Tag: The Brian Jonestown Massacre

I’ve written quite a bit about the Los Angeles-based garage rock trio and JOVM mainstays L.A. Witch — Sade Sanchez (lead vocals, guitar), Irita Pai (bass, backing vocals) and Ellie English (drums) — and with the release of their full-length debut, 2017’s self-titled effort, the band quickly established a jangling reverb-drenched guitar rock sound that drew from a number of sources, including late 50s-early 60s rock,  The Pleasure SeekersThe SonicsThe Black AngelsThe Brian Jonestown Massacre and others —while bearing a resemblance to JOVM mainstay artists like  The CoathangersSharkmuffin and Death Valley Girls.

The members of L.A. Witch have readily admitted that the writing and recording sessions for their self-titled album was a casual affair — with the album’s material coming together over the course of several years. The natural and seemingly effortless creative flow hit a snag when the band’s profile and popularity grew and they began touring regularly. So when the trio got together to write and record their forthcoming sophomore album Play With Fire, they needed a new strategy.

Between their touring schedule, studio availability and the timeline for releasing an album this year, the members of the Los Angeles-based JOVM mainstays found themselves with only two months to do the bulk of the writing for Play With Fire‘s material. The trio holed up during January and February for the writing process — before March’s mandatory COVID-19 related shutdowns across the world. “As far the creative process goes, this record is a result of sheer willingness to write,” L.A. Witch’s Sade Sanchez says in press notes. “When you sit down and make things happen, they will happen, rather than waiting to be inspired. ”The time constraints and tightly focused writing sessions forced the band into new territories. “I’ve definitely learned that having restrictions forces you to think outside the box,” the band’s Irita Pai says,. ““That structure really brings about creativity in an unexpected and abundant way.”

Essentially Play With Fire finds the band pushing their sound forward with a muscular insistence — and while thematically, it may be some of their more sobering, serious work, the album isn’t a complete reinvention of their sound either. “Play With Fire is a suggestion to make things happen,” L.A. Witch’s Sanchez explains. “Don’t fear mistakes or the future. Take a chance. Say and do what you really feel, even if nobody agrees with your ideas. These are feelings that have stopped me in the past. I want to inspire others to be freethinkers even if it causes a little burn.”

Play With Fire‘s latest single “Gen-Z” is a scuzzy, expansive, beer and whiskey fueled bit of garage psych rock centered around reverb-drenched jangle, thunderous drumming, Sanchez’s sneering vocals and some enormous hooks. And while being one of the most ambitious songs the JOVM mainstays have crafted, it seethes

“Gen Z,” Play With Fire‘s latest single is a whiskey fueled rockabilly-like blues, centered around reverb-drenched jangle, thunderous drumming, enormous hooks and Sanchez’s smoky and snarling delivery — but unlike their previously released material “Gen-Z” finds the JOVM mainstays seething with dissatisfaction and frustration that just feels like it perfectly encapsulates our contemporary zeitgeist.

“‘GEN-Z’ is inspired by a series of articles mentioning the high rates of suicide amongst the Gen-Z due to the pressures of social media,” Sade Sanchez explains. “At the same time I read about several music companies not doing well due to lack of interest in people to learn to play instruments. When I was a kid, music and guitar was my escape. Music was how I fought through my depressions. What will the future do to get through it? With constant pressure to be perfect and information/advertisements and brainwashing constantly being shoved in your face, you become a product of your environment. ‘GEN-Z’ is about being a slave to technology, specifically to our phones.” 

 

 

 

Lyric Video: Gateway Drugs Releases a Shimmering and Heartbreaking Ballad

Formed in 2010, the rising Los Angeles-based act Gateway Drugs — siblings Gabe, Noa and Liv Niles, who all share vocal and instrumental duties, and their longtime friend James Sanderson (bass) — emerged into the psych rock scene with the 2015 release of their full-length debut, Magick Spells, an album that helped to establish their noisey and melodic take on shoegaze that Hellbound has likened to “The Stooges meets My Bloody Valentine and The Brian Jonestown Massacre — a little dark, a little eerie and a little grainy and all intoxicating.”

Slated for a May 8, 2020 release through Future Shock Records, the Los Angeles-based psych rock quartet’s, ten song, Sune Rose Wagner-produced sophomore effort PSA was recorded during a 12 day recording session at Josh Homme’s Pink Duck Studio. Centered around what the band says was some of the quickest and most direct songwriting process of their young careers, the album as the band told Foxes Mag “. . . is much more intimate and raw than our first album. All of the songs were recorded live for the most part.”

While further establishing their noisy and melodic take on psych rock, the material reportedly finds the band writing more introspective material, drawing from a wild and chaotic few years for the band — and for the world at large. According to the members of Gateway Drugs, the album reflects “everything that is wrong in the here and now: the weakness of the world laid bare, and the almost total state of apathy we all find ourselves in due to feeling powerless to effect any change with respect to all of this. PSA is an attempt to connect with others, who feel the same way and regain a sense of our ability to change things for the better.”

Now, as you may recall, last week, I wrote about, the brooding and hook-driven  “Slumber,” PSA’s second single, a track that reminded me a bit of the aforementioned Brian Jonestown Massacre, Riot City Blues-era Primal Scream, while being an earnest reflection on unrequited love that focused on the rejection and heartbreak of a jilted suitor. PSA’s third and latest single is the slow-burning ballad “I’m Always Around.” Centered around shimmering guitars, the song was written and sung by the band’s Liv Niles — and is essentially, a bitter and heartbreaking goodbye letter to a lover ad a relationship that seems bound to come to a close. 

“The song reflects my nostalgia at the time towards my relationship that was failing, my sadness knowing he would hate me one day for choosing myself over him,” the band’s Liv Niles explains in press notes. 

New Video: Rising Los Angeles Psych Rockers Gateway Drugs Release an Intimate Visual for Brooding “Slumber”

Formed in 2010, the rising Los Angeles-based act Gateway Drugs — siblings Gabe, Noa and Liv Niles, who all share vocal and instrumental duties, and their longtime friend James Sanderson (bass) — emerged into the psych rock scene with the 2015 release of their full-length debut, Magick Spells, an album that helped to establish noisey and melodic take on shoegaze that Hellbound has likened to “The Stooges meets My Bloody Valentine and The Brian Jonestown Massacre — a little dark, a little eerie and a little grainy and all intoxicating.”

Slated for a May 8, 2020 release through Future Shock Records, the Los Angeles-based psych rock quartet’s, ten song, Sune Rose Wagner-produced sophomore effort PSA was recorded during a 12 day recording session at Josh Homme’s Pink Duck Studio. Centered around what the band says was some of the quickest and most direct songwriting process of their young careers, the album as the band told Foxes Mag “. . . is much more intimate and raw than our first album. All of the songs were recorded live for the most part.” 

While further establishing their noisy and melodic take on psych rock, the material reportedly finds the band writing more introspective material, drawing from a wild and chaotic few years for the band — and for the world at large. According to the members of Gateway Drugs, the album reflects “everything that is wrong in the here and now: the weakness of the world laid bare, and the almost total state of apathy we all find ourselves in due to feeling powerless to effect any change with respect to all of this. PSA is an attempt to connect with others, who feel the same way and regain a sense of our ability to change things for the better.” 

“Slumber,” PSA’s second single is brooding yet shimmering and hook driven track that features the band’s Gabe Niles taking up vocal duties. And while sonically bearing a resemblance to the aforementioned Brian Jonestown Massacre, Riot City Blues-era Primal Scream, the song is an achingly earnest reflection on unrequited love, focusing on  rejection and heartbreak. 

Shot, edited and directed by the members of the band, the recently released video for “Slumber” is an intimate view into the band’s daily lives inn a way that personally reminds me of 120 Minutes-era MTV. “Videos nowadays tend to be overly cinematic or pretentious. The songs get lost and leaves little room for the listeners imagination,” the band says of the video. “We wanted to keep it simple, sincere, and true to form, so we shot and edited the video ourselves.” 

New Video: French Shoegazers Dead Horse One Releases a Languid and Cinematic Visual for Shimmering “Saudade”

Valance, France-based shoegazers Dead Horse One, currently comprised of founding trio Oliver Debard, Ludovik Naud and Antoine Pinet, with Maxime Garcia and Ivan Tzibousky can trace their origins back to their formation in 2011. While recording their full-length debut, 2014’s Without Love We Perish, the members of the French shoegazer act reached out to RIDE’S Mark Gardener, who wound up taking up production duties. 

Following the release of their full-length debut, the band spent the next three years touring across the European Union, sharing stages with the likes of The Telescopes, The Wands and Sound Sweet Sound, and they made an appearance at Liverpool Psych Fest.

After a busy period of touring, the band went into the studio with Fleeting Joys’ John Loring, who produced the band’s sophomore album, 2017’s Season of Mist, which they supported with a tour that included a handful of opening dates with RIDE during the legendary shoegazer act’s European tour. And building upon the growing buzz surrounding the band, they shared the stage with The Brian Jonestown Massacre and the Philadelphia-based band NOTHING. 

Since then, the band went back into the studio to work on their forthcoming third, full-length album The West Is The Best. Slated for a November 22, 2019 release through Requiem Pour Un Twister, the album finds the French shoegazers continuing their ongoing collaboration with John Loring — while marking a second time they’ve worked with Mark Gardener, who mixed the album. Thematically, the album as the band’s Oliver Debard explains is “a collection of thwarted love songs in the spirit of Sparklehorse and other such 90s bands.” 

“Saudade,” The West Is The Best’s first single is a slow-burning track, centered around layers of shimmering guitars and plaintive boy-girl harmonizing, which gives the song an aching yearning — while nodding heavily at classic late 80s and early 90s shoegaze. “This song is a special song for us because it was written by Rorika Loring, her husband John and ourselves,” the band told Northern Transmissions. “Rorika and John play in Fleeting Joys, which is none less than one of the best shoegaze bands of the second wave, post 2000. From another point of view, the song joined the title of the album since it is a French, English collaboration by the presence of Mark Gardener at the mix table, and American, the Loring family is from Sacramento.”

Directed and edited by Pedro Wilde, the recently released video was filmed in a gorgeously cinematic black and white on location in the Portuguese cities of Porto, Gaia and Aveiro and stars Carolina Marques. Languidly shot, the video evokes the old-world and old-fashioned charm of Europe as Marques wanders around with a lute — but there’s also a desire to be contemporary without losing that sense of connectedness to one’s roots. 

New Video: The KVB Releases Dreamy Visuals for Shimmering “Violet Noon”

Initially formed back in 2010 as a solo recording project of its founding member, singer/songwriter and multi-instrumentalist Nicholas Wood, the British shoegazer act The KVB stated off with a number of limited cassette and vinyl releases that included “The Black Sun,” which was released through FLA Records and the Into the Night EP, which was released through Downwards Records. Vocalist, keyboardist and visual artist Kay Day joined Wood the following year, and the newly constituted duo released their full-length debut Always Then through Clan Destine Records. 

2013 was a busy year for the duo, as that year saw the release of their sophomore effort, Immaterial Visions, which was released through Cititrax that February. Wood and Day followed that up with a remix EP featuring contributions from Regis and Silent Servant that May — and a reissue of 2011’s limited edition cassette release Minus One through The Brian Jonestown Massacre’s Anton Newcombe’s label, A Recordings.

The following year, Wood and Day went to Newcombe’s Berlin studio to track what would eventually become the Out of Body EP, which A Records released later that year. Interestingly, those sessions marked a couple of firsts for the duo — the first time that they worked outside of their home studio and the first time that they worked with Joe Dilworth, a dummer known for his work with Stereolab and Cavern of Anti-Matter. The more experimental material they recorded the year, would up comprising 2015’s Mirror Being, which was released through Invada Records. 

2016’s Of Desire found the duo’s sound moving in a more experimental, electronic-leaning direction, as they recorded with vintage synths from Invada Records head and  Portishead and Beak> mastermind Geoff Barrow’s collection. Continuing at a busy pace, the duo’s Fixation/White Walls EP was release in 2017 and they released a re-masted, fifth anniversary edition of Always Then. Interestingly, last year’s Only Now Forever finds the duo returning to their DIY roots, with the duo recording in their Berlin apartment over the course of 2017. 

The album’s atmospheric, “Violet Noon” will further cement the duo’s reputation for pairing reverb-drenched shoegaze, 60s pop inspired boy-girl harmonies and minimalist  electronic production — but within a swooning and achingly hazy dream-like song.  “Influenced by Lee Hazlewood and Nancy Sinatra, ‘Violet Noon’ is a dark love song set against the backdrop of the apocalypse. While the world falls apart, all you can think of is the person you want to spend those last moments with,” The KVB say of the song and its accompanying video. “We shot the video last October, on the last unseasonably warm day of the year on the Jurassic coast in Dorset on the south coast of England. For us, the dreaminess of the video perfectly reflects the otherworldliness of this song, it feels like a hazy memory, timeless and romantic.”

 

Last year was a breakthrough year for the rather mysterious, up-and-coming Montreal, Quebec, Canada-based psych rock act Venus Furs as they opened for JOVM mainstays The Horrors, The Twilight Sad and Michael Rault. Building upon a rapidly growing profile, the Canadian psych rock act plan to tour during the spring, which they’ll follow up with a full-length album slated for release sometime during the later half of this year; but before all of that, the band released the second single from their forthcoming album, the jangling, and anthemic “Chaos and Confusion.” And while the band says its inspired by Cat Power, The Brian Jonestown Massacre and TV on the Radio, the song to my ears sounds much older, as though it were simultaneously influenced by jangling 120 Minutes New Zealand art rock,  guitar pop, 80s post punk 60s psychedelia, complete with a rousingly anthemic hook, layers of lush guitars and a propulsive rhythm section — with the end result being a brooding and wistful air.

 

 

 

 

Live Footage: Les Big Byrd Perform “A Little More Numb” at Tapetown Studios

Comprised of founding duo Jocke Åhlund and Frans Johansson along with Frans Johansson and Martin Ehrencrona, the Stockholm Sweden-based indie rock act Les Big Byrd features a collection of their hometown’s most accomplished indie musicians.  Åhlund co-founded cult Teddybears with his brother Klas in 1991. Åhlund went on to play guitar in Caesars — and formed Smile, with Peter, Björn and John’s Björn Yttling. And in that insanely busy period, Åhlund managed to find time to write for and produce the legendary Giorgio Moroder and renowned Swedish pop artist Robyn. Johansson, meanwhile, was a bassist in Swedish Grammy Award-winning act Fireside since the early nineties and worked as a touring bassist with The Soundtrack of Our Lives.

As the story goes, by 2011 Åhlund and Johansson had become increasingly disillusioned with their primary gigs and they began to collaborate with each other, frequently bouncing musical ideas off one another; the band’s founding duo quickly recruited two fellow grizzled scene vets, keyboardist Martin ‘Konie’ Ehrencrona and Caesars drummer Nino Keller to finalize the band’s lineup. 

The band’s debut, 2014’s Back to Bagarmossen EP was an atmospheric, guitar driven effort that found the quartet receiving attention from Swedish national TV. Interestingly, with a growing national profile. the members of Les Big Byrd ran into The Brian Jonestown Massacre’s Anton Newcombe at a local record store, and after hitting it off with him, the band headed to Newcombe’s Berlin-based studio to jam with him — and the end result was a handful of tracks which eventually appeared on their critically applauded Åhlund-produced full-length debut, They Worshipped Cats, an album that was a decided left turn into trippy space rock.

In the winter of 2015, 18 months after the release of They Worshipped Cats, Åhlund was looking forward to working on new material; however, unlike their debut, he was determined to bring in an outside producer to allow him to focus just on the songwriting and playing. With much of their material drawing heavily from psych rock and drone, while retaining a pop sensibility, the band recruited Spacemen 3‘s Sonic Boom (a.k.a.Pete Kember) to produce the album as the band loved his work on MGMT‘s 2010 sophomore album Congratulations.  The initial sessions with Kember quickly went awry; Kember clashed with Newcombe, who also headed to Sweden to work on some ideas for the record with the band — and Åhlund eventually found himself taking up the production role, he didn’t want and wasn’t seeking.

Burned out by the experience, the band shelved the second album for a while.  “I didn’t know it at the time, but I needed to get some distance from it,” Åhlund says in press notes. “It was only after a while that I was able to go back and realise that there was a really good album in there.” The members of Les Big Byrd spent the bulk of last year remaking and re-imaging the material in their own image — with Kember and Newcombe’s contributions being limited. Recorded between two Stockholm studios — Åhlund’s own and Ehrencrona’s Studio Cobra — the band’s sophomore album Iran Iraq IKEA derives its title from a slogan that Åhlund’s saw printed on a tie while in Berlin years earlier and wanted to use for years; in fact, Åhlund felt that it suited the album, “because it gave it all some kind of subtly poetic intrigue.” However, the album’s politics — if you really want to call it that — are rooted within the personal, As Åhlund says in press notes,  “It’s about classic topics like love and failure. And about being older and feeling like you’ve pissed your life away, It’s about regrets and wishing you’d done things another way,”

The band’s Åhlund takes up production duties again, but with the admission that maybe it was something he never really wanted to give up — and sonically speaking, the band reportedly have reinvented themselves and their sound but while retaining elements of the sound and approach that first won them national and international attention.  “I still love my krautrock, and space rock, and experimental, improvisational stuff” says Åhlund. “But I also have a strong love for psychedelic sixties pop music, and I love reverb-drenched guitar with a lot of tremolo on it. All of those things make it on to Iran Iraq IKEA, but the lines are blurred – there’s a lot of electronics, and you can’t always tell where each individual sound is coming from. Hopefully it’s suggestive, a little bit uncertain and unpredictable, at least that’s what I wanted.”

Now, if you’ve been frequenting this site over the past couple of years, you’d recall that Aarhus, Denmark-based recording studio Tapetown Studios in partnership with Sound of Aarhus have been inviting national, regional and internationally recognized touring bands to come into their studios for a live session, which they film and distribute through all of your favorite social media sites. So far they’ve inited British indie rockers Ulrika Spacek, Gothenburg, Sweden-based trio Pale Honey, the Bay Area-based JOVM mainstay Tim Cohen and his The Fresh & Onlys, renowned British psych rockers The Telescopes,  Malmo, Sweden-based punk rock act Sista Bossen, Copenhagen, Denmark-based indie rock quartet ONBC, and up-and-coming, Los Angeles-based post punk rock act Moaning.  Recently, the members of Les Big Byrd stopped by Tapetown Studios to perform the bittersweet lament “A Little More Numb.” 

New Video: JOVM Mainstays The Limiñanas Team up with Peter Hook on the Shimmering “The Gift”

Over the past couple of years I’ve written a bit about the Perpignan, France-based psych rock duo The Limiñanas, and as you may recall the duo have become one France’s most renowned indie acts, thanks in part for a sound that draws from psych rock, shoegaze, and yé-yé, centered around arrangements featuring fuzzy, distorted power chords, reverb heavy hooks and effortlessly cool vocals. And much like fellow countrymen La Femme, their sound is heavily indebted to 60s American guitar rock and psych rock — while managing to capture something  quintessentially French.

The last 18 months or so have been very busy for the French duo, as they released the Istanbul Is Sleepy EP, an effort that was initially recorded at their home studio and finished it at Anton Newcombe‘s Berlin-based studio. Of course,  The Brian Jonestown Massacre founder and frontman,contributed his imitable vocals and guitar playing to the scuzzy, garage rock stomper and EP title track “Istanbul Is Sleepy” which was reportedly influenced by Rain-era The Cult. Earlier this year, the duo released the Shadow People LP and the album finds the renowned French duo collaborating with a number of folks including French actress Emmanuelle Seigner and Renaud Picard, the frontman of Hair and the Iotas on the meditative and hazy “Shadow People,” Bertrand Belin on the chilly and menacing, synth-based  “Dimanche.” Adding to a very busy 18 months, Because Music will be releasing I’ve Got Trouble in Mind, Vol. 2, The Limiñanas’ second collection of rare recordings, 7 inch singles and unreleased material on November 16, 2018; but in the meantime. the duo released a video for “The Gift,” off Shadow People, a single that features the imitable and unforgettable bass playing of Peter Hook.  Interestingly — or perhaps I should say unsurprisingly — the track sounds like the perfect amalgamation of Hook’s most beloved New Order work with the renowned French duo’s effortlessly cool take on psych rock. “We wrote and recorded ‘The Gift’ at home in Cabestany and then finished it Berlin at Anton Newcombe’s studio,” explains Marie. “I’m pretty sure you’ll recognise Peter Hook’s lead bass. He’s been one of our heroes for a very long time.”  (I’ve Got Trouble in Mind, Vol. 2 features Anton Newcombe’s mix of the song, so in some way this video is something of a teaser for the compilation.) 

Directed by longtime collaborator Aurélien Richter, the recently released video is decidedly French New Wave-inspired and continues a run of incredibly cinematic accompanying visuals. Unsurprisingly, the video features Foulke de Boixo in a prominent role, and as the duo explains “The video reflects on high school years in gangs; the mods, the skins, the rockabs and the rudeboys smoking cigarettes while hanging in the schoolyard. ‘The Gift’ looks at what’s happened to two of these people over the years and how they may have missed out on a lifelong love story.”

Comprised of founding duo Jocke Åhlund and Frans Johansson along with Frans Johansson and Martin Ehrencrona, the Stockholm Sweden-based indie rock act Les Big Byrd features a collection of their hometown’s most accomplished indie musicians.  Åhlund co-founded cult hardcore outfit/genre-benders Teddybears with his brother Klas in 1991, and went on to play guitar in Caesars and form another duo, Smile, with Peter, Björn and John’s Björn Yttling. He also managed to find the time to write for and produce Giorgio Moroder and renowned Swedish pop artist Robyn. Johansson, meanwhile, had played bass in Swedish Grammy Award-winners Fireside since the early nineties and worked as a touring bassist with The Soundtrack of Our Lives. As the story goes, by 2011 Åhlund and Johansson had become increasingly disillusioned with their primary gigs and they began to collaborate with each other, frequently bouncing musical ideas off one another; the band’s founding duo quickly recruited two fellow grizzled scene vets, keyboardist Martin ‘Konie’ Ehrencrona and Caesars drummer Nino Keller to finalize the band’s lineup.

The band’s debut release, 2014’s Back to Bagarmossen EP was an atmospheric, guitar driven effort that found the quartet receiving attention from Swedish national TV. As the Stockholm-based indie quartet’s profile was growing nationally, they ran into The Brian Jonestown Massacre’s Anton Newcombe at a local record store, and after hitting it off with him, the band headed to Newcombe’s Berlin-based studio to jam with him — and the end result was a handful of tracks which eventually appeared on their critically applauded  Åhlund-produced full-length debut, They Worshipped Cats, an album that was a decided left turn into trippy space rock.

In the winter of 2015, 18 months after They Worshipped Cats‘ release, Åhlund was looking forward to working on new material; however, unlike their debut, he was determined to bring in an outside producer to allow him to focus just on the songwriting and playing. With much of their material drawing heavily from psych rock and drone, while retaining a pop sensibility, the band recruited Spacemen 3‘s Pete Kember to produce the album as the band loved his work on MGMT‘s 2010 sophomore album Congratulations.  Unfortunately and perhaps unsurprisingly, the initial sessions with Kember quickly went awry; Kember clashed with Newcombe, who also headed to Sweden to work on some ideas for the record with the band — and Åhlund eventually found himself taking up the production role, he didn’t want and wasn’t seeking.

Burned out by the experience, the band shelved the second album for a while.  “I didn’t know it at the time, but I needed to get some distance from it,” Åhlund says in press notes. “It was only after a while that I was able to go back and realise that there was a really good album in there.” The members of Les Big Byrd spent the bulk of last year remaking and re-imaging the material in their own image — with Kember and Newcombe’s contributions being limited. Recorded between two Stockholm studios — Åhlund’s own and Ehrencrona’s Studio Cobra — the band’s long-awaited, forthcoming sophomore album Iran Iraq IKEA derives its title from a slogan that Åhlund’s saw printed on a tie while in Berlin years earlier and wanted to use for years; in fact, Åhlund felt that it suited the album, “because it gave it all some kind of subtly poetic intrigue.” However, the album’s politics — if you really want to call it that — are rooted within the personal, As Åhlund says in press notes,  “It’s about classic topics like love and failure. And about being older and feeling like you’ve pissed your life away, It’s about regrets and wishing you’d done things another way,”

The band’s Åhlund takes up production duties again, but with the admission that maybe it was something he never really wanted to give up — and sonically speaking, the band reportedly have reinvented themselves and their sound but while retaining elements of the sound and approach that first won them national and international attention.  “I still love my krautrock, and space rock, and experimental, improvisational stuff” says Åhlund. “But I also have a strong love for psychedelic sixties pop music, and I love reverb-drenched guitar with a lot of tremolo on it. All of those things make it on to Iran Iraq IKEA, but the lines are blurred – there’s a lot of electronics, and you can’t always tell where each individual sound is coming from. Hopefully it’s suggestive, a little bit uncertain and unpredictable, at least that’s what I wanted.”

“Geräusche,” Iran Iraq IKEA‘s third and latest single, is the album’s opening track and interestingly enough, the song’s title is the German word for “noise” — although ironically, the expansive and atmospheric, krautrock-like track is centered around a motorik groove, shimmering and arpeggiated keys, angular guitar lines, mathematically precise beats and dreamy sense of harmony that in some way brings Evil Heat-era Primal Scream and Joe Jackson’s “Steppin’ Out” but with a lysergic vibe.