Southern California-based garage rock Velvet Starlings` — wunderkind founding member, singer/songwriter multi-instrumentalist and producer Christian Gisborne, drummer Foster Poling and bassist Hudson Poling — was initially surged as a solo recording project with Gisbourne writing, recording, producing every instrumental part on the project’s 2015 self-titled debut EP, which he released when he was 15. When Gisborne was 17, he released his sophomore EP, 2019’s Love Everything, Love Everyone. Both EPs charted in the top 5 at Speciality Radio and landed at #1 on KROQ’s Locals Only.
Gisborne’s work with Velvet Starlings has also caught the attention of The Kinks’ Dave Davies and acclaimed artist Shepard Fairey, who count themselves as fans of the project, as well as the BBC. Adding to a growing profile, Gisborne won Milwaukee Summerfest’s 2019 Emerging Stage competition, which has led to a Summerfest main stage set on September 17, 2021.
Velvet Starlings highly-anticipated full-length debut Technicolour Shakedown is slated for an August 27, 2021 release through Sound x 3 Recordsr/AWAL/The Orchard with a vinyl release in the States by Kitten Robot. Much like his previously released material Gisborne wrote, produced, engineered and mixed Technicolour Shakedown — in the middle of his living room as a result of pandemic-related restrictions and lockdowns. Sonically, the album’s material draws influence from a number of various sources including early Jack White, Thee Oh Sees and Arctic Monkeys while revealing Gisborne’s own take on the sound, which he describes as “beach fuzz psych with a big cheeky nod to the UK Invasion.” He adds “in the gloom and doom of COVID, I found myself reminiscing all the time about the days when we would wait in line for hours to see our favorite bands. The songs on the first album reflect everything i felt I was missing out on.” Looking forward to 2021 and beyond, Christian Gisborne adds “I think a Rock ‘n’ Roll renaissance is coming after this crazy year of lock down. We’re hoping that a full front-to-back of Technicolour Shakedown will evoke the feeling you get at a rock ‘n’ roll house party — wherever the listener may find himself.”
After completing the album’s material, Gisborne recruited the Poling Brothers to help flesh out the band’s live sound. The Los Angeles-based singer/songwriter, multi-instrumentalist and producer met the Poling Brothers while waiting on line outside of a 2019 Cage The Elephant show. After realizing that they all shared a mutual love of The Who` and Spongebob Squarepants, they found themselves setting up plans to jam at a rehearsal space. Although Gisborne had long hired session and touring musicians, with his friendship with the Poling Brothers growing deeper, he recognized that the next era of the project would feature them as his full-time bandmates.
Technicolour Shakedown’s first single “Back Of The Train” is a swaggering and rousingly anthemic, psych rock stomp centered around fuzzy power chords, thunderous yet murky drums paired with Gisborne’s guttural howls that sounds as though it could have been released in 1964 or 2008 — or yesterday. As Gisborne told Flood Magazine: “The song is about struggling as a musician while taking nothing for granted. ‘Back Of The Train’ centers around a sneaky low note 60s guitar riff and drums so over-compressed it would make The Sonics cringe. I think it’s awful in the best way possible.” He goes on to further describe it as the story “paying dues and making sacrifices while making sure to enjoy the ride along the way.”
Directed by Megan Blanchard, the recently release video for “Back Of The Train” is one part classic Hitchcockian chase meets The French Connection, one part psychedelic trip and one part 120 Minutes MTV-inspired video.
After stints in bands like Kite Flying Society, Saving Twilight, The Weak Ends and The Wonderers throughout the early 2000s, singer/songwriter and multi-instrumentalist Geannie Friedman initially founded Semihelix in Austin, back in 2012 as a solo recording project in which she used drum beats, keyboards for bass lines while accompanying her vocals with guitar. After several lineup changes, the band eventually settled on their current lineup: Friedman (vocals, guitar), Valdemar Barrrera (drums) and Kevin Martin (bass).
Influenced by My Bloody Valentine, The Kinks, Black Tambourine, Sebadoh, The Pixies and Sonic Youth, the Austin-based act have established and cemented a sound that’s one part dream pop, one part 90s psych fuzz and delay with melodic yet loud sounds. The trio’s latest single “New Destination” finds the band crafting a song that to my ears, sounds indebted to New Zealand jangle pop, Katy Goodman’s work with La Sera and acts like Seapony, complete with an infectious and rousingly anthemic hook. But just underneath the sunny vibes, the song tells a tale of a narrator discovering the resilience she’ll need for the slings and arrows of the rest of her life.
“The catalyst behind the idea for this song came from a place where I felt ostracized and bullied in my hometown,” Semihelix’s Geannie Friedman explains. “I wrote about how moving and starting new would help to heal from many experiences of feeling like an outsider.
“Also, having been in relationships with others that weren’t healthy, it was a time for me to learn how to be happy on my own without being dependent on a relationship for happiness. Although I wrote this song over a decade ago when I was in my 20s, it’s a song that I relate to for many stages in my life, where I’m leaving behind and shedding the old, and renewing into someone stronger and resilient.”
Since their formation back in 2010, the Seattle-based indie electro pop act Jupe Jupe — My Young (vocals, synths), Bryan Manzo (guitar, bass, sax), Patrick Partington (guitar), and Jarrod Arbini (drums, percussion) — have released four albums Invaders, Reduction in Drag, Crooked Kisses,and Lonely Creatures, which have helped to firmly establish the act’s sound: dance floor, synth-led, post-punk informed by synth pop and Americana.
Jupe Jupe’s Matt Bayles-produced Nightfall EP was released earlier, and the EP continues their ongoing collaboration with Bayles, who also produced and engineered their last full-length album. Meticulously written over the course of the preceeding year, the five song EP finds the band adding soulful saxophone to material that thematically focuses on yearning and desire.
Over the course of this past year, I’ve written about two of the EP’s singles:
The New Order-like “Leave You Lonely.” The accompanying video meshed three different visual styles – line animation, live footage shot in high contrast negative and a lyric video in a way that draws comparisons to a-ha’s “Take On Me” to mind.
The bring Avalon-era Roxy Music-like ‘How Could We Both Be In Love.” Directed by Dirty Sidewalks‘ Erik Foster, the accompanying moody visual seems to draw from French nouvelle vague and 80s MTV.
Earlier this year, I set up an interview with the members of Jupe Jupe to discuss their Nightfall EP, their influences, the videos for the aforementioned “Leave You Lonely” and “How Could Be In Love,” and how they were all getting along during the pandemic in a rather prototypical JOVM Q&A session. I received the band’s responses a few days after George Floyd’s tragic murder at the hands of Minneapolis police. Understandably, as a Black man, Floyd’s death hit close to home. With police brutaliy, police reform, the Black Lives Matter movement and protests brewing up in major cities across the world, I initially wanted to ask the band a handful of questions related to those particular topics. Unfortunately, those follow-up questions never came up and the Q&A languished in my email inbox for months – without explanation to anyone.
2020 has been difficult. But with Joe Biden’s and Kamala Harris’ Election Day victory over Donald Trump has given me some hope. We have an incoming administration that will be competent, caring and will do everything in their power to make things right through policy and action.
In the meantime, check out the EP and the interview below:
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WRH: Since COVID-19 was declared a pandemic, festivals have been postponed or cancelled outright, artists of all stripes have postponed, rescheduled or cancelled tour dates – and there are a number of artists, who have rescheduled releases of new material. You released a new EP shortly before the pandemic. How has COVID-19 impacted you and your career?
Jupe Jupe: Like so many other bands, we’ve had to cancel quite a few shows following the COVID outbreak. We luckily had our Nightfall EP release show before the lockdowns began, but the only “live” performance we’ve done since February was a live-stream benefit show to help support out-of-work employees at a local club. It was a blast playing again, though we look forward to in-person audiences! We wonder if live streaming will be the norm for bands until next year at least.
Despite the pandemic situation, the EP still received quite a bit of college-station airplay and press coverage, which we’re happy about. Given the scary times everyone is going through, we’re not sweating the lack of live performances. We’ll just ride it out like everyone else. We also hope that the smaller music venues can survive this—that’s something we’re definitely concerned about.
WRH: How have you been holding up? What have you been doing to keep busy? Binge watching anything?
Patrick Partington: I’ve been holding up OK—lucky to still be working from home. I try limit my newsfeed time during the day—though it’s been difficult lately, of course. As far as binge-watching, I’ve finished Ozark, which I love, and now I’ve moved on to a crime documentary series called Trial by Media. When I need some levity, I go with comedies (series and movies)—Hot Tub Time Machine, Superbad, Stripes, Vice Principals, The Righteous Gemstones, etc.
Jarrod Arbini: It varies from day to day, but I’ve finally gotten around to doing some of those home improvements. After 14 years, the refrigerator ice and water dispenser hookup has finally been accomplished. And I’ve discovered a new love for video games!
So before COVID, say that I decided to fly into Seattle. Where would I go to eat and drink, if I wanted to meet and be around locals?
Bryan Manzo: Seattle is a really fun place to visit. It kind of depends on what you’re into or what you’re looking for. When people visit me I tend to offer lots of restaurants, bars, or clubs, but the thing that people seem the most into is just being outside. It’s really remarkable how green the city is. We have mountains to the east and west. Water, water everywhere and forests so thick they’re dark during the day. It’s like Endor. Honestly, I can’t even believe I’m writing this because I’m not really into that. So for me, I guess I’d say the weed stores.
What’s your favorite venue to see shows in Seattle? Why?
PP: I think my favorite venue for larger shows is The Showbox. It fits around 1100 people, the sound is terrific, and pretty much everywhere you stand is a great spot—whether you want to be right up front or in back watching from one of the venue’s bars, which I usually opt for.
JA: Yeah, The Showbox for sure.
How did you get into music?
PP: My older brothers were music-heads, and they turned me on to The Beatles, The Kinks, The Who, The Monkees, Led Zeppelin, and lots of 70’s progressive stuff when I was a little kid. Through my teenage years, I was addicted to a small AM station in Seattle called KJET. That’s how I discovered bands like The Cure, XTC, Psychedelic Furs, The Smiths, and tons of other bands you couldn’t hear on regular FM radio in Seattle. When I first learned guitar at 14, I wanted to be like Pete Townshend—windmilling and leaping around.
My Young: My father is a guitarist and came from a family of musicians. He used to play and sing 60’s folk songs and other old hits like “Ghost Riders in the Sky” to us when we were little kids. When I was 12, I started a punk/new-wave band with my pals in Denver called the Bloody Ear Muffs. I’ve been in various bands since then.
JA: There was always music in our house and from an early age, the drums were fascinating to me. Once I was able to join the 5th grade symphonic band, I was hooked. I bought my first drum kit in the 7th grade and found being in a band and sharing my passion for music with like-minded individuals to be so satisfying.
PP: I gravitate toward a lot of British bands from the 80’s—OMD, New Order, and The Cure. Plus hooky 60’s music.
MY: In addition to the obvious synthpop and post-punk influences, I get inspiration from a larger bag of artists like Jean-Michel Jarre, Kraftwerk, the 90’s WARP catalog, 70’s glam, and 60’s artists like The Kinks, Pink Floyd, Roy Orbison, and The Zombies. And of course, James Bond themes.
JA: Anything with a hook and I’m in!
WRH: Who are you listening to right now?
PP: I’ve been listening to Gorillaz, The Clash, and early Who lately. Wham! and Erasure when I want to be in a good mood quickly. Usually I just shuffle playlists so that I’m surprised. I also listen to First Wave on SiriusXM Radio—I’ve heard all of it, but it’s comforting in these uncertain times.
JA: During COVID, I’ve been trying to run more, and for my run mix I’ve recently added The Magic Group, lots of Kaiser Chiefs, The Goldbergs, and some Tame Impala. To take the edge off some of my ongoing periods of anxiety, I’ve actually been turning toward smooth 60’s Motown stuff with the likes of The Temptations and The Four Tops, among others.
WRH: Are there any acts from Seattle that the outside world should know now and doesn’t? Why?
BM: Yes. There’s a band called The NitWitz. They’re 11 and 12 year olds. One of the members is my kid. Another one of the members is My’s kid. Someone please discover them and get them OUT OF MY GARAGE BECAUSE IT’S SO LOUD! Also, they’re kind of funny.
WRH: How would you describe your sound to those unfamiliar with Jupe Jupe?
Jupe Jupe: We describe our music as dark yet danceable—a “noir cocktail” of crooning vocals over pulsing beats, with guitars and sax that cut across washes of synth.
PP: When people ask me personally what we’re like, I say we try to sound like an updated version of our 80’s new-wave influences.
JA: Definitely a more current take on an 80’s-type vibe. Quite a mixed bag really, but it works!
WRH: Your latest EP, Nightfall continues the band’s ongoing collaboration with Matt Bayles. How has it been to work with him?
Jupe Jupe: Matt’s done an amazing job recording and mixing our last two albums, Nightfall and Lonely Creatures. Though he’s produced many harder bands (Mastadon, He Whose OX Is Gored, Murder City Devils, etc.), he gets our sound completely and we generally don’t have to give him much input, especially when it comes to how he mixes the songs. We bring the tunes in fully written, so that we can get straight into recording. He’s a serious, no-nonsense guy in the studio—and he definitely doesn’t put up with less-than-stellar performances!
WRH: The EP’s material thematically focuses on yearning and desire. How much of the material comes from personal experience – or that from someone you know?
Jupe Jupe: We usually write the lyrics as a group. Though it takes longer this way than it would with one person doing all the heavy lifting, we feel like we end up with stronger material. Everyone’s input is probably based on their own experiences, but we usually don’t go into it with an individual’s specific story in mind (“Hey, this thing happened to me—let’s write a song about it”). We might offer anecdotes that lend themselves to a song, but after the music is written, we pick subject matter that we think will work best with the vibe. For this batch of songs, “yearning and desire” seemed to fit really well!
While much of the EP’s material continues the synth-based, hook-driven sound that has won you attention across the blogosphere and elsewhere, EP single “How Could We Both Be in Love” features the addition of saxophone. It may arguably be the most Avalon-era Roxy Music track of the EP – and it’s one of my favorite off the entire EP. How much did Roxy Music influence it? What’s the song about?
MY: Bryan and I started playing music together in an Austin prog band called Maximum Coherence During Flying, in which Bryan played both guitar and sax. We always wanted to bring it back into our songs, but kept forgetting to do it. For the Nightfall EP, Bryan proposed how it would add a new element to the direction we were already heading in. We’re both huge Roxy Music fans (especially their first four records), and it was exciting and inspiring to bring it back into the mix.
PP: Essentially, that song is about being in a relationship with a narcissist.
How did the videos for “How Could We Both Be in Love” and “Leave You Lonely” come about?
Jupe Jupe: For “How Could We Both Be in Love,” we teamed up with our friend Erik Foster of the great Seattle band, Dirty Sidewalks. He directed our last two videos and he’s always done a spectacular job. We usually start by sending him a rough mix and the lyrics, then discussing some broad ideas over beers. For this video, we really didn’t have to offer any guidance. He’s extremely creative and talented at matching the vibe of the video to the song. He did some great stop-motion and visual effects—he always surprises us. It’s an awesome partnership.
”Leave You Lonely” was created by two of our band members, Bryan and Jarrod, using a combination of hand drawings, still photos, lyric text, and shifting color palettes to capture the movement and feel of the song.
WRH: The band has been together for a decade now, which is an eternity in contemporary music. What do you ascribe to your longevity? What advice, if any do you have for bands trying to make a name for themselves?
PP: We’re all best friends and we’ve worked together in various bands over the past 20 years, so we know each other’s strengths and idiosyncrasies really well. Plus, with that type of history, it’s easier to be honest—as opposed to walking on eggshells with someone you don’t know well. Apart from music, we just like hanging out!
As far as advice for bands trying to make a name, I’d say figure out your sound, and continue to evolve it! Don’t worry about what’s popular or the next trend. Hopefully you can break through the clutter by sticking to your convictions and continuing to improve as a band. Also, it helps to share band duties—rather than one person doing all the writing, promo, booking, etc. It makes it much more fun and keeps everyone invested. And when you play live, be sure to promote the hell out of every show and make sure the other bands on the bill do too.
JA: I think our longevity is due to the lack of inter-band drama and a shared love of music and playing live. It also helps that everyone brings a different expertise and perspective to the group —outside of the actual music. This really helps us to get through all the less-than-glamorous band duties that come along with being a musician.
What’s next for you?
Jupe Jupe: Bryan and My are currently working on new song ideas individually, and we check in with each other for a “virtual” band happy hour once a week. We’re really just playing things by ear during the pandemic—it’s difficult to make concrete plans right now, but we know for sure we’ll be releasing new music eventually!
Born to an English father and Italian mother, Paris-born and-based composer, multi-instrumentalist, electronic music producer and electronic music artist, Frank Woodbridge grew up in a passionate, musical household: at an early age, the Woodbridge family spent their evening listening to their vinyl record collection in front of their huge stereo. “My father loved The Kinks, The Beatles, The Bee Gees and Al Jarreau. My mother introduced me to Stan Getz,Carole King and the romantic refrains of the crooners that reminded her of her childhood,” Woodbridge recalls fondly in press notes. “From the age of ten, I was already deep into The Cure, Depeche Mode, U2. My teenage neighbor had decided to perfect my musical education. And then, Bernard Lenoir on Inter, the many weekends in London . . . I was an indie kid, that was my life.”
After spending many years in rock and electro pop groups as a singer/songwriter and self-taught multi-instrumentalist, Woodbridge has spent the past few years focusing on composing for films, the web, TV, as well as sound design for events and stage music for theater. Currently, Woodbridge works with Andre Manoukian on his daily chronicle for the Daphne Burki-hosted TV show, Je T’aime, ETC — and he wrote a comic book Inversion, which follows its composer protagonist.
2020 has been a busy year for the French artist: companies like Kenzo Parfums and Oris Watches commissioned him to compose music for web campaigns and for a series of 10 films. He also composed the soundtrack for Florie Martin and Melissa Theuriau’s documentary Seine Saint DenisStyle, which aired on French station C8 earlier this year. Woodbridge also released an album of original compositions LOLA LIFE DEATH ETC earlier this year.
I’ve written about two of LOLA LIFE DEATH ETC’s singles so far:
“Lola dans le bus” a melancholic and cinematic M83-like track specially composed to drive to or daydream along with, inspired by personal experience: Woodbridge ran into an ex-girlfriend he had lost contact with. He saw her on a bus and waved at her but unfortunately, she didn’t see her. And as a result, the song is punctuated with a profound sadness over a missed connection, as well as nostalgia for something you can’t ever really get back.
“To The End” is an optimistic, motorik-groove driven track, reminiscent of New Order and From Here to Eternity and From Here to Eternity . . . andBack-era Giorgio Moroder As Woodbridge said at the time “It is music driven with an urge, a dream for something else, a lot of energy and yet peacefulness coming from inner strength and will, I composed it thinking of movies I love, where people are at a turning point of their lives knowing it or not, and heading for their future. Although slightly melancholic, it has a positive light and effect.”
LOLA LIFE DEATH ETC‘s lats single “Je me souviens de tout,” (which translates into English as I remember it all)” is a dreamy, downtempo track centered around shimmering synth arpeggios and thumping beats paired with a a heartfelt mantra as its main lyric, a lyric that simply says ” Love, in the end, is just love.” Interestingly, the track is one of the few off the album with lyrics — and was specifically written as a way to “escape gravy and access an inner light” as Woodbridge explains in press notes.
Born to an English father and Italian mother, Paris-born and-based composer, multi-instrumentalist, electronic music producer and electronic music artist, Frank Woodbridge grew up in a passionate, musical household: at an early age, the Woodbridge family spent their evening listening to their vinyl record collection in front of their huge stereo. “My father loved The Kinks, The Beatles, The Bee Gees and Al Jarreau. My mother introduced me to Stan Getz,Carole King and the romantic refrains of the crooners that reminded her of her childhood,” Woodbridge recalls fondly in press notes. “From the age of ten, I was already deep into The Cure, Depeche Mode, U2. My teenage neighbor had decided to perfect my musical education. And then, Bernard Lenoir on Inter, the many weekends in London . . . I was an indie kid, that was my life.”
After spending many years in rock and electro pop groups as a singer/songwriter and self-taught multi-instrumentalist, Woodbridge has spent the past few years focusing on composing for films, the web, TV, as well as sound design for events and stage music for theater. Currently, Woodbridge works with Andre Manoukian on his daily chronicle for the Daphne Burki-hosted TV show, Je T’aime, ETC — and he wrote a comic book Inversion, which follows its composer protagonist.
2020 has been a busy year for the French artist: a companies like Kenzo Parfums and Oris Watches commissioned him to compose music for web campaigns and for series of 10 films. He also composed the soundtrack for Florie Martin and Melissa Theuriau’s documentary Seine Saint DenisStyle, which aired on French station C8 earlier this year. Additionally, Woodbridge’s latest album of original compositions LOLA LIFE DEATH ETC was released earlier this month.
Now, if you had been frequenting this site earlier this year, you may recall that I wrote about, the Uppermost and M83-like “Lola dans le bus,” a melancholic yet cinematic track specifically composed to drive or daydream along with that was actually inspired by personal experience: Woodbridge ran into an ex-girlfriend he had lost contact with. He saw her on the bus and waved at her but unfortunately, she didn’t see him. So as the result the song is punctuated with the sadness of a missed connection, nostalgia for old times and of unfinished business. LOLA LIFE DEATH ETC‘s latest single “To The End” is a motorik-groove driven track centered around shimmering synth arpeggios and thumping beats and a fairly optimistic air. Sonically speaking, the track sounds like a slick synthesis of New Order and From Here to Eternity and From Here to Eternity . . . and Back-era Giorgio Moroder.
“It is music driven with an urge, a dream for something else, a lot of energy and yet peacefulness coming from inner strength and will,” Woodbridge says of his latest single. “I composed it thinking of movies I love, where people are at a turning point of their lives knowing it or not, and heading for their future. Although slightly melancholic, it has a positive light and effect.”
Born to an English father and Italian mother, the emerging Paris-born and-based composer, multi-instrumentalist, electronic music producer and electronic music artist, Frank Woodbridge grew up in a passionate, musical household: at an early age, the Woodbridge family spent their evening listening to their vinyl record collection in front of their huge stereo. “My father loved The Kinks, The Beatles, The Bee Gees and Al Jarreau. My mother introduced me to Stan Getz,Carole King and the romantic refrains of the crooners that reminded her of her childhood,” Woodbridge recalls fondly in press notes. “From the age of ten, I was already deep into The Cure, Depeche Mode, U2. My teenage neighbor had decided to perfect my musical education. And then, Bernard Lenoir on Inter, the many weekends in London . . . I was an indie kid, that was my life.”
After spending many years in rock and electro pop groups as a singer/songwriter and self-taught multi-instrumentalist, Woodbridge has spent the past few years focusing on composing and composition for films, the web, TV games, sound design for events and stage music for theater. Currently, the French composer, multi-instrumentalist, electronic music producer and electronic music producer works with Andre Manoukian on his daily chronicle for the Daphne Burki-hosted TV show,. Je T’aime, ETC — and he wrote a comic book Inversion, which follows its composer protagonist.
Centered around layers of shimmering synth arpeggios, thumping beats, Woodbridge’s latest single, the cinematic “Lola dans le bus” recalls JOVM mainstays Uppermost and M83— but with a dreamy yet melancholy air. Woodbridge explains that the track is an electronic track he composed to drive or daydream along with. He adds that the song is about running into an ex-girlfriend he lost contact with: he saw her on a bus and waved at her but she didn’t see him. So as a result the song has the sensibility of a missed connection that you’ll never get back — and of unfinished business.
Currently comprised of the band’s founding duo Julian Ducatenzeiler (vocals, guitar) and Tony Malacara (bass), along with newest members Shane Stotsenberg (guitar), Cameron Gartung (drums) and Ignacio Gonzalez (organs), the Los Angeles-based garage rock/psych rock act Mystic Braves can trace their origins to when Ducantenzeiler and Malacara formed the band in San Diego in 2011. Since then the band has gone through a series of lineup changes but their current lineup was solidified in 2013 when Ducantenzeiler and Malacara relocated to Los Angeles, where they recruited Stotsenberg and Gartung. As a quartet featuring Ducatenzeiler, Malacara, Stotsenberg and Gartung, the band had begun writing material and touring while searching for a full-time organist when they found Gonzalez.
Mystic Braves’ fourth album, The Great Unknown is slated for an August 17, 2018 release through Lolipop Records, and the soon-to-be released album found the band recruiting Kyle Mullarky, who has worked with The Growlers and The Allah-Las. The band spent a week at Mullarky’s Topanga Canyon, CA studio exploring new sounds and approaches and cutting demos, and as the band’s Julian Ducatenzelier says in press notes, “We just wanted to work with him to help shape the songs creatively, but he ended up being so great to work with that we just stuck with him.”
After recording somewhere between 30-40 demos at Mullarky’s studio, the band returned to their hometown, holing up in Lolipop Records‘ new office/studio/living quarters in the Boyle Heights section to record the final versions of the songs that would comprise The Great Escape. “We spent three days a week at Lolipop for about a month and a half, all living together, writing, recording, grilling, drinking too much tequila and coffee,” Ducatenzelier recalls. “We decided to get a little experimental—some of the songs came out sort of country and some were super funky, almost like James Brown.”
Sonically, the material channels The Seeds, The Zombies, The Kinks and others — but while earnestly maintaining a unique sense of individuality, which Ducatenzelier attributes to the album’s deeply personal nature. “A lot of this record comes from a breakup,” he explains. “It deals with the end of past relationships, with knowing that things should end, and figuring out how to cope with the loss.”
The album’s latest single “Under Control” is a shimmering bit of lysergic-tinged bubblegum pop centered around some timeless rock ‘n’ roll tropes: the inevitable end of a romantic relationship, the desperate attempt to move forward as time passes by, the acknowledgement that many things in life are unresolved and unfulfilled — and of life’s fleeting nature. Of course, the song naturally has the band balancing between a swaggering and hook-laden arrangement reminiscent of The Castaways “Liar Liar” with an earnest and familiar heartache.
The members of Mystic Braves are currently touring across Europe to support their new album, which they’ll follow up with al lengthy US tour throughout the fall that includes a September 15, 2018 stop at Rough Trade. Check out the tour dates below.
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 French 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.
Released last year, the duo’s Istanbul Is Sleepy EP was initially recorded at their home studio and finished at Anton Newcombe‘s Berlin-based studio, and the EP’s title track and lead singer “Istanbul Is Sleepy” found the French duo collaborating with the The Brian Jonestown Massacre founder and frontman, who contributed both his imitable vocals and guitar to a scuzzy, garage rock track that reportedly was influenced by Rain-era The Cult. And as the members of The Limiñanas recalled in press notes, the collaboration can trace its origins to 2016 or so, when Mojo Magazine asked them to contribute a track to a Kinks tribute compilation. “We chose ‘Two Sisters,’” Lionel explains in press notes. “Marie and I were thinking for the vocal part, it would be great to approach Anton Newcombe, having opened for The Brian Jonestown Massacre at Le Trianon in Paris. The work began like that. We had an album to record and we decided to finish it with him. During the Christmas week we took our demos, flew to Berlin and recorded at Anton’s studio. Six days later we had a finished album
“Shadow People,” the first official single off the duo’s Twisting the Shadow People, which was released earlier this year, found the duo collaborating with French actress Emmanuelle Seigner and Renaud Picard, the frontman of Hair and the Iotas on a slow-burning and meditative track that featured a hazy, dream-like hook. “Dimanche,” Shadow People’s latest single is a chilly and menacing track that has the band collaborating with Bertrand Belin who delivers lyrics in a cool and detached French over pulsating synths, a motorik-like groove and twangy guitar chords — and interestingly enough, the latest single reveals a band that’s subtly expanding upon their sound, while continuing their focus on the dichotomy between dark and light in the moody fashion that captured the attention of critics and fans internationally.
Directed by Aurelien Richter, the recently released video for “Dimanche” was shot gorgeously and artful black and white that nods to film noir and Quentin Tarantino films and the visuals emphasize the song’s overall moody vibe. Throughout you’ll see the members of The Limiñanas with Emmanuelle Seigner, Foulke de Boixo, who has made frequent appearances in their videos and the Betrand Belin.
The Limiñanas are a Perpignan, France-based duo, who have developed a reputation as one of France’s most renowned psych rock acts — and for a sound that comfortably straddles the boundaries of psych rock, shoegaze and and yé-yé, as their songs typically feature arrangements rooted around fuzzy, distorted power chords, reverb heavy hooks and effortlessly cool vocals. And while clearly being indebted to 60s guitar pop and psych rock, the duo manage to capture something quintessentially French.
Now, as you may recall, the duo’s Istanbul Is Sleepy EP was initially recorded at the duo’s home studio and finished at Anton Newcombe‘s Berlin-based studio, and unsurprisingly, the EP’s title track and first single “Istanbul Is Sleepy” found the French duo collaborating with the The Brian Jonestown Massacre founder and frontman, who contributed both his imitable vocals and guitar to a scuzzy, garage rock-like track with the sort of underlying menace reminiscent of The Black Angels — although interestingly enough, Newcombe was reportedly inspired by Rain-era The Cult.
As the members of The Limiñanas recall in press notes, the collaboration can trace its origins to last year, when Mojo Magazineasked them to contribute a track to a Kinks tribute compilation. “We chose ‘Two Sisters,’” Lionel explains in press notes. “Marie and I were thinking for the vocal part, it would be great to approach Anton Newcombe, having opened for The Brian Jonestown Massacre at Le Trianon in Paris. The work began like that. We had an album to record and we decided to finish it with him. During the Christmas week we took our demos, flew to Berlin and recorded at Anton’s studio. Six days later we had a finished album.”
The French psych rock duo’s latest single “Shadow People” is a jangling, slow-burning and almost meditative track with a hazy and dreamy hook that features a guest spot from French actress Emmanuelle Seigner. As Lionel explains in press notes, “The shadow people are an American myth, they are described as furtive apparitions, comparable to ghosts observable from the corner of the eye. These ‘spirits’ accompany throughout your all life, a sort of paranormal glue stuck to you . . . Emmanuelle came to visit us in the South of France, and we asked her to sing ‘Shadow People’ with Renaud Picard, the singer from Hair and the Iotas. We recorded it in just a few minutes over an afternoon…”.
Directed by frequent collaborator Aurelian Richter, the recently released video features the members of The Limiñanas, along with Emmanuelle Seigner, Renaud Picard, and Foulke de Boixo, who made a prominent appearance in the “Istanbul Is Sleepy” video. Shot in and around The Limiñanas’ Cabestany, France, Christmas-light strewn studio, the video manages to consist of a dichotomy between brilliant, summery light and murky shadow — with footage of Emmanuelle Seigner alternating between Super 8 color film-like sequences in a field and sultry, film noir-like sequences of Seigner strutting and grooving to the song, while Picard in night googles in set in the dark with the band. Naturally, the song continues the band’s reputation for pairing their material with bold and hazily lysergic visuals; but interestingly enough, the video comes on the heels of the duo announcing that their forthcoming full-length effort, Twisting the Shadow People is slated for a January 19, 2018 release through Because Music — and of course, the album will include “Shadow People,” from which the album derives its title.
The Limiñanas are a Perpignan, France-based duo, who have developed a reputation as one of France’s most renowned psych rock acts — and for a sound that comfortably straddles the boundaries of psych rock, shoegaze and and yé-yé, as their songs typically feature arrangements rooted around fuzzy, distorted power chords, reverb heavy hooks and effortlessly cool vocals. And while clearly being indebted to 60s guitar pop and psych rock, the duo manage to capture something quintessentially French.
Now, as you may recall, the duo’s soon-to-be released effort Istanbul Is Sleepy was initially recorded at the duo’s home studio and finished at Anton Newcombe’s Berlin-based studio, and unsurprisingly, the EP’s title track and first single “Istanbul Is Sleepy” found the French duo collaborating with the The Brian Jonestown Massacre founder and frontman, who contributed both his imitable vocals and guitar to a scuzzy, garage rock-like track with the sort of underlying menace reminiscent of The Black Angels — although interestingly enough, Newcombe was reportedly inspired by Rain-era The Cult.
As the members of The Limiñanas recall in press notes, the collaboration can trace its origins to last year, when Mojo Magazine asked them to contribute a track to a Kinks tribute compilation. “We chose ‘Two Sisters,’” Lionel explains in press notes. “Marie and I were thinking for the vocal part, it would be great to approach Anton Newcombe, having opened for The Brian Jonestown Massacre at Le Trianon in Paris. The work began like that. We had an album to record and we decided to finish it with him. During the Christmas week we took our demos, flew to Berlin and recorded at Anton’s studio. Six days later we had a finished album.”
The French psych rock duo’s latest single “Shadow People” is a jangling, slow-burning and almost meditative track with a hazy and dreamy hook that features a guest spot from French actress Emmanuelle Seigner. As Lionel explains in press notes, “The shadow people are an American myth, they are described as furtive apparitions, comparable to ghosts observable from the corner of the eye. These ‘spirits’ accompany throughout your all life, a sort of paranormal glue stuck to you . . . Emmanuelle came to visit us in the South of France, and we asked her to sing ‘Shadow People’ with Renaud Picard, the singer from Hair and the Iotas. We recorded it in just a few minutes over an afternoon…”.
