Tag: Talking Heads

Video by William Ruben Helms

New Video: Sego Returns with an Ambitious and Anthemic, Guitar Pop Single Paired with Slick and Mischievous Visuals

If you’ve been frequenting this site over the past couple of years of its almost eight year history, you’ve likely come across a couple of posts featuring the Mapleton, UT-born, Los Angeles, CA-based duo Sego.  And as you may recall the duo, which is comprised of Spencer Peterson and Thomas Carroll, relocated to Los Angeles to seriously pursue careers in music, where they quickly developed a reputation for a sound that at the time, employed contemporary production techniques while maintaining an eccentric and human touch; in fact, a single like “Townland,” found the duo adopting a sound that was reminiscent of  Talking Heads and Superhuman Happiness, while it’s follow up, “Obscene Dream” off their full-length debut, Once Was Lost Now Just Hanging Out was reminiscent of Sound of Silver-era LCD Soundystem. 

Now, it’s been some time since I’ve personally written about them but interestingly enough, the duo’s latest single “Sucker/Saint” finds the duo adopting a jangling, hook-driven, 90s grunge rock-inspired sound, reminiscent of Pixies, The Posies and others — and much like the sources that they song seems to draw from, Sego’s latest manages to balance an easy going, garage rock jam feel with some of ambitious songwriting that finds the duo nodding at psych rock, krautrock and guitar pop. 

Directed by Jared Clark Gay, the slick accompanying video for “Sucker/Saint” finds the duo in a   studio with their backing band, performing the song but it employs the use of multi-split screens, in which at points you’ll see the song’s lyrics, while quickly switching back and forth between color, black and white and wild psychedelia within a turn of a phrase. 

Video by William Ruben Helms

New Video: Miami Horrors’ Joshua Moriarty Releases Surreal and Dream-like Visuals for “R.T.F.L.”

If you’ve been frequenting this site over the years, you’ve come across a few posts featuring the Melbourne, Australia-based, internationally renowned, indie electro pop act Miami Horror, and as you may recall, the act, which initially formed as a quartet comprised of founding member Benjamin Plant (production), along with Joshua Moriarty (vocals, guitar), Aaron Shanahan (guitar, vocals and production) and Daniel Whitchurch (bass, keys, guitar) released two critically praised albums — their 2010 full-length debut Illumination, which was praised for a sound that drew from Cut Copy, New Order, Prince, Michael Jackson, E.L.O., and their 2013 sophomore effort All Possible Futures, a breezy and summery club banger, inspired by the time the quartet spent in Southern California.

After touring to support All Possible Futures, the band went on an informal hiatus with the band’s Benjamin Plant becoming an in-demand songwriting, co-writing tracks for Client Liaison and Roland Tings, among others. And somehow, the exceptionally busy Plant managed to also find time to write new Miami Horror material — material that would eventually comprise their conceptional EP, The Shapes, an effort that found the newly constituted trio’s sound drawing from Fear of Music and Remain in Light-era Talking Heads, Caribbean funk and African percussion while retaining elements of the sound that won them international attention, as you’d hear on the hook-heavy single “Lelia.”

Interestingly, although he’s best known as the vocal behind Miami Horror, Joshua Moriarty has stepped out from behind the band with the release of his solo debut album, War Is Over and while the album’s second single “All I Want Is You” leans much more towards the his work with Miami Horror with nods to Giorgio Moroder-era disco and Tame Impala-like psych pop, the album’s first single “R.T.F.L.” is a decided change in sonic direction with the song leaning towards contemporary electro pop and electro soul — and while there is a plaintive and carnal sensuality within the song that feels expected, the song also manages to possess a thoughtful earnest, based on actual, lived-in, personal experience.

Directed by Thomas Russell and filmed by David McKinner, and starring Joshua Moriarty and Morgan Rayner, the recently released video is  a surreal and feverish dream that undulates with a carnal vulnerability and need. 

Single Review by William Ruben Helms

New Audio: Mute Records to Re-issue Series of Albums by Influential Cult Favorited Genre Bending British Post-Punk Band

Featuring a core lineup of Jeremy Kerr, Martin Moscrop and Donald Johnson with a rotating cast of members to full out the band, the Manchester-based post-punk band A Certain Ratio formed in 1978 — and naturally, while embracing the ethics and culture of the post-punk era, they had developed a reputation for being uncompromisingly difficult to pigeonhole, as their sound incorporated elements of funk, jazz, punk and rock while employing electronics, tape loops and early technology.

With the release of the critically applauded and commercially successful single “Shack Up,” on both sides of the Atlantic, the Manchester-based band became hailed as pioneers of a sound dubbed “punk funk,” and as a result that single and the rest of the work they’ve released together has managed to influence an incredible and impressive array of acts including Talking Heads, LCD Soundsystem, Happy Mondays, Franz Ferdinand, ESG, Factory Floor and Andrew Weatherall among others — all of which has led to an increased interest in the British post-punk act and their catalog; in fact, the members of A Certain Ratio and renowned indie label Mute Records announced the launch of a long-awaited series of re-issues, featuring a selection of the influential Manchester band’s albums and will continue into 2018 with a compilation, a rarities box set and further re-issues.

Starting on November 24, 2017 the Mute Records-A Certain Ratio re-issue series will begin with the re-issue of the Manchester band’s debut, The Graveyard and The Ballroom, which was originally released through Factory Records in December 1979. The album will be available on limited edition vinyl with colored PVC sleeve, CD (and echoing its original release 38 years ago), cassette. Mute will also be re-issuing 1981’s To Each and 1986’s Force on colored vinyl and CD. While being superficially reminiscent of Entertainment! and Solid Gold-era Gang of Four, thanks in part to the angular guitar attack, The Graveyard and The Ballroom’s re-issue single “Do the Du,” possesses a disco-like bass line paired with vocalist, who sounds anxious and distracted in an all too post-modern fashion — and with a deeper, more attentive ear, you’l hear echoes of Talking Heads 77 and Fear of Music-era Talking Heads (think of “Psycho Killer,” and “I Zimbra”) with a hint of mod-era rock. 

Single Review by William Ruben Helms

Now, if you’ve been frequenting this site over the course of its seven-year history, you’ve likely come across a few posts featuring the internationally renowned Melbourne, Australia-based indie electro pop act Miami Horror. Initially formed as a quartet, comprised of founding member Benjamin Plant (production), along with Joshua Moriarty (vocals, guitar), Aaron Shanahan (guitar, vocals and production) and Daniel Whitchurch (bass, keys, guitar), the Aussie pop act exploded into the international scene with the release of 2010’s Illumination, an effort that was praised for a sound that drew from fellow countrymen Cut Copy, as well as New Order, Prince, Michael Jackson, E.L.O. and others. The members of the quartet then spent the next three years shuttling back and forth between their hometown, Los Angeles and Paris writing and recording the material that would comprise 2013’s critically praised sophomore effort All Possible Futures, a breezy and summery, dance floor-friendly effort that was deeply inspired by the time the band spent writing and recording in Southern California — and while continuing to draw from 80s synth pop, the material hinted at 60s surf pop.

After touring to support All Possible Futures, the band had been on an informal hiatus as the band’s Benjamin Plant spent time as a go-to songwriter, co-writing tracks for fellow Aussie pop acts Client Liaison and Roland Tings. Somehow, the exceptionally busy Plant found time to write new material — material that would eventually comprise their conceptual EP The Shapes, which was released earlier this year.  Before the recording sessions for The Shapes, the band went through a lineup change as they went from a quartet to a trio; but perhaps more important, The Shapes found the newly constituted trio expanding upon their sound with the EP’s material drawing from  Talking Heads, Caribbean funk and African percussion while retaining elements of the sound that won them international attention; in fact, the EP’s dance floor friendly first single “Lelia” nodded at Tom Tom Club, Remain in Light-era Talking Heads, but with a soaring and rousing hook, shimmering synths and a ridiculously funky bass line, which Moriarty’s plaintive vocals float over.

Although he’s best known as the voice behind Miami Horror, the act’s Joshua Moriarty has stepped out from behind the band with the release of his solo debut album War Is Over. And interestingly enough, War Is Over‘s first single “R.T.F.L.” was a decided departure from his primary gig’s sound as the single leaned heavily towards contemporary electro pop and electro soul. The album’s second and latest single “All I Want Is You” manages to lean much more towards his work with Miami Horror, with the slickly produced song drawing from Giorgio Moroder-era disco and Tame Impala-like psych pop, complete with rousingly anthemic hooks and a sinuous dance floor — but the main difference to me is that Moriarty’s solo work possesses a plaintive and carnal sensuality.

 

Video by William Ruben Helms

New Video: The Trippy 80s-Inspired Visuals for Park Hotel’s “Going West”

Centered on its founding and primary songwriting duo Tim Abbey and Rebeca Macros-Roca, the London, UK-based post-electronic dance act Park Hotel have developed a reputation for a sound that meshes neo-disco and dance punk with off-kilter, downtown art scene-based songwriting — and unsurprisingly, the duo’s sound has been favorably described as a joyfully communal face-off between LCD Soundsystem, Earth, Wind and Wire with flashes of Talking Heads and a sprinkle of Steely Dan. Along with that, they’ve developed a reputation for a live show in which the project expands to a sextet featuring three-way vocal harmonies, rhythm and lead guitar, drums and lots of cowbell.

Produced by Eliot James, mixed by Nathan Boddy and mastered at New York’s Sterling Sound, the act’s debut single “Gone as a Friend” was recorded after playing a number of critically applauded, buzz-worthy shows across London before officially releasing it earlier this year. And building upon their growing buzz, the act’s latest single “Going West,” is an off-kilter, dance floor-friendly track that sounds inspired by Tom Tom Club‘s “Genius of Love,” Talking Heads’ “Making Flippy Floppy,” Miami Horror‘s “Leila” and The Rapture‘s “House of Jealous Lovers” as the song possesses an infectious, ear-worm worthy, hook paired with boy-girl harmonizing, shimmering synths, a Nile Rodgers-like guitar line and an even funkier bass line, but they manage to do so in a fashion that feels like a fresh and mischievous take on a familiar, crowd pleasing fashion.

Collaborating with mononymic artist Henry, the recently released video for “Going West” manages to draw from two different eras  — 60s psych pop and early 80s pop and rock videos, as we follow the members of Park Hotel on a rooftop with neon bright backdrops featuring Basquiat-like art and expansive and trippy blue skies. 

Video by William Ruben Helms

New Video: Introducing the Anthemic and Jangling Pop Guitar Pop of Wesley Fuller

Wesley Fuller is a Perth, Australia-born, Melbourne, Australia-based singer/songwriter multi-instrumentalist and producer, who quickly received national attention with the release of his debut EP, Melvista for an anthemic jangling guitar pop sound that draws from 60s bubblegum pop, 70s glam rock. Fuller’s much anticipated full-length debut Inner City Dream is slated for a September 22, 2017 release through 1965 Records, and the material will reportedly further cement his growing reputation for crafting infectious and anthemic pop that sounds mischievously anachronistic, all while subtly expanding upon his sound and songwriting approach, as his influences expanded; in fact, as a result of his regularly occurring DJ sets in and around Melbourne, Fuller cites late 70s and early 80s Talking Heads as a growing influence on him. As Fuller explains “Melvista was really my first solo expedition and I was learning as I went along. I think by the time I came to record the album I had a better technical knowledge of what I was doing. There’s probably a wider span of influences on the album. I wanted to showcase every aspect of my sound.” 

Along with the sound, Fuller’s material thematically has reportedly progressed as well with the material on Inner City Dream revealing a growing maturity with the material focusing on the worldview of a young man trying to come to terms with his place, both physically and symbolically — but at times with a wry, observational humor; in fact, as you’ll hear on Inner City Dream’s later single “#1 Song,” the song smartly focuses and then mischievously takes fire on the upper echelon of modern pop. As Fuller says in press notes “I think everyone in the scene knows to a certain extent that it’s all bullshit. So why take it seriously? You’ve got some artists with 20 tracks in the Top 30. The gap between the big stars and the indie bands are worlds apart. There’s really no money in music at all unless you’re at the very top. To get there, you have to compromise your dignity and be prepared to release some pretty pedestrian shit.” But instead of calling those who have managed massive success a bunch of soulless sellouts, the song sly says “well, in that situation what would you do? Does anyone dream of criss-crossing the country in an old van with two, three, four or more broke, desperate and sweaty musicians, and possibly getting your whole life stolen while on the road? Who doesn’t dream of having the biggest song in their country — or in the world? And who doesn’t dream of playing in front of massive crowds at Glastonbury, Madison Square Garden, Wembley Stadium, The Rose Bowl, etc.? What would you do in the face of an opportunity of a lifetime? Talk about artistic integrity? Bullshit! You’d probably sign your name on the dotted line, sell your soul and your mother if you have to.  

“#1 Song” ironically enough manages to sound as though it was a #1 song released sometime between 1969 and 1974 — with a subtly modern production sheen; but at its core is some incredibly slick and carefully crafted pop-leaning songwriting, complete with an incredibly infectious, danceable, and anthemic hook reminiscent of T. Rex, Bay City Rollers and a handful of others.

The recently released video features Fuller and his backing band appearing as though they fell out of time warp from 1973 or so, playing “#1 Song” on a Top of the Pops-like TV show — and the way the video is shot, to even how the musicians appear to be playing bear an uncanny resemblance to how shows of that period were shot.   

Single Review by William Ruben Helms

Centered on its founding and primary songwriting duo Tim Abbey and Rebeca Macros-Roca, the London, UK-based post-electronic dance act Park Hotel have developed a reputation for a sound that meshes neo-disco and dance punk with off-kilter, downtown art scene-based songwriting — and unsurprisingly, the duo’s sound has been favorably described as a joyfully communal face-off between LCD Soundsystem, Earth, Wind and Wire with flashes of Talking Heads and a sprinkle of Steely Dan. Along with that, they’ve developed a reputation for a live show in which the project expands to a sextet featuring three-way vocal harmonies, rhythm and lead guitar, drums and lots of cowbell.

Produced by Eliot James, mixed by Nathan Boddy and mastered at New York’s Sterling Sound, the act’s debut single “Gone as a Friend” was recorded last year and after playing a number of critically applauded, buzz-worthy shows across London before officially releasing their debut single earlier this year. Building upon their growing profile, the act’s latest single “Going West,” is an off-kilter, dance floor-friendly track that sounds inspired by Tom Tom Club‘s “Genius of Love,” Talking Heads’ “Making Flippy Floppy,” Miami Horror‘s “Leila” and The Rapture‘s “House of Jealous Lovers” as the song possesses an infectious, ear-worm worthy, hook paired with boy-girl harmonizing, shimmering synths, a Nile Rodgers-like guitar line and an even funkier bass line, but they manage to do so in a fashion that feels like a fresh and mischievous take on a familiar, crowd pleasing fashion.

 

 

Single Review by William Ruben Helms

Founded by Captured Tracks’ label head and founder Mike Sniper, Omnian Music Group is a label group, whose goal is to further develop and strengthen its pre-existing imprints (Body Double Records, Fantasy Memory Records and Squirrel Thing Recordings) and partnerships (with New Zealand’s Flying Nun Records) of Captured Tracks, while seeking out innovative labels, who would benefit from the larger Omnian Music Group structure to partner with, and creating new and distinct labels. Since its formation, Omnian has also partnered with Australia’s Dot Dash Records, New York’s Sing Sing Records, and created three new labels — Sinderlyn, 2MR Records, a dance music label founded by Italians Do It Better’s Mike Simonetta and Captured Tracks’ Sniper, and Manufactured Recordings, a label that specializes in re-issues across a wide variety of genres.

Now, if you had been frequenting this site earlier this month, you might recall that Manufactured Recordings developed a well-regarded Shoegaze Archive Series that focused on under-appreciated and/or overlooked shoegaze and noise rock bands — and as part of that of that series, they would be releasing re-issues of three largely overlooked early 90s shoegazers — Alison’s Halo’s 1998 release Eyedazzler, a compilation of singles that the band wrote between 1992 and 1996; KG’s Come Closer, We’re Cool, a compilation featuring early tracks, unreleased material and material from a shelved Slumberland Records effort; and lastly, Bethany Curve’s mid 1990s debut, Mee-Eaux.

Adding to their growing catalog of re-issues, Manufactured Recordings will be releasing a compilation focusing on the late 70s, New York-based New Wave/post punk act Come On featuring re-issues of 1978’s “Don’t Walk On The Kitchen Floor”/”A Kitchen In The Clouds,” 1980’s “Housewives Play Tennis”/”Howard After 6,” unreleased studio recordings and live material recorded in the late 70s.  The band, which was comprised of a rather ragtag group of artists, musicians and scenesters including George Elliott (guitar), Ralf Mann (bass), illustrator Page Wood (drums), Elena Glasberg (guitar) and Jamie Kaufman (vocals) had a unique and egalitarian stage look featuring white button down shirts and black shirts, and played what they had dubbed “nervous rock,” full of angular and jagged guitar and bass chords, rapid-fire, four on the floor drumming, dark and wryly ironic — and unsurprisingly as you’ll hear on “Don’t Walk On The Kitchen Floor,” Come On’s sound manages to closely resemble Talking Heads ’77 and More Songs About Buildings and Food-era Talking Heads.

In light of both Talking Heads’ massive influence and popularity, Come On’s sound may not seem all that revolutionary, nor does it help that the band was only together for an incredibly short period of time; but what the band’s output does manage to do is to create a fuller, more interesting picture of what was going on in the Downtown scene o the late 70s while reminding the listener that although bands and artists like Talking Heads, Ramones, New York Dolls, Television, Patti Smith, Blondie and a lengthy list of others who rose to be iconic, there were countless near misses.

 

 

 

 

Single Review by William Ruben Helms

Will Joseph Cook is an up-and-coming London, UK-based indie pop/indie electro pop artist and producer who can trace the origins of his career to when he began crafting earnest and off-kilter pop tunes inspired by Talking Heads, MGMT, LCD Soundsystem and Vampire Weekend among others.  And at a relatively young age, the British producer and electronic music artist quickly received national and international attention with the release of his debut EP,  You Jump I Run through Duly Noted Records; in fact with EP single “Message,” which landed at number 1 on Hype Machine‘s charts and number 2 on Global Spotify Viral Chart. 

Proof Enough, Cook’s much anticipated follow-up Proof Enough further cemented Cook’s growing reputation for crafting material with enormous, rousing and crowd pleasing hooks, while going through a decided electronic approach, an approach that continues on his Jack Steadman, Hugh Worskett and self-produced full-length debut, Sweet Dreamer which is slated for an April 14, 2017 release through Atlantic UK.

“Plastic,” the album’s latest, infectious single features a boldly confident and brash production consisting of twinkling arpeggio keys, enormous, stomping, tweeter and woofer rocking beats paired with Cook’s achingly soulful and easygoing vocals and a rousing, anthemic hook; but underneath, the song possesses an anxious uncertainty — the sort that comes about when a potential love may be unrequited or when a current love may be unceremoniously ending. And from the release of his latest single, Cook reveals himself to be one of the more interesting and unique electronic artists in an incredibly crowded field.

 

 

 

Video by William Ruben Helms

New Video: Miles Francis Releases Infectious Darkly, Ironic Experimental Pop Single

Miles Francis’ solo debut single “You’re a Star” employs mischievously complex and propulsive polyrhythm, bursts of jerky and motwinkling 8 bit Nintendo-like synths, a breezy and infectious hook wrapped around hushed and whispered vocals. And while clearly drawing from Afropop and Afrobeat, the song also seems to draw from Fear of Music and Remain in Light-era Talking Heads, as well as contemporaries like Rubblebucket and others, “You’re a Star” sound like a bit of departure from Arntzen’s previously recorded work as the material possesses a darker and more ironic tone, as the song’s narrator is desperate for the greater validation that he may never actually see. In some way, it pokes fun at the musician’s life, darkly suggesting that maybe part of the endeavor is pointless and ridiculous.

Directed by Charles Billot, and featuring the Star Dancers, comprised of Magdalen Segale, Colin Fuller, Ashton Muniz, Matilda Nakamoto and Taner Van Kuren, as well as the Miles Francis backing band, comprised of Katherine Lieberson and Lizzie Lieberson, the recently released music video has the pop artist in a white, linen suit as he goes through a series of surreal, dream-like situations — including sitting in sparsely furnished apartment and on a beach with brightly costumed dancers moving to the song’s jerky instrumentation. And it ends with Miles Francis in the ocean, being overtaken by the waves. While being gorgeous, it’s surreal and is rife with several levels of symbolism left for the viewer to interpret in any way they felt fit.

Video by William Ruben Helms

New Video: The Frenetic Visuals for Alexander F’s “Call Me Pretty”

Best known as a co-founding member and co-primary songwriter of renowned indie dance pop/indie funk act and JOVM mainstay Rubblebucket, Alex Toth’s side project, Alexander F, which features Steve Marion, Dandy McDowell. Christian Peslak and Noah Rubin as part of the project’s touring band, along with contributions from Kimbra is a decided change in sonic direction for him. Reeling emotionally after the suicides of a couple of musician friends and struggling with living as recovering alcoholic, Toth went to an eleven day, Buddhist, silent meditation retreat in Quebec. And as the story goes, during the retreat, a handful of Buddhist-themed experimental punk songs exploded in Toth’s head — and as a jazz-trained musician, it was a rather unexpected revelation. Now, if you had been frequenting this site towards the end of last year, you may recall that I wrote about “Swimmers,” off Alexander F’s self-titled debut, and from that single Toth and company revealed that his newest project would specialize in infectiously anthemic, frenetic and stompingly boisterous, pop-leaning take on punk rock — while in the case of that particular single, a mischievous take on the concept of prenatal memory in which the song’s narrator imagines how it must have been to be sperm swimming towards an egg to fertilize it.

The self-titled album’s third and latest single “Call Me Pretty” is a decidedly off-kilter yet rousingly anthemic track featuring guest vocals from Kimbra that sonically seems to owe a debt to New Wave and punk rock, with a neurotic and frenetic energy at its core — and in some way, to my ears at least, the song seems like what I’d imagine if Talking Heads randomly decided to cover A Flock of Seagulls. (In the alternative facts universe, indeed, right?) Lyrically, the song evokes the cripplingly neurotic self-doubt, shame and confusion of the song’s narrator, who despite his every effort, has begun to realize that he can’t run from himself — or his own foolish mistakes. And in someway his only hope is that his friends and lovers will ignore him and his perceived ugliness and unworthiness by “shutting their eyes and calling him pretty.”

The recently released music video for the song employs a relatively simple concept as it captures Toth and his backing band playing with a frenetic, unhinged energy — while nodding at the fact that being defiantly, proudly weird and loving music and art, and participating in music and art are the best way to resist.

Single Review by William Ruben Helms

Best known as a co-founding member and co-primary songwriter of renowned indie dance pop/indie funk act and JOVM mainstay Rubblebucket, Alex Toth’s side project, Alexander F, which features Steve Marion, Dandy McDowell. Christian Peslak and Noah Rubin as part of the project’s touring band, along with contributions from Kimbra is a decided change in sonic direction for him. Reeling emotionally after the suicides of a couple of musician friends and struggling with living as recovering alcoholic, Toth went to an eleven day, Buddhist, silent meditation retreat in Quebec. And as the story goes, during the retreat, a handful of Buddhist-themed experimental punk songs exploded in Toth’s head — and as a jazz-trained musician, it was a rather unexpected revelation. Now, if you had been frequenting this site towards the end of last year, you may recall that I wrote about “Swimmers,” off Alexander F’s self-titled debut, and from that single Toth and company revealed that his newest project would specialize in  infectiously anthemic, frenetic and stompingly boisterous, pop-leaning take on punk rock — while in the case of that particular single, a mischievous take on the concept of prenatal memory in which the song’s narrator imagines how it must have been to be sperm swimming towards an egg to fertilize it.

The self-titled album’s third and latest single “Call Me Pretty” is a decidedly off-kilter yet rousingly anthemic track featuring guest vocals from Kimbra that sonically seems to owe a debt to New Wave and punk rock, with a neurotic and frenetic energy at its core — and in some way, to my ears at least, the song seems like what I’d imagine if Talking Heads randomly decided to cover A Flock of Seagulls. (In the alternative facts universe, indeed, right?) Lyrically, the song evokes the cripplingly neurotic self-doubt, shame and confusion of the song’s narrator, who despite his every effort, has begun to realize that he can’t run from himself — or his own foolish mistakes. And in someway his only hope is that his friends and lovers will ignore him and his perceived ugliness and unworthiness by “shutting their eyes and calling him pretty.”