Tag: The Posies

Now, if you’ve been frequenting this site for some time, you may be familiar with the Los Angeles, CA-based JOVM mainstays Sego. And as you may recall, the indie act, comprised of the Mapleton, UT-born duo Spencer Peterson and Thomas Carroll, eventually relocated to Los Angeles to seriously purse careers in music — and as soon as the duo landed in Los Angeles, Peterson and Carroll quickly developed a reputation for employing contemporary production techniques while maintaining an eccentric and human touch that drew upon several disparate sources. “Townland,” the first single I wrote about reminded me of Talking Heads and Superhuman Happiness, while  “Obscene Dream” off their full-length debut, Once Was Lost Now Just Hanging Out was reminiscent of Sound of Silver-era LCD Soundystem.

Last December, the duo closed out 2017 with “Sucker/Saint,” which found the duo  adopting a jangling, hook-driven, 90s grunge rock-inspired sound, reminiscent of Pixies, The Posies and others while revealing some rather ambitious songwriting, as the duo nodded at psych rock, krautrock and guitar pop. “Cigarette Kids,” the Los Angeles-based duo’s first single of 2018 continues in a somewhat similar vein as its immediate predecessor as it features a jangling and shuffling hook; however, there this particular song seems to have more of a dreamy, almost krautrock vibe thanks to atmospheric synths and a motorik-like groove. And yet, underlying the dreamy vibes of the entire thing, the song reportedly dives further into Spencer Petersen’s relationship with his adopted hometown and its day-to-day culture — and in some way, it’s a bemused view an outsider, who can’t figure out why the people he’s around say the things they say or do the things they do.

The JOVM mainstays will be touring throughout March and it’ll include some SXSW sets, as well as a hometown show in Provo, UT. Check out tour dates below.

TOUR DATES
3/10: Tucson, AZ @ Flycatcher+
3/14: Austin, TX @ SXSW
3/15: Dallas, TX @ Not So Fun Wknd
3/16: Austin, TX @ SXSW
3/17: Norman, OK @ Opolis^
3/19: Taos, NM @ Taos Mesa Brewing
3/20: Fort Collins, CO @ Surfside 7#
3/22: Provo, UT @ Velour
3/26: Seattle, WA @ Vera Project*
3/27: Portland, OR @ Bunk Bar*
3/29: San Francisco, CA @ Bottom of the Hill*
4/8: Las Vegas, CA @ Emerge Impact + Music
+ with Fenster
^ with Dick Stusso
# with Pujol
* with Dante Elephante

 

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

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

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

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

Over the past month or so, I’ve written a bit about the  Los Angeles, CA-based indie rock duo Umm. Comprised of Stefanie Drootin, best known for stints in The Good LifeBig Harp and in the backing bands of She & Him and Bright Eyes, and her Big Harp bandmate (and her spouse), Chris Senseney, the Southern California duo specialize in a decidedly 90s, alt-rockinspired sound, full of fuzzy power chords, plaintive and swooning harmonizing and anthemic hooks reminiscent of The BreedersThe Posies and others. And in that same month or so period, you may recall the 120 Minutes-like “I’m in Love,” and the dark yet breezy “Black Summer” off the duo’s soon-to-be released debut together, Double Worshipper.

Double Worshipper‘s third and latest single is the slow-burning and moody ballad “Yeah I Want It,” and while further cementing their growing reputation for crafting anthemic, 90s alt rock-inspired tracks with rousing hooks; but what makes this particular track different is its emphasis on swooning boy-girl harmonies and a dreamily wistful melody, which makes the song the most summery, if not most dream pop-leaning song they’ve released to date.

 

 

 

 

Last month, I wrote about the  Los Angeles, CA-based indie rock duo Umm. Comprised of Stefanie Drootin, best known for stints in The Good Life, Big Harp and in the backing bands of She & Him and Bright Eyes, and her Big Harp bandmate Chris Senseney, the duo specialize in an alt rock-inspired sound, complete with fuzzy power chords, plaintive and swooning harmonizing and anthemic hooks reminiscent of The Breeders, The Posies and others; in fact, as a child of the 80s, who started to come of age in the 90s, “I’m in Love,” off the duo’s soon-to-be released full-length Double Worshipper instantly reminded me of countless hours watching 120 Minutes, making mixtapes of my favorite songs off the radio, spending even more hours in record stores and trading cassette tapes with friends.  Interestingly enough, the album’s latest single “Black Summer” will further cement the duo’s growing reputation for crafting 90s alt rock inspired material; but in the case of their latest single, the song possesses a breeziness that underlies both the dark lyricism and anthemic nature of the song.

 

 

Comprised of Stefanie Drootin, best known for stints in The Good Life, Big Harp and in the backing bands of She & Him and Bright Eyes, and her Big Harp bandmate Chris Senseney, the Los Angeles, CA-based indie rock duo Umm specialize in a sound that features fuzzy power chords, plaintive and swooning pop-leaning harmonizing and anthemic hooks reminiscent of The Breeders, The Posies and others as you’ll hear on “I’m in Love,” the latest single off the duo’s forthcoming full-length debut Double Whisper. Certainly, as a child of the 80s, who started to come off age in the 90s, “I’m in Love” reminds me of making mixtapes, dubbing my friends tapes and making dubs for friends and spending countless hours in record stores.

 

 

Initially forming under the name Apteka, the Chicago, IL-based psych rock quartet Pink Frost, currently comprised of founding members Adam Lukas (vocals, guitar) and Paige Sandilin (guitar) and newest members Alex Shumard (bass) and Jesse Hozeny (drums), have released 2011’s debut Gargoyle Days (under the name Apteka) and 2014’s Sundowning to critical praise both locally and nationally from  Pitchfork, SPIN Magazine, Noisey, Magnet Magazine, and Chicago Reader for a sound that had been compared favorably to RIDE, Smashing Pumpkins, Dinosaur, Jr. and Deerhunter. And adding to a growing national profile, the band had material from Sundowning placed in the major motion picture, The Lookalike and TV series such as The Vampire Diaries and CSI: Miami.

Now, if you had been frequenting this site over the past 2 years or so, you may recall that the Chicago-based band released a painstakingly remixed and re-mastered edition of their debut effort, from the original analog masters to better reflect their live sound at the time — and with artwork reflecting the band’s name change, as a both a metaphorical and literal rebirth. And at the time, I wrote about Gargoyle Days‘s second single, the seemingly  The Posies’Ontario,” Foo Fighters‘ “This Is A Call” and The Black Angels’Telephone“-inspired “Where Days Go.” However, four years have passed since a full-length album of original material from the critically applauded, Chicago-based psych rockers and in that time, they’ve gone through a series of changes that have influenced the band’s songwriting approach, their overall sound and the material’s thematic concerns. As I mentioned earlier, the band went through a massive lineup change in which the band’s newest members Shumard and Hozeny take prominent roles — and as the band’s Adam Lukas explains in press notes, the album overall addresses a collective sense of abrupt changes. “There is a sentimentality or a sense of loss that permeates most of the songs,” Lukas says. “Whether it’s the loss of truth, the ones you love, your place in the universe, or general sense of meaning in changing landscapes.”

New Minds, the band’s latest album is slated for a June 16, 2017 release and the album reportedly finds the band’s material at points becoming much more introspective — and while the more straight ahead rock-leaning material manages to be heavier and darker, their more spacey, shoegazer-like material manages to be much more introspective and with more delicate melodies. “Bare Roots,” New Minds‘ first single is a power chord-based barn-burner that sounds as though it draws from Black Sabbath and Led Zeppelin, complete with an anthemic hook. And interestingly enough, the song may be the most urgent and forceful song they’ve released to date, echoing our most urgent and forceful time.

If you’ve been frequenting this site for some time, you’d likely know that I’m often multi-multitasking while working. A fair number of posts come about while watching the New York Yankees, the New York Giants or the New York Rangers or some crime show on Investigation Discovery. Yesterday, I was listening and writing a post while watching the Los Angeles Angeles of Anaheim vs. New York Yankees game when the London, UK-based indie rock quintet Heavy Heart‘s latest single “Pretty Thing” came up in the related artists list on Soundcloud. And I was immediately drawn to the lush, melodic, and anthemic, power chord and propulsive drumming-based 90s alt rock sound that should remind the listener of several acts including Pixies, A Northern Soul-era The Verve, The Posies and others; in fact, as a result, the British quintet has started to receive international attention as they’ve received some breathless praise from a number of blogs, have played shows in London, Barcelona and New York — and in the middle of a song-a-month project, which will likely garner even more attention.

 

 

 

 

 

 

 

 

 

 

 

 

 

Last night, I learned that JOVM has had readers and viewers from over 117 countries across the world — this year. 117! I’m honored, flattered and  incredibly humbled that my childhood obsession with music and my labor of love have become a part of so many people’s lives. With 2015 coming to a close, I want to thank you, dear friends for letting me come into your screen and hopefully bring a little bit of joy, wonder and meaning into your lives. And if I’ve done that, I’ve been wildly successful in ways that I never would have dreamt.

This month’s playlist comes a couple of days early, but don’t let that faze you much. In typical JOVM fashion, the December playlist is wildly eclectic — and touches upon several decades of artists and songs both known and obscure. You’ll come across Eric B. and Rakim, R.E.M., Tom Petty and the Heartbreakers, The Posies, Foo Fighters, The Smiths, JOVM mainstays The Black Angels, Johnny Cash, June Carter Cash, Patsy Cline, Nancy Sinatra, The Fixx, Pearl Jam, INXS, The Verve, New Order, Big Daddy Kane, Pink Floyd, Peter Gabriel, Michael Jackson, Los AngelesLine & Circle, shoegaze pioneers RIDE,  the club-rocking sounds of Neon Indian, Cameo, Twin Limb, the fantastic Charles Bradley, Black Sabbath, and a tribute to Motorhead‘s Lemmy Kilmister. And that’s just off the top of my head. Enjoy!

Frequently compared to RIDE, Smashing Pumpkins, Dinosaur, Jr. and Deerhunter, the critically praised Chicago, IL-based quartet Pink Frost originally formed under the name Apteka — and as Apteka, the quartet recorded their debut effort Gargoyle Days on analog tape before releasing the album back in 2011 to critical praise; the album landed on Time Out Chicago‘s Best of 2011 List, as well as several others. After changing their name to Pink Frost, the quartet’s 2014 sophomore effort, Sundowning was released to critical praise from nationally renowned media outlets including Pitchfork, SPIN Magazine, Noisey, Magnet Magazine, and Chicago Reader. And adding to a growing national profile, material from Sundowning appeared in The Lookalike and TV series such as The Vampire Diaries and CSI: Miami, among others.

The Chicago-based quartet will be releasing a painstakingly remixed and remastered update of the original analog masters, which reportedly will not only pack much more punch, but will also be representative of the band’s live sound. Of course, with new artwork reflecting the band’s change of name, the band intends for the re-release of their debut to be a metaphorical and literal rebirth. (Interestingly, the members of Pink Frost have been incredibly busy of late as they’ve also been busily recording the follow-up to Sundowning and Traitors EP with Gregoire Yeche at Steve Albini’s Electrical Audio Studios.)

The re-released album’s second and latest single “Where Days Go” is an power-chord based song with enormous, anthemic hooks that sounds as though it were inspired by 90s alt rock and shoegaze. I’m reminded quite a bit of The Posies‘ “Ontario,” Foo FightersThis Is A Call” and The Black Angels‘ “Telephone” as “Where Days Go” possesses a similar forcefulness and mosh-pit ready feel while being incredibly radio friendly.