Tag: Tame Impala

New Video: Budapest’s Ivan and the Parazol Releases an Arena Rock Friendly Single Paired with Slick Visuals

Last November, I wrote about the Budapest, Hungary-based indie rock quartet Ivan and the Parazol, and as you may recall the act which is currently comprised of Vitáris Iván (vocals), Balla Máté (guitar), Beke István (keys) and Simon Bálint (drums) can trace their origins to when its founding members along with Tarnai János (bass) met at a private music school back in 2010. And since their formation, the Hungarian rock act has released three full-length albums, opened for Deep Purple, played SXSW twice, played Reeperbahn Festival, Eurosonic Nooderslag, and the Sziget Festival main stage as well as hundreds of shows internationally across Europe. Adding to a growing national and international profile the act was nominated for an MTV Hungary Brand New Award in 2010, won an MTV Europe Music Award for Best Hungarian act in 2014. Also their single “Together” was named the Sziget Festival anthem.  

Last year was an eventual year for the Hungarian rock band: they celebrated their eighth year together, and in that time, the band cemented a reputation for being at the forefront of their homeland’s growing, contemporary rock and indie rock scenes. Building upon their growing profile, the Budapest-based rock act’s Wil Anspach-produced fourth, full-length album Exotic Post Traumatic finds the band ambitiously expanding upon the sound and songwriting approach that has won them attention in the homeland — with the intention of winning ears and audiences across the rest of the European Union and the States. Exotic Post Traumatic’s slow-burning, first single “Nr. 1003” was a slick and seamless mix of glam rock, psych rock and arena rock that seemed to draw from The Rolling Stones, Pink Floyd and Tame Impala — and while seemingly sunny, the song has a subtle darkness to it; after all the song focuses on the band moving froward with their lifelong dream without one of their closest friends. And while there’s some guilt about moving forward, there’s also the hope that their friend will be able to join them on their incredible journey. 

The album’s latest single “Changin'” is a straightforward arena rock track features an enormous power chord-led hook, a thundering backbeat and Vitáris Iván’s sultry  baritone. And while to my ears, the track sounds like early INXS, the song is centered by an overwhelming positivity — that the changes the song’s narrator feels he’s going through is part of a necessary part of his personal evolution. As the band explains in press notes that “‘Changin’ could be the title of the whole album, cause the last two years have embodied this concept. The band, our music, and style of song-writing developed and evolved so much. This song was inspired by a new relationship, but of course the desired love is hard to reach, especially when the different factors of life and personal experiences can make it harder to materialise. Our band and our bond is a relationship too that goes through evolutions and difficulties. So, you have to trust your instinct, and the change will make you better.” 

The recently released video follows a beautiful and stylish woman as she goes to an artist loft — at first she vamps in an elevator before heading to an art gallery. Next door, the members of Ivan and the Parazol are jamming out. Much like the video for “Nr. 1003,” the slickly shot video creates the impression that the band are part of their country’s — and in turn, their hometown’s — effortlessly cool. 

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Tessa Rose Jackson is an Amsterdam, The Netherlands-based singer/songwriter, multi-instrumentalist, producer and multi-disciplinary artist, best known among indie circles as Someone. Her debut EP Chain Reaction was an ambitious creative undertaking that involved an accompanying short film. Jackson’s forthcoming EP Orbit finds Jackson exploring the intensity with which art and music can be fused, and how they can fully enhance themselves. And interestingly, the Amsterdam-based multi-instrumentalist, producer and multi-disciplinary artist crated an interactive augmented reality exhibition that combines her music with cutting edge technology and hypnotic art, which use elements reminiscent of space and planets. The exhibition will be presented in gallery spaces in Amsterdam, London, Berlin, and Paris.

When viewed through a tablet or smartphone, the artwork comes to life and the song linked to that particular piece will be played through the viewer’s headphones. The artworks each react differently and react to the music, dynamically building as the songs progress. They will also react to touch from the viewer on their tablet screens, allowing full interaction and immersion. Trippy, huh?

The EP’s material thematically comments on our overstimulated, digital age, suggesting that we spend so much time on our phones and on social media being constantly exposed to external distractions that we’re essentially orbiting around each other and our passions, rarely touching, resting or even focusing long enough to truly connect to anything or anyone.

Orbit‘s first and latest single is the dreamy and ethereal “Get It Together,” a track that’s centered by shimmering and arpeggiated synths, thumping hip hop-like drumming, buzzing power chords and a soaring hook. And while clearly being indebted to Tame Impala and Air, the track also nods at classic, bubblegum pop and 60s psych pop — but with a soaring and infectious hook.

 

 

 

 

 

 

 

New Video: Introducing the Classic Rock Inspired Sounds of Hungary’s Ivan and the Parazol

Currently comprised of Vitáris Iván (vocals), Balla Máté (guitar), Beke István (keys) and Simon Bálint (drums), the Budapest, Hungary-based indie rock quartet Ivan and the Parazol can trace their origins to when its founding members, along with Tarnai János (bass) met at a private music school back in 2010. And since their formation, the Hungarian indie rock act has released three full-length albums, opened for Deep Purple, played SXSW twice, played Reeperbahn Festival, Eurosonic Nooderslag, on the Sziget Festival main stage and hundreds of shows internationally. Adding to a growing national and international profile the act was nominated for an MTV Hungary Brand New Award in 2010, won an MTV Europe Music Award for Best Hungarian act in 2014 and their single “Together” was named the Sziget Festival anthem in the same year. 

This year has been an eventful year for the Hungarian indie rock band: Celebrating their eighth year as a band, the band has cemented a reputation for being at the forefront of their homeland’s growing, contemporary rock and indie rock scenes. Their forthcoming Wil Anspach-produced fourth, full-length album Exotic Post Traumatic is slated for release sometime next year, and the album which was recorded at EastWest Studios finds the band ambitiously expanding upon the sound and songwriting approach that has won them attention in the homeland — with the intention of winning ears and audiences across the rest of the European Union and the States. The album’s first single “Nr. 1003,” finds the band meshing glam rock, psych rock and arena rock in a way that feels both warmly familiar yet new. Beginning with a sample of an on-flight welcome to LAX and Los Angeles, the track is centered around a rousingly anthemic hook, classic rock power chords, arpeggiated synths and a soaring backing vocal. Sonically, the track sounds as though it draws from The Rolling Stones, Pink Floyd and Tame Impala — but with a subtle bit of sunniness.  

As the members of the band say in press notes, “A music career is like a plane or spaceship that travels for decades to get to a seemingly unreachable destination. NR. 1003 is about this journey for Ivan & The Parazol, and a tough one at that. ‘Cause what do you do if a member of your band falls ill and needs to be left behind to make these dreams come true?

“NR. 1003 goes out to our bass player Jani. After spending years on the road together, him not being present leaves a massive hole in our team. We hope to have you back on tour with us soon.”

Directed by Miki357, the recently released video is an incredibly symbolic one, shot on the streets of Budapest and throughout the video, there’s a palpable sense of inconsolable loss and resolve. 

Raymond James Mason is a Long Island, NY-born, Brooklyn-born trombonist and singer/songwriter. As the story goes, Mason picked up the trombone at a very young age, and as a teenager, he studied classical performance and jazz studies at my alma mater NYU, where he studied with Brian Lynch, Lenny Pickett, Alan Ferber and Elliot Mason. Upon graduating, Mason quickly became an in-demand musician, playing across a wide variety of genres; but he’s best known for being a member of renowned local Afrobeat act Antibalas, which eventually led to him becoming a member of the Daptone Records/Dunham Records in-house band, playing with the likes of Sharon Jones and the Dap Kings, Charles Bradley and the Menahan Street Band, Lee Fields and the The Expressions and many others. Additionally, Mason has performed and or recorded with the likes of Alicia Keys, David Byrne, Randy Newman, Erykah Badu, The Roots, Arcade Fire, Ed Sheeran, Janelle Monae, Lukas Graham, Nile Rodgers, Tame Impala, Maren Morris, Earth Wind and Fire, Mark Ronson and and more. Unsurprisingly, he very busy Mason learned from these artists while honing his own compositional and vocal skills, patiently waiting for his moment to step out in the spotlight.

Back in October 2016, Mason reached out to Daptone Records house band member, longtime friend and Dala Records founder Billy Aukstik to set up at a casual recording session. At the time, Aukstik was recording out of an old East Village brownstone basement, equipped with only a Tascam 388 8-track tape recorder and a few old ribbon microphones. Aukstik and Mason assembled an all-star squad of local soul musicians, including Alex Chakour, who has played with Charles Bradley and Sharon Jones; Freddy DeBoe, who has played with Charles Bradley and Sharon Jones; Joe Harrison, who has played with Nick Hakim and Charles Bradley; and Morgan Price, who has played with Antibalas to record a couple of Mason’s compositions — two of which wound up becoming the A and B sides of Mason’s solo debut, “Back When”/”No Clue.”

A side single “Back When” is a strutting and swaggering bit of a soul pop centered around an arrangement of Arp Omni bass synth, fuzzy guitar lines and a steady backbeat — and while thematically the song is a universal tale of lost opportunity and what could have beens, it’s a decidedly contemporary take on the Dala Records sound, as it nods at contemporary soul, hip-hop and psych pop in a way that brings Tame Impala, Nick Hakim and others to mind. “No Clue,” the B side single is centered around fuzzy power chords and a garage rock vibe, while thematically the song focuses on a dysfunctional and confusing relationship. Both singles reveal an an up-and-coming artist, who’s actively and earnestly pushing the sonic boundaries of soul.

 

 

New Audio: Tame Impala and Theophilus London Team Up on Two Synth Funk Bangers

Led by singer/songwriter, multi-instrumentalist, producer and creative mastermind Kevin Parker, the Melbourne, Australia-based psych pop act Tame Impala received international attention with the release of their first two albums, 2011’s Innerspeaker and 2012’s Lonerism. Interestingly, 2015’s Currents was centered around some of the most emotionally direct material he had written to date while expanding upon the sound that first caught attention with the material sonically drawing from synth pop, prog rock, R&B and psych pop to create a nuanced, textured and difficult to pigeonhole sound. 

Theophilus London is a Trinidad and Tobago-born, Brooklyn-based emcee, singer/songwriter and producer, who first emerged into the national and international scene with his 2011 debut EP Lovers Holiday, which found the Brooklyn-based emcee/singer/songwriter and producer collaborating with TV on the Radio’s Dave Sitek, Tegan and Sara’s Sara Quin, Glasser and Solange Knowles and his full-length debut 2011’s Timez are Weird These Days. Both of those early efforts quickly established London’s crowd-pleasing, genre-mashing sound and approach, which draws from soul, pop, post-punk, electro-pop, electro R&B, hip-hop and R&B — and that shouldn’t be surprising as London has publicly cited Michael Jackson, Prince, Kraftwerk and The Smiths as influences on his work.  2013’s sophomore effort VIBES found London collaborating with Jesse Boykins III and Kanye West, who was the album’s executive producer — and from album single “Tribe,” the album’s material further cemented London’s reputation for club-banging, synth pop-influenced hip-hop. 

So in some way, it shouldn’t be surprising that both genre-defying artists have collaborated together in a project informally dubbed Theo Impala, which has already released two singles — the first single, the swaggering “Whiplash” is a thorough and seamless amalgamation of their sound and approach, as it features London spitting fiery bars over layers of arpeggiated synths, thumping beats and Parker’s ethereal backing vocals singing a sugary pop-meets-soul melody. In some way, the song recalls 80s hip-hop, 80s synth soul, Crime Cutz-era Holy Ghost! and Dam-Funk among others. The second track is a cover Steve Monite’s Nigerian boogie hit “Only You” and while their cover is somewhat straightforward, it manages to possess a contemporary production sheen that gives the song a retro-futuristic thump. 

Danny Murcia is a Los Angeles-based singer/songwriter, founding member and creative mastermind of Los Angeles-based bilingual indie rock act El Mañana. As an English major in college, Murcia immersed himself in magical realism, a major tenet of modernist and post-modernist Latin American literature, and after graduating, he was able to marry his loves for language and music as a songwriter. Interestingly, the Los Angeles-based singer/songwriter wound up penning a number of songs that were recorded by mainstream radio and as a result of the attention he received as a go-to songwriter, Murcia wound up as part of the major label system, signing a record deal with a major label that released a single; however, it didn’t take long for Murcia to to realize that he was a commodity in a machine that wanted to exploit his Colombian heritage — and that the label was actively trying to mold him into a white person’s version of a Latino pop star. At the end of the experience, he felt as though is creative energy was sapped.

El Mañana finds Murcia returning to his original dream of what he wanted his sound and music to be: insightful, earnestly emotional and bilingual rock driven by enormous power chords and plaintive vocals. As the story goes, Murcia who suffers from bipolar disorder began writing material for this new project while he was battling cancer, having to undergo multiple surgeries before the cancer went into remission. During his recovery, he read the works of Pablo Neruda and Gabriel Garcia Marquez, which long informed his own work.

“Gota En El Mar,” the Los Angeles-based band’s latest single sonically manages to bridge the dreamy psych pop of Tame Impala and Washed Out with enormous Siamese Dream Smashing Pumpkins-era like  power chords fed through distortion and other effects pedals, thumping drumming and arena rock friendly hooks — but most importantly, the song is a swooningly urgent and earnest song.

 

 

 

 

 

 

Currently comprised of founding members David Schnitzler (vocals) and Elias Foerster (bass) with newest, touring member Tilman Ruetz (drums), the indie electro pop/psych pop act Sea Moya was formed back in 2014 with its founding members writing material between shipping containers in a German harbor. As a duo, they released two well-received EPs and building upon a growing profile, the act’s full-length debut Falmenta is slated for an October 12, 2018 release through Golden Brown Records and Majestic Casual Records.

Falmenta was written and recorded in a reclusive cabin in the Italian Alps above Lago Maggiore, and unsurprisingly, the material is the restful of a total withdrawal from everyday life, the distractions of technology and any influence from outsiders. Such reclusiveness allowed the members of the band to completely immerse themselves in their surroundings, to be more introspective and to bounce ideas off one-another until their creative output became one; in fact, each song and every lyric on the album was a collaborative effort — and interestingly enough, while being effortless, manages to be experimental and deeply personal.

Sonically, the material on Falmenta finds the act drawing from a wide-ranging and diverse array of influences including Krautrock, Afrobeat, electronica, electro pop and psych pop underpinned by a mischievous sense of experimentation in which analog instrumentation is filtered through saturated tape, modular systems and a complex array of effect pedals. Interestingly, the forthcoming album’s latest single is the breezy “The Long Run, a single centered by twinkling synths, a sinuous and funky bass line, stuttering drumming, a throbbing, motorik groove and ethereal melodies that recalls Tame Impala, Toro Y Moi and Fela Kuti among others but in an upbeat, neon-bright, difficult to pigeonhole fashion.

Following the recording of their full-length debut, the members of Sea Moya spontaneously relocated to Montreal, where they have quickly embedded themselves into that city’s DIY underground scene, playing shows across Canada and the States. Of the spontaneous move, the explains in press notes,  “At that time we listened to a bunch of great artists from Montreal like Homeshake, TOPS, Suuns or Project Pablo. It felt like there was a free spirited and open-minded music and arts scene going on. Even though none of us had ever been to Canada before, we just decided to give it a shot.

And here we are, moved in early 2018, already played a whole bunch of shows in Canada and the States, dived into the music scene in Montreal which is incredibly rich of DIY spirits, mesmerizing artists and an amazing mixed-up and buzzing culture of ALL couleurs. It feels like you can find your spot for every tiny niche you want to experiment with and all that pretty easy going and not too serious. It’s an inclusive and yet far out scene which makes it wild, buzzing and forward thinking. The move to Canada has been one of the most inspiring steps we took in our lives for now.”

 

 

The up-and-coming Los Angeles, CA-based psych pop project Das Kope is the brainchild of its Sao Paulo, Brazil-born, Los Angeles-based creative mastermind, George. Interestingly, George lived a few blocks away from where renowned Brazilian psych rock act Os Mutantes had originated — and much like the members of the renowned group, George had long felt that he was an outsider with a unique vision. As a self-taught guitarist, influenced the city’s grey cityscape, he found his musical voice in punk rock. As a teen propelled by the DIY spirit and ethos, George saved up enough money to buy a one-way ticket to Los Angeles, leaving everything he had known behind to pursue his dream of becoming a musician. Quickly realizing that the money he had saved in his homeland didn’t translate to much in the way of American money, he did something rather unexpected considering the situation: he decided to join one of Los Angeles’ fastest and constantly growing lifestyles — broke musician.

The Sao Paulo-born, Los Angeles-based musician spent the next couple of years working at a slew of odd jobs and moving from place to place before eventually settling in as a partial recluse in a dark Hollywood apartment he nicknamed “the cave.” Isolated, he spent the next few years focusing on any and all creative pursuits that brought color to his mostly nocturnal existence. He became obsessed with guitar pedals, synthesizers, VCRs, after effects, tape recorders, green screen and the like. And as the story goes, those obsessions influenced Das Kope. Interestingly, his latest single, the breezy “L.A.X.” is centered around layers of shuffling guitar chords, a sinuous bass line, thumping beats, ethereal vocals and shimmering synths that recalls JOVM mainstays POND and Tame Impala but with a gritty urgency at it score.