Tag: The Jesus and Mary Chain

Perhaps best known for stints drumming for Shilpa Ray, WALTZ and Lola Pistola, Robert Preston Collum relocated to Los Angeles for a change of scenery, and began his solo recording project Pink Mexico. Shortly after relocating to Los Angeles, Collum self-released his Pink Mexico debut pnik mxeico back in June 2013. The album attached the attention of Austin, TX-based Fleeting Youth Records, who re-released pnik mxeico the following December.

Preston then relocated back to Brooklyn during the fall of 2014, where released a split 7 inch with Los Angeles-based indie band SunLikeDrugs and a 12 inch vinyl pressing of pnik mexico by the Bordeaux, France-based label Big Tomato Records. And with a growing national and international profile, Collum caught the attention of Burger Records, who signed him and released his sophomore Pink Mexico fool, an effort that Collum said was written in window-less 10×10 rooms between Los Angeles and Brooklyn, reportedly fueled by nasty hangovers, cheap coffee and cigarettes. Interestingly, over the past year or so, Pink Mexico expanded to into a fully fledged band with the addition of Grady Walker (bass) and Ian Everall (drums), who toured with Collum during the tour to support fool and contributed to Pink Mexico’s forthcoming, third full-length album Dump, which is slated for a March 1, 2019 release on cassette and digitally through Burger Records and Little Dickman Records.

Written and recorded during 2017 and 2018 at Civil Defense Studios with Jeremy Scott, who has worked with Vivian Girls and These Are PowersDump is the first Pink Mexico album as a fully fledged band and the album’s latest single “High Dive” is a grungy take on surf rock, featuring fuzzy and distorted power chords and a mosh pit friendly hook. Sonically, the song manages to hint at The Jesus and Mary ChainIncesticide-era Nirvana, Melvins and Foo Fighters while clocking in at a little over 2 minutes — or in other words, a fast and furious ripper that’s absolutely necessary.

 

Led by songwriter/producer and founder of Ice Queen Records and founding member Joseph Lekkas, the Nashville-based indie rock act Palm Ghosts can trace its origins back
to when Lekkas lived in Philadelphia. As the story goes, after spending a number of years playing in local bands like Grammar Debate! and Hilliard, Lekkas took a lengthy hiatus from writing and performing music to book shows and festivals in and around the Philadelphia area. Initially began as a solo recording project and creative way for Lekkas to deal with an incapacitating bout of depression and anxiety after discovering that music was his only way out the mire. So Lekkas spent a long Philadelphia winter recording a batch of introspective songs that he dubbed “sun-damaged American music’ that would eventually become the Palm Ghost debut album.
After a short tour in 2013 to support the Palm Ghost debut album, Lekkas packed up his belongings and relocated to Nashville, enticed by the city’s growing indie rock scene. Once he settled in to his new hometown, Lekkas set up a small home studio in the guest bedroom of a rental house on Greenland Avenue in East Nashville, where he eventually wrote and recorded the sophomore Palm Ghosts album, last year’s Greenland, an album that found him employing elements of electro pop, folk and indie rock that was influenced by his new hometown’s long-held song-is-king culture. Last May, the Palm Ghost founding member began working on the third Palm Ghosts album Architecture, an album heavily influenced by the sounds of the 80s — in particular, Cocteau Twins, Peter Gabriel, Dead Can Dance, New Order and The Cure among others. The album’s first single “Turn the Knife” is a hook-driven bit of 80s post-punk that will recall New Order, Echo and the Bunnymen and others but centered by the two part male/female harmonies, angular guitar chords, a propulsive rhythm section and a bitter sense of betrayal and distrust.
As Lekkas told me via email, “‘Turn the Knife’ is basically a song about betrayal in love — or a one sided relationship that ends badly. It was written and recorded in my studio here in Nashville. My influences are all over the map but I’m an enormous fan of 80s post punk and New Wave music, so perhaps that shines through to you in the song? Basically, The Cure, Echo and the Bunnymen, The Chameleons and The Jesus and Mary Chain are big influences.”

 

 

 

Earlier this month, I wrote about the up-and-coming  London-based, up-and-coming shoegaze quintet Cosmic Strip, and as you may recall, the band, which is fronted by  primary songwriter and creative mastermind, Camella Agabalyan, has described their work as “music to watch girls by, music to move the stars,” and with EP title track “Heavenly,” off the band’s recently released debut EP, the band seems to specialize in shimmering and soaring shoegaze that brought Wolf Alice and Lightfoils to my mind.  The EP’s latest single “Sugar Rush” is a decidedly 120 Minutes MTV-era bit of shoegaze, centered around squalling and towering feedback, shimmering guitar chords, ethereal vocals, soaring hooks and an alternating quiet, loud, quiet song structure that immediately brings Slowdive and A Storm in Heaven-era The Verve to mind, complete with a lysergic haze.

“I wanted to write a song about the feeling of addiction whether it’s sugar, love, a drug, whatever your vice is”, Camella Agbalyan says in press notes about the new single. “I personally really connect to dreamy, druggy songs like Air, My Bloody Valentine, Beach Fossils, Slowdive, The Jesus & The Mary Chain, etc., so I wanted to inspire myself from that feeling but also show the darker side of addiction that you might not always get from those types of songs”.

Live Footage: Denmark’s ONBC Performs the Gorgeous and Ethereal “Copenhagen” at Tapetown Studios

ONBC is a Copenhagen, Denmark-based indie rock quartet, comprised of some of Denmark’s most acclaimed musicians — and the band can trace its origins to the formation and breakup of its earliest iteration Oliver North Boy Choir, an electro pop-leaning act, which featured founding members Camilla Florentz (vocals, bass) and Mikkel Max Jorn (guitar), who were both members of indie band epo-555. After releasing a number of EPs and singles, as well as covers of The Jesus and Mary Chain and The Boo Radleys, the Oliver North Boy Choir split up. In 2014 the members of Oliver North Boy Choir reunited but with the recruitment of Tanja Forsberg Simonsen (vocals, synths), who was a member of influential Danish indie pop act superheroes and Private; Ivan Petersen (drums), the frontman of The Boombox Hearts, and a radical change in sonic direction, the band was renamed ONBC.

In their native Denmark, the quartet has received attention for a cinematic sound and songwriting approach that some have compared to Low, Chris Issak and Julee Cruise — although as soon as I heard the gorgeous, shoegazer-like “Copenhagen,” I immediately thought of Malmo, Sweden’s Fredrik, Coco Beware and Caveman-era Caveman and Beach House as the harmonies of Forsberg Simonsen and Florentz ethereally float over a delicate and sparse arrangement of shimmering guitar chords and dramatic drumming.

Now, if you’ve been frequenting this site over the past 15-18 months or so, you’d recall that Aarhus, Denmark-based recording studio Tapetown Studios and Sound of Aarhus have been inviting national. regional and even internationally recognized touring bands to come into their studios for a live session, which they film and release through the interwebs. During the live session’s run, a number of bands have participated and been featured including British indie rockers Ulrika Spacek, the Gothenburg, Sweden-based trio Pale Honey, the Bay Area-based JOVM mainstay Tim Cohen and his primary project The Fresh & Onlys, the renowned British psych rockers The Telescopes, and a growing list of others.

ONBC’s Tapetown Studio session, much like Sista Bossen’s session is presented by their label, Crunchy Frog Records and was filmed during Aarhus’ popular Danish and Scandinavian indie music festival, Spot Festival — and it may arguably be one of the most stunningly beautiful ones they’ve shot to date.

 

Several years ago, I wrote about the London-based electro rock/industrial rock trio Blindness, an act that featured Beth Rettig (vocals, programming), Emma Quick (bass) and Debbie Smith (guitar), who also had stints in Curve, Echobelly and Snowpony. After Blindness split up, Rettig started tinkering around with new music and reworking some ideas that she had lying around without much of a plan. As Rettig told me in an email, “Recently, I decided it was probably time to do something with some of the new stuff.” Debbie Smith, her former Blindness bandmate contributed guitars, along with some programming on one of the two singles, Rettig has released with her new project Where We Sleep, a project that Rettig hopes will have her working with other musicians as well. Unsurprisingly, the project draws from some of Rettig’s lifelong influences — Curve, The Jesus and Mary Chain, Black Rebel Motorcycle Club, Nine Inch Nails, PJ Harvey, Kate Bush, Massive Attack, and others.

“Veins,” the first Where We Sleep single finds Rettig collaborating with her former Blindness bandmate Debbie Smith, who contributes some thumping drum programming, arpeggiated synths and buzzing power chords in a sultry and anthemic New Wave-like song that sounds as though it were influenced by Sixousie and the Banshees and Depeche Mode. “Crawl” is a moody and atmospheric track centered around Rettig’s breathy vocals and industrial clang and clatter — and sonically speaking, the song may arguably be the most Depeche Mode-like that she’s released yet.

 

New Video: Chilean Shoegazers MAFF Release Eerie 120 Minutes MTV-like Visuals for Cinematic “Act 2”

Currently comprised of childhood friends and founding members Richard Gómez (vocals, bass and guitar) and Nicolás “Nek” Colombres (drums), along with the band’s newest members, Valentina Cardenas (bass) and Martin Colombres (guitar), the Santiago, Chile-based shoegazer act MAFF formed back in 2012 but interestingly enough the band can trace its origins to Gómez and Colombres collaborating in a number of local punk bands before starting their latest project, which is largely influenced by The Jesus and Mary Chain, The Pixies, RIDE, Sonic Youth and My Bloody Valentine. Now, if you had been frequenting this site a few years ago, you may recall that the Chilean shoegazers’ self-titled debut received attention both nationally and internationally among musicians, critics and fans for material that thematically explored innocence, mysticism, love, loss, freedom and timelessness among other things.

Since the release of their full-length debut, the acclaimed Colombian shoegazers went on a lengthy hiatus in which Gomez fathered a daughter, Augusta, who wound up inspiring their soon-to-be released EP Melaniña, an effort that derives it’s name from an amalgamation of the word melanin, chosen because Augusta Gomez is slightly albino with the Spanish word for little girl, niña. The album artwork, which was created by the band’s Nicolas Colombres, features an image of little Augusta, who witnessed the entire creative process of the EP.  “During our break between albums, I learned to be a father and learned to play the guitar. I started to write music surrounded by new feelings in my life,” Ricardo Gomez says in press notes. “It is always fascinating to keep learning new things, and I was fortunate to have these two moment’s crash together in the same period of my life. I locked myself in my home studio and started to write music”. “She’s been my source of inspiration,” Gomez continues. “This is my gift to her.”
Melaniña’s latest single “Act 2” was written and conceived as a sequel to “Act 1” off the band’s self-titled album, and as a result the incredibly cinematic instrumental track features some impressive guitar pyrotechnics, with guitars played through effects pedals paired with a propulsive rhythm section — with an expansive yet dreamy vibe familiar to classic shoegaze that also nods at Finelines-era My Vitriol and Collapse Under the Empire.
Directed by Tim Busko, the recently video continues the band’s ongoing collaboration with the Pennsylvania-based director and filmmaker, and much like its predecessor, the black and white video is comprised of shaky, handheld images of household items — radios, teacups, breakfast food, household plants, model planes, kids playing and natural phenomenon with a creepy yet hallucinogenic feel.

Deriving their name from a skateboard trick from an 80s skateboarder film, the Los Angeles, CA-based shoegazer act Nightmare Air are comprised of a trio of grizzled vets — Dave Dupuis was once a member of Los Angeles-based act Film School; Swaan Miller developed a reputation as a singer/songwriter with the release of a stark, attention-grabbing acoustic album that was released through Important Records; and Jimmy Lucido, who was once a member of The Strays. And through their various projects, the members of Nightmare Air, at one point or another, have opened for the likes of Smashing Pumpkins and The Jesus and Mary Chain among others.

2017 was a big year for the members of Nightmare Air as they headlined clubs and played the major festival circuit, which included appearances at SXSW and Starry Night Festival — and adding to a growing profile, they shared stages with The Kills, The Dandy Warhols and Cat Power. Building upon the growing buzz surrounds them, Nightmare Air’s newest album Fade Out is slated for a March release through Nevado Records — and the album’s latest single “Who’s Your Lover” will further cement the act’s reputation for crafting rousingly anthemic tracks that effortlessly mesh angular post-punk with textured shoegaze in a way that reminds me a bit of Hierarchy-era Lightfoils and others, but with a soaring synth line, wrapped around Miller’s seductive cooing.

Nightmare Air will be opening for the legendary and amazing Gary Numan throughout the European leg of his tour to support Savage (Songs from a Broken World). Check out tour dates below.

Tour Dates

Mar 2. Stokholm. Kagelbanan

Mar 3. Malmo. Kulturbolaget

Mar 4. Olso. Parkteatret

Mar 5. Copenhagen. Pumpehuset

Mar 7. Utrecht. Tivoli

Mar 8. Antwerp. Trix

Mar 9. Luxembourg

Mar 10. Oberhausen, Germany

Mar 12. Portsmouth. Pyramids Centre

Mar 13. Warwick. Arts Centre

Mar 14. Leicester. O2 Academy

Mar 16. Edinburgh. Assembly Rooms

Mar 17. Middlesbrough. Empire

Mar 19. Preston. Guild Hall

Mar 20. Hull. City Hall

Mar 21. Sheffield. The Foundry

Mar 23. Isle Of Man. Villa Marina

Mar 24. Liverpool. O2 Academy

Mar 25. Northampton. Roadmenders

Mar 28. Belfast. The Limelight

Mar 29. Dublin. Olympia Theatres