feedback slathered power chords, thundering drumming and earnestly sung vocals in a song that channels classic Brit Pop and shoegaze — but with a modern sheen and earnestness that ensures that their sound and aesthetic isn’t derivative.
The Australian trio plans to make their Stateside debut during next month’s SXSW in Austin, and I suspect that we’ll be hearing quite a bit more about them over the next few months.
Currently comprised of founding members Clint Sargent (guitar, vocals) and Luke Strahota (drums), along with Colin Sheridan (bass) and Kaitlyn Ni Donovan (vocals, guitar), the Portland OR-based shoegaze quartet The High Violets can trace their origins to the breakup of The Bella Low, which featured Sargent, Strahota and another founding member Violet Bianca Grace (who left after a few early gigs). After a lineup change that resulted in their current lineup, the quartet released the their EP Dream Away, their full-length debut 44 Downin and their critically applauded third effort To Where You Are through Irish label Reverb Records. And as a result The High Violets saw a rapidly growing profile across North America as they played sets at NXNE in Toronto and SXSW in Austin, TX and then released a remix album, Satellite Remixes, which featured remixes from the renowned Ulrich Schnauss, Carmen Rizzo and others.
Although the band is currently on hiatus from touring and live shows, they have remained active in the studio. The band’s fifth full-length effort, Heroes and Halos is slated for an April 1, 2016 release through Saint Marie Records and the album’s first single “Bells” has the band pairing layers of shimmering guitars and a propulsive and steady rhythm with Ni Donovan’s gorgeously ethereal and wistful vocals in a way that nods towards The Sundays “Here’s Where The Story Ends” but with a cosmic glow that belies a subtly modern production.
Born in Reno, NV and currently based in Nashville, TN, alt rock/blues rock artist Jack Berry can trace the origins of his recording career to when he wrote and recorded his first album while studying in Los Angeles. Berry then worked and performed along the West Coast as one half a of a duo before before he decided that it was time to go solo. Relocating to Nashville, Berry spent several months couch-surfing and writing and recording material with the hopes that he could catch the attention of that city’s local press.
Eventually, Berry began receiving praise from outlets both locally and nationally from the likes of Nashville Scene, The Deli Magazine, Blues Rock Review and others, which resulted in slots at Toronto‘s North by Northeast (NXNE), CMJ and SXSW‘s Red Gorilla Festival. Since then, Berry has played a number of venues between his home base and NYC; however, 2016 may be his breakthrough year with the Spring 2016 release of his latest album, Mean Machine.
“The Bull,” Mean Machine‘s first single is a sultry and bluesy single that pairs arena rock friendly power chords, propulsive and carefully syncopated drumming, an anthemic hook and Berry’s seductive crooning and howling that sonically seems to draw from Soundgarden (think of “Mailman” “Spoonman,”and “Fell on Black Days” off Superunknown) as it does from old-school blues and contemporary rock.
Typically, the majority of most Americans — hell, most Westerners, really — are largely unfamiliar with music scenes and artists outside of the usual bastions of popular music — i.e., the US. the UK, Australia, France, Germany, Sweden, Iceland and maybe a few outside of that sphere, such as Nigeria, South Africa, Mali and a few others. Now, if you’ve been frequenting JOVM over the past couple of years, there has been a increasing focus on presenting and covering artists from diverse backgrounds from all over the globe. And interestingly enough, one of those acts has been the Istanbul, Turkey-based indie rock/dream pop quartet The Away Days. Inspired by The Cure, Tame Impala and others, the quartet have developed a reputation in their homeland as being among the forefront of a Western-inspired indie rock scene. Their How Did It Start? EP was released to critical praise internationally from the likes of Seattle‘s renowned indie radio station KEXP, The Guardian, SPIN Magazine, Noisey, and the blogosphere. And with a growing international profile, the quartet went on a tour of the UK and made an appearance at SXSW.
It’s been close to 18 months since I’ve last written about them but in that time, they’ve been working on the material, which would eventually comprise their long-awaited and forthcoming full-length debut, slated for release sometime next year. The yet unnamed debut’s first single “Less Is More” is a lush and atmospheric song that features plaintive vocals paired with four-on-the-floor drumming, shimmering guitar chords, brief bursts of cascading synths, a sinuous bass line and soaring, anthemic hooks that sounds indebted to 80s New Wave and post-punk.
2016 looks to be a big year for the Turkish quartet as the band has been confirmed to make a return appearance at SXSW in March and will be announcing additional tour dates to support their debut. Hopefully, there will be a New York tour date or two!
New Video: The Giraffes’ Behind-the-Scenes Video for “Blood Will Run”
Although they’ve gone through a number of lineup changes over the years, the NYC-based quartet The Giraffes have a long-held reputation for a brutally intense live show since their formation back in 1996. And as […]
Live Footage: The Suffers on NPR’s Tiny Desk Concerts
Founded in 2011 by Adam Castaneda (bass) and featuring Pat Kelly (vocals, keyboard), Jon Durbin (trumpet), Michael Razo (trombone), Kevin Bernier (guitar), Jose “Chapy” Luna (percussion), Nick Zamora (vocals, drums), Cory Wilson (saxophone), Alex Zamora (vocals, […]