Tag: The Smiths

New Video: Watch the Members of Rising Aussie Indie Act RVG Star in a Troma Films-like Horror Film

Over the past few months, I’ve written a bit about Adelaide, Australia-born Melbourne, Australia-based singer/songwriter Romy Vager and her rapidly rising band RVG. Now, as you may recall Vager was a teenaged goth kid runaway who left her hometown of Adelaide and headed to Melbourne. Upon her arrival in her new city, Vager joined her first band Sooky La La, a project that crafter material centered around anger and discordance — and as a result, the band was largely misunderstood, routinely cleared rooms and never found much of a following. Eventually, the band split up. But it resulted in Vager committing herself to write songs that people would actually listen and listen to by attempting to do what countless other aspiring songwriters try (and hope to) do: match feelings of alienation, loneliness, heartbreak and feeling misunderstood with introspection, melody and rousing and soul-stirring hooks and refrains. 

For a while, Vager wound up living at The Bank, an erstwhile recording, rehearsal and performance space that took over an old bank building in Preston, Australia, a suburb about six miles from Melbourne. The Bank was a scene unto itself, featuring a handful of bands that would soon become acclaimed, including Jalala, Gregor and Hearing, who at the time, all played, practiced and lived there. Living in such a space, surrounded by musicians, who were constantly working and honing their work was profoundly inspiring to Vager. 

In September 2015, Vager launched a tape of solo material that hadn’t actually been pressed and landed her first solo show at The Bank’s downstairs performance space. For her live solo debut, Vager recruited Drug Sweat’s and The Galaxy Folk’s Angus Bell, her Bank neighbor, Gregor’s and Hearing’s Reuben Bloxham and Rayon Moon’s Marc Nolte to be a one-off backing band. But once they began playing together, they all realized — without ever having to say it aloud — that they needed to continue as a band. Shortly after that show, they initially formed as Romy Vager Group before shortening it to RVG.

RVG’s 2017 full-length debut A Quality of Mercy was recorded live off the floor at Melbourne’s beloved and iconic rock ‘n’ roll pub, The Tote Hotel. Initially released to little fanfare — no press releases, no music videos, no press photos of the band or any significant press push, the album’s material was heavily inspired by The Go-Betweens, The Soft Boys and The Smiths and prominently featured Vager’s passionate and achingly vulnerable vocals. Much to the band’s surprise, their full-length debut received attention and praise across their native Australia and elsewhere. The album caught the attention of Fat Possum Records, who signed the band and re-issued A Quality of Mercy, which led to a much larger profile internationally.

Building upon a growing profile, the band then went on world tours with Shame and Kurt Vile. Late last year, the band released the Victor Van Vugt-produced single “Alexandria.” Written as a response to the immediate aftermath of Brexit and Trump, the song is appropriately urgent and ardent. Featuring jangling guitars, pummeling drums, a rousingly anthemic hook and Vager’s earnestly plaintive and gravely howl, the song finds the band gaining a subtle studio sheen but without scrubbing the grit and honesty that has won them attention.

COVID-19 pandemic has put the entire known world on an uneasy and indefinite hiatus but the band still hopes that this year will be a momentous year for them: earlier this year, they signed to Fire Records, who will be releasing their highly-anticipated sophomore album Feral on April 24, 2020 throughout the world — excluding Australia and New Zealand, where the album will be released through their longtime label home Our Golden Friend. Immediately after signing to Fire Records, the band released Feral’s second single, the devastatingly earnest and heartbreaking ballad “I Used to Love You.” Centered around a universal tale of suffering in the aftermath of an embittering breakup, the song’s proud and defiant narrator reclaims herself and her life — but while acknowledging that something important to her and her life story had to come to an end. 

Feral’s second and latest single “Christian Neurosurgeon” is a decidedly New Wave-like song centered around shimmering and jangling guitars, enormous and rousingly anthem hooks and Vager’s guttural growl — and while sonically recalling Heaven Up Here-era Echo and the Bunnymen, the song as Vager explains in press notes is “a very simple song about cognitive dissonance. It’s not just a song about bagging Christianity, it’s more about how we have to hold onto certain ideas to be able to survive, even if they’re not true.” 

Directed by Lazy Susan Productions’ Caity Moloney and Tom Mannion, the recently released video for “Christian Neurosurgeon” is a twisted Troma Films-like nightmare that features each of the band’s members: Romy Vager playing a brain that refuses to die, Marc Nolte as a demented and mad scientist and Reubean Bloxham and Isabele Wallace as his faithful and unquestioning assistants. 

“The video was very fun to make for us and hopefully the band too — even though we put them in some pretty weird situations,” Lazy Productions’ Caity Moloney and Tom Mannion recall in press notes. “We just embraced the song and went full surgical horror, using hand developed black and white 16mm film so the video feels almost as lo fi as the medical operation RVG are running in it. It was shot by our DOP Jesse Gohier-Fleet, who did an amazing job making every frame as spooky as possible. We’ve watched the video a lot and still laugh every time so thanks to RVG for bringing the comedy gold!”

New Video: Salt Lake City’s Choir Boy Releases a Mischievous 80s Influenced Visual for Shimmering Pop Confection “Complainer”

Fronted by its Cleveland-born, Salt Lake City-based founder, frontman and creative mastermind, singer/songwriter Adam Klopp, the rising indie pop act Choir Boy derives its name from an insult that was given to Klopp in his early teens when he fronted some of his earliest bands. Given Klopp’s religious upbringing and angelic voice, the insult at the time, may have been both fair and fitting. 

After graduating high school, Klopp left Ohio for college in Utah. Although, his college career was short-lived, he left religion behind and quickly integrated into Provo’s and Salt Lake City’s underground music and art scenes, eventually starting Choir Boy. With the release of the project’s full-length debut, 2016’s Passive With Desire, Klopp’s work drew comparisons to Scott Walker, Kate Bush and Talk Talk.

Klopp’s Choir Boy debut won the attention of Dais Records, and building upon a growing profile, he released “Sunday Light” in 2018, which was followed by a reissue of Passive With Desire on vinyl and CD. Recently, Klopp has filled out the band with a permanent lineup: Chaz Costello (bass, sax), Jeff Kleinman (keys) and Michael Paulson (guitar). Each member has brought their unique influences to the table, helping to develop subtly more dynamic sound for the band — one in which, there’s a bit of post-punk grit and 80s-influenced swing to the mix. 

Slated for a May 8, 2020 release, Choir Boy’s sophomore album Gathering Swans is the first bit of recorded output with the band’s new lineup. And importantly, while seemingly drawing from Roxy Music/Bryan Ferry, The Cleaners from Venusand others, the material features Klopp’s achingly earnest and angelic falsetto, expressing those emotions that are particularly difficult to name. 

The album’s first single is the dance floor friendly  “Complainer.”  Centered around shimmering synth arpeggios, some industrial-like drum machine and organic drumming, a looping and shimmering guitar line, an ehe enormous and rousingly anthemic hook and Klopp’s achingly tender falsetto, the song — to my ears, at least — seems like a synthesis between Meat Is Murder-era The Smiths, Tears for Fears and contemporaries like Washed Out. Interestingly, Klopp explains that the song “marked a shift in lyrical tone from previous releases. While many of our earlier songs serve as flowery lamentations of loss and grief, ‘Complainer’ snakily examines the self absorption of sadness. The opening line Oh my life was something I privately uttered while stewing over daily anxieties. It became comical to me that I would express my self pity like that, in earnest when my struggles seemed so relatively tame.  The song continues, It’s a phrase so funny when it’s spoken so sincere. But it’s not that bad, I’ve never really had it worse. I’m just a complainer. ‘Complainer’ multi-tasks as a pop song and a reminder to keep my privilege in check.”

Directed by the members of Choir Boy, edited by Choir Boy’s Adam Klopp and featuring an action cameo by Sam Rodriguez, the recently released video for “Complainer” is a decidedly lo-fi, fittingly 80s-inspired visual split between footage of the band playing the song in random locations while mischievously revealing the band’s involvement in a seedy, back alley, Fight Club-like fighting ring. 

New Video: Melbourne’s RVG Releases an Intimate Visual for Aching and Anthemic “I Used To Love You”

Romy Vager is an Adelaide, Australia-born singer/songwriter, who as a teenaged goth kid runaway left her hometown, drawn to Melbourne, Australia. Upon her arrival in Melbourne, Vager joined her first band, Sooky La La, a project that crafted material centered around anger and discordance. Sooky La La were misunderstood, never found a following and routinely cleared rooms. Eventually, the band split up and as a result, Vager committed herself to write songs that people would actually like and want to listen to by doing what countless other aspiring songwriters hope to do: match feelings of alienation, loneliness and feeling misunderstood to melody, introspection and enormous, soul-stirring hooks and refrains. 

For a while, Vager was living at The Bank, an erstwhile recording, rehearsal and performance space that took over an old bank building in Preston, Australia, a suburb about six miles from Melbourne. The Bank was a scene unto itself, featuring a handful of bands that would soon become acclaimed, including Jalala, Gregor and Hearing, who all played, practiced and lived there. Naturally, living in an enormous space surrounded by musicians, who were constantly working and refining their work was profoundly inspiring to the Adelaide-born, Melbourne-based singer/songwriter. 

Back in September 2015, Vager launched a tape of solo material that hadn’t actually been pressed and landed her first solo show at The Bank’s downstairs performance space. For her live solo debut, Vager recruited Drug Sweat‘s and The Galaxy Folk’s Angus Bell, her Bank neighbor, Gregor’s and Hearing’s Reuben Bloxham and Rayon Moon‘s Marc Nolte to be a one-off backing band. And as the story goes, once they began playing together, they all realized — without having to say it aloud — that they needed to continue as a band. Shortly after that show, they initially formed as Romy Vager Group before shortening it to RVG.

RVG’s 2017 full-length debut A Quality of Mercy was recorded live off the floor at Melbourne’s beloved and iconic rock ‘n’ roll pub, The Tote Hotel. Initially released to little fanfare — no press releases, no music videos, no press photos of the band or any significant press push, the album’s material was heavily inspired by The Go-Betweens, The Soft Boys and The Smiths and centered by Vager’s passionate and achingly vulnerable vocals. Much to the band’s surprise, their full-length debut received attention and praise across their native Australia and elsewhere — and as a result of a rapidly growing profile, the band caught the attention of Fat Possum Records, who signed the band and re-issued A Quality of Mercy, which led to a much larger profile internationally. 

Building upon a growing profile, the band then went on world tours with Shame and Kurt Vile. Late last year, the band released the Victor Van Vugt-produced single “Alexandria.” Written as a response to the immediate aftermath of Brexit and Trump, the song is appropriately urgent and ardent. Featuring jangling guitars, pummeling drums, a rousingly anthemic hook and Vager’s earnestly plaintive and gravely howl, the song finds the band gaining a subtle studio sheen — without scrubbing the grit and honesty that has won them attention. 

2020 will be a momentous year for the rising Melbourne-based band. They recently signed to Fire Records, who will be releasing their highly-anticipated sophomore album Feral on April 24, 2020 throughout the world — excluding Australia and New Zealand, where the album will be released through their longtime label home Our Golden Friend. And to mark this exciting new era for the band, they recently announced Feral’s second single, the devastating and heartbreaking, anthemic ballad “I Used to Love You.” Simple and sincere, the song tells a familiar and fairly universal tale: a narrator, who proudly reclaims themselves and their lives in the aftermath of an embittering breakup. The song’s narrator may be proud and defiant; but there’s the sad acknowledgment of something deeply important coming to an end, iAnd while firmly establishing the band’s reputation for crafting an enormous, heartfelt hooks centered around personal experience, the song manages to recall Concrete Blonde’s “Joey” and R.E.M.’s “One I Love.” 

Directed by documentarian and narrative filmmaker Tom Campbell and shot by Edward Goldner, the recently released video for “I Used To Love You,” is a cinematic and intimate video featuring a contemplative Romy Vager, who at points sings the song’s lyrics directly at the viewer — and with the same earnestness and heartache as the accompanying song. “There’s a lot of power in reclaiming yourself but also a lot of sadness. I adore Tom’s video and feel like it captures the energy of the song perfectly,” RVG’s Romy Vager says in press notes. 

 

With the release of last year’s full-length debut Grass Stains and Novocaine, the San Francisco-based shoegazers Seablite — currently featuring Lauren, Galine, Jen and Andy — quickly received national attention: the album placed highly on a number of that year’s Best-Of Lists, including landing at #36 on Good Morning America‘s Top 50 Albums of the Year list.

Building upon a growing profile, the band will be releasing Grass Stains and Novocaine‘s highly-anticipated follow-up, the 4 song 10 inch EP High Rise Mannequins. Recorded by Alicia Vanden Heuvel in San Francisco, the new batch of material slated for a February 21, 2020 release through Emotional Response Records reportedly captures the band growing as songwriters and musicians. 

“Pretend” the EP’s first single finds the Bay Area-based quartet’s sound drawing equally from fuzz pop, jangle pop, shoegaze and 60s bubblegum pop in a way that recalls The Smiths, La Sera and Phil Spector-era girl groups but with a bit of garage rock grit and grime, and a huge, anthemic hook.

‘”Pretend’ is one of our oldest songs from our first EP and we wanted to renew it with our current lineup,” the band says in an emailed statement. “We recorded it as part of a 4-song EP in July of 2019 with Alicia Vanden Heuvel at her very own Speakeasy Studios in San Francisco. Most folks are familiar with Alicia from her work in The Aislers Set and Poundsign, but she’s also been producing bands such as The Mantles, Personal and the Pizzas, and countless others in her studio for years. She uses a giant 2” tape machine that was originally used to record all of the sounds on the movie The Abyss, so there’s some vibes in that thing for sure.  Alicia has a very special ear and production style, it was amazing to collaborate with and bounce ideas off of her. Every time we finished a mix, we’d go out to Alicia’s car and blast the songs while sitting in her driveway, then run up into her house and crank the songs on her stereo and AB it. The EP recording experience felt natural, more like a hangout session where we happened to also be working on a record.”

Lyric Video: JOVM Mainstay The Still Tide Releases a Slow-burning and Yearning New Single

Throughout the course of last year, I managed to write quite a bit about Anna Morsett, the Olympia, WA-born, Denver-based singer/songwriter, musician and creative mastermind behind the indie rock act The Still Tide. Her work with The Still Tide has largely been inspired by experiences growing up in the Pacific Northwest, living in Brooklyn in her 20s and traveling the world as a guitar tech for the likes of critically applauded acts like Kaki King, The Tallest Man on Earth and The Devil Makes Three among others. As a solo artist, she has landed opening spots for Cat Power, Nathaniel Rateliff and The Night Sweats and Margaret Glaspy.

Now, as you may recall Morsett’s soon-to-be released The Still Tide EP Between Skies s slated for release on Friday  and the EP’s material is inspired by the duality she regularly experiences and feels as a magnetic frontwoman and a self-described introspective loner while also touching upon love, loss, opportunities won and lost and the closed doors of our lives.

So far, I’ve written about three of the EP’s singles, the introspective , The Smiths and The Pretenders-like “Change of Address”  the shimmering and yearning “On The Line” and “Keep It.”  Morsett begins the new year with the release of Between Skies’ fourth and latest single, the slow-burning “Better Than I’ve Been.” And while the new single continues a run of introspective and unapologetically honest material, centered around the Olympia-born, Denver-based singer/songwriter and guitarist’s plaintive and tender vocals and shimmering guitars, it may arguably be the most yearning and vulnerable single off the EP to date: the song’s narrator expresses the hope for a deeper, more impactful love in her life. Interestingly, throughout there’s a tacit acknowledgment that meaningful relationships and meaningful love are difficult, require work — for both people — and are incredibly rare.

“This song is about the hope for a deeper, more impactful love/relationship,” explains Morsett. “I wanted to fall in love in the way I dreamed and hoped love could be – something life altering and new in a way I’d not yet known – and that would require me to learn to love better than I’ve been loved.” 

Interview: A Q&A with M for Montreal’s Program Director Mikey Rishwain Bernard

M for Montreal (French – M pour Montreal) is an annual music festival and conference, which takes place during four days in late November. Since its founding 14 years ago, the music festival and conference has rapidly expanded to feature over 100 local and international buzzworthy and breakout bands in showcases across 15 of Montreal’s top venues.

300 music industry movers and shakers, heavyweights and tastemakers from over 20 different countries make the trek to Montreal to seek out new, emerging artists and new business opportunities – while hopefully eating a ton of smoked meat sandwiches and poutine. I have the distinct pleasure and honor of being one of those music industry folks, who will be in Montreal tomorrow. As you can imagine, I’m looking very forward to poutine and smoked meat sandwiches, as well as a wildly eclectic array of music that includes the rapidly rising hometown-based Francophone indie rock act Corridor; acclaimed London, Ontario-based DIY rock collective WHOOP-Szo; British Columbia-based psych folk act Loving; hometown-based singer/songwriter and guitarist Ada Lea; hometown-based shoegazers Bodywash; Vancouver-based dance punk act NOV3L; Cameroonian-French pop artist Blick Bassy; and New York-based dance punk act Operator Music Band;  as well as a showcase featuring Icelandic artists and a two showcases featuring locally-based and Canadian-based hip-hop among a lengthy list of others.

Before heading out to Montreal, I chatted with the festival’s program director Mikey Rishwain Bernard about a wide range of topics including Montreal and Montreal’s music scene, what music fans, music industry professionals and journalists should expect from the city and the festival and more. Check it out below.

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WRH: While JOVM does have readers in Canada, most of my readers are based in the United States. Can you tell me and my readers a couple of things about Montreal and its music scene that we probably wouldn’t know but should know?

Mikey Rishwain Bernard: Most people will identify Montreal with Leonard Cohen, Arcade Fire, Wolf Parade and Godspeed You! Black Emperor, and that’s cool as shit. After that Arcade Fire movement, it felt like many creative Canadian musicians started flocking to Montreal for the cheap schools, cheap rent, vast music scene and live venues. All that hype brought a new generation of artists like Grimes, Mac DeMarco, BRAIDS and more. All this to say is that Montreal is one heck of a place for creative space, freedom and affordable rent. Aside all that, there’s an entire francophone music scene that’s considered mainstream and not to forget the top shelf beatmakers and producers, most notably Kaytranada, Kid Koala, and A-Trak. There’s a lot of government funding dedicated in arts and culture and that’s a huge factor.

WRH: This is the 14th edition of M for Montreal. What was the inspiration behind its creation?

MRB: First and foremost, M was created on a whim. It was set up as a showcase to introduce 6 Montreal bands to 12 festival buyers and media from the UK, who happened to be in Montreal, while on their way to NY for CMJ. It helped artists like Patrick Watson and The Besnard Lakes get some action. In short, M is a networking platform for Canadian artists and industry to mingle with international tastemakers. We now recruit over 100 international delegates from 15 different countries to attend in hopes to export these acts into their respective markets. Another inspiration behind M is Martin Elbourne.  He’s our co-founder. A legendary British programmer who books for Glastonbury and co-founded The Great Escape festival in Brighton. He also worked with The Smiths and New Order, and has always had been involved with new wave’s in the making. He saw Montreal as a “sexy city” and wanted to contribute to this festival to help bring Montreal acts to Europe. Since then, M for Montreal has grown into not only a platform for Canadians, but we also make a little room for international acts.

 WRH: What does a program director of a festival do? 

MRB: I curate the music and conference. Lots of listening, making offers, negotiating and waiting. On repeat.

WRH: In your mind, what makes a successful festival? 

MRB: Aside from the talent, it’s the experience. The people you meet and the memories you make. I sound like Hallmark card, eh?

WRH: This is my first time in Montreal – and it’s my first time covering the M for Montreal festival. Besides the cold weather and maybe a little snow, what should I expect as a journalist? What would other music industry professionals expect from the festival?

MRB: You’re gonna feel welcome and our locals treat our guests/delegates with a lot of respect. Quebecers are very welcoming and charming, and they’ll all share their opinions on where to go, who to meet and what to eat. Everyone is going to ask you to try poutine. Just do it, once or twice. Try it sober at least once if you get the chance. Aside from that, don’t be surprised if some women kiss you on both face cheeks.

WRH: As a music fan, why should I check out Montreal? Why M for Montreal?

MRB: Like previously mentioned, the rich music history. It’s always good to see where Leonard Cohen slept & where Win Butler got his coffee, but it’s also a privilege to discover and experience the culture and new music cooking in French Canada.

WRH: I was doing some research and checking out the artists playing this year’s festival. Admittedly, I was very impressed – the bill manages to be very local centric but while being an eclectic and diverse sampling of a number of different styles and genres. There’s also a fair number of Canadian acts from other provinces, at least one American band and so on. How much work went into that? And how do you and the other organizers choose the artists on the bill?

MRB: It’s a mixture of things. We work with a lot of new kids on the block, Canadian export partners and local industry. We book bands and work with people who wanna play ball. Not for the money, but for a chance to play for some interesting people from all over the world. So, like the programming, it’s all over the place.

WRH: So once the festival ends on Saturday night, what happens next for you and the rest of the team?

MRB: The team will close out the festival and close the 2019 file. The week after M, I’m attending a conference in Saskatoon called Very Prairie… From there, I go directly into hibernation, back home, in Stockton/Lodi California (home of Pavement and Chris Isaak). I will start the new year booking another festival taking place in May called Santa Teresa. And the beat goes on.

While in Montreal, I’ll be busy with my social media accounts, live tweeting and Instagramming as much as I can. Keep on the lookout here:

Twitter: @yankee32879 @williamhelms3rd

Instagram: william_ruben_helms

 

For more information on the festival, check out their homepage: https://mpourmontreal.com/en/

 

 

New Video: The Still Tide Releases an Intimate and Mischievous Visual for Shimmering and Introspective “Keep It”

Over the past couple of months, I’ve written a bit about Anna Morsett, an Olympia, WA-born, Denver-based singer/songwriter, musician and creative mastermind behind the up-and-coming indie rock act The Still Tide. And as you may recall, Morsett’s work as The Still Tide has largely been inspired by her experiences growing up in the Pacific Northwest, living in Brooklyn in her 20s and traveling the world as a guitar tech for the likes of critically applauded acts like Kaki King, The Tallest Man on Earth and The Devil Makes Three among others. As a solo artist, she has landed opening spots for Cat Power, Nathaniel Rateliff and The Night Sweats and Margaret Glaspy.

Her latest Still Tide EP Between Skies is slated for a January 20, 2020 release through Mod y Vi Records and the effort is largely inspired by the duality she regularly experiences as a magnetic frontwoman and a self-described introspective loner — with the material touching upon love, loss, opportunities won and lost and the closed doors of our lives. So far I’ve written about two of the EP’s previously released singles: The shimmering, The Smiths and Pretenders-like “Change of Address,” an introspective song centered around the sense of loss and defeat after the embittering end of a long-time relationship that also managed to be imbued with a sense of hope over new starts — and the swooning “On The Line,” a song was written about her own experiences of being in a long distance relationship that managed to capture the longing, ache, hope and anxiousness at their core.   

“Keep It,” the EP’s third and latest single continues a run of shimmering and introspective guitar pop, centered around sharp and infectious hooks, and earnest songwriting rooted in lived-in, personal experience. “‘Keep It’ is about a relationship running its course and the aftermath of the split; how these two try to sort themselves out afterwards,” shares Morsett. “The hope that despite all the mess of the breakup that we keep our hearts open, keep our health and carry ourselves well. I also tried to highlight that weird feeling of watching that person who was once YOUR person go through a tough time but knowing that it isn’t your place to help them through it anymore. That perhaps it’s almost unkind to try to intervene with help in that space of a breakup as helping may just prolong emotional pain. Especially if you were the one to cause it – to break it off –in the first place.”

Directed and produced by Jonah Hart, the recently released video for “Keep It” is an intimate look behind-the-scenes of the video’s filming and of a promotional photo shoot that finds Morsett stretching and morphing from introspective and shy loner to self-assured frontperson — but with a mischievous sense of humor. 

New Video: San Francisco’s Split Screens Releases a Lysergic, Hand-Made Animated Visual for Shimmering “From The Start”

Jesse Cafiero is a San Francisco-based singer/songwriter, multi-instrumentalist, visual artist and animator — and the creative mastermind behind the indie pop/indie rock recording project Split Screens. With the release of his Split Screens full-length debut, 2014’s Before The Storm, Cafiero quickly established a profile for crafting widescreen pop, as the album received praise from the likes of Impose, My Old Kentucky Blog, GoldFlakePaint and others.  

Unfortunately, about a year after the album promotion campaign for Before The Storm, the San Francisco-based singer/songwriter, multi-instrumentalist, visual artist and animator began to experience severe burn-out. “My passion for why I started making music in the first place had started to dwindle,” Cafiero says of that time, “and while it’s never fun to put a project on an indefinite hiatus, that’s essentially what happened.”

In order to keep his creative juices flowing, Cafiero shifted his focus to making collage art and animating music videos for a number of Bay Area-based bands with some of his work being prominently featured on Vice. Unsurprisingly, his forays into visual art eventually led him back to writing music. “Approaching a new art-form really gave me the perspective and confidence I needed to fight back any self-doubt and dig deep into recording this EP,” Cafiero says of that period — and of his soon-to-be released six song EP,  Everyday Static. 

While being the long-awaited follow-up to his critically applauded Split Screens full-length debut, Everyday Static is both a reflection of the burn-out he experienced and the result of a prolonged, deeply personal personal journey as an artist and and as a person. With five years of life behind him, Everyday Static’s material is understandably more mature and focused as its imbued with an understanding and awareness of the passage of time — and of course, of one’s own mortality. Interestingly, the new EP continues Cafiero’s ongoing collaboration with producer and engineer Jeremy Black, who has worked with Langhorne Slim and JOVM mainstay Geographer, as well as Tycho’s Rory O’Connor, who contributes drums throughout the EP. 

Everyday Static’s latest single “From The Start” is a deliberately crafted, swooning bit of guitar pop that thematically and sonically nods at Wall of Sound Phil Spector-esque pop, The Smiths and Patsy Cline-era country, as the song features shimmering lap steel guitar, reverb-drenched guitars, twinkling keys, a soaring hook and Cafiero’s achingly plaintive vocals. Interestingly, the song manages to be unhurried yet an earnest and urgent expression of appreciation and devotion. 

The recently released video for “From The Start” is a fully analog video, painstakingly animated frame-by-frame with images found at library sales, Goodwill and a variety of other donation-based stores with the end result being a lysergic visual that nods at Monty Python and The Beatles’ Magical Mystery Tour.  “My favorite part about animating with paper collage are the limitations,” Cafiero says. “The imperfections of shooting frame-by-frame really gives the video a human touch, something that I think is missing in our current digital lives.”