Tag: The Stargazer Lilies

New Audio: JOVM Mainstay TOBACCO Releases a Woozy and Menacing Cover of a Beloved 80s Classic

Over the past two decades, the Pittsburgh-born and based producer, multi-instrumentalist and singer/songwriter Thomas Fec, best known as TOBACCO has used analog synthesizers and tape machines as as the frontman and creative mastermind of Black Moth Super Rainbow and as solo artist to create a boundary-pushing sound that evokes a woozy and uneasy intertwining of tension, anxiety, bemusement and pleasure.  

2016 saw the release of TOBACCO’S fourth solo album, Sweatbox Dynasty — and since then the JOVM mainstay has been incredibly busy: TOBACCO and the members of his primary gig, Black Moth Super Rainbow reconvened to write and record 2018’s Panic Blooms, which was supported with tours with frequent tour mates The Stargazer Lilies and Nine Inch Nails. He went on to produce The Stargazers Lilies’ abrasive yet trippy Occabot and collaborated with Aesop Rock in Malibu Ken, a project that released a critically applauded album. Additionally, TOBACCO penned the theme song to HBO’s Silicon Valley. 

TOBACCO’s first batch of new, solo material is the “Hungry Eyes”/”Can’t Count On Her” 7 inch, which was recently released through Ghostly International. Unless you’ve lived in a cave for the past 35 years or you’re 17, you know that the Franke Previte and John DeNicola co-written “Hungry Eyes” performed by Eric Carmen appears in an important scene of the 80s classic Dirty Dancing. The Pittsburgh-based JOVM mainstay has been covering “Hungry Eyes” in recent live sets — but before that, it appeared in a Pokemon porn parody. 

Interestingly, TOBACCO’s take on the 80s pop hit retains the original’s beloved and familiar melody and structure intact but while fucking with its texture in his characteristically sludgy and woozy style, centered around blown out bass, scuzzy synth arpeggios, analog gurgle and hiss and Fec’s heavily vocoder’ed vocals. The end result is a cover that purposelessly smudges and obscures the original’s sentimentality in a way that’s uneasy and menacing. “I did ‘Hungry Eyes; because I just love it. It’s a perfect song,” Fec says in press notes. “I play it straightforward and stay mindful not to disrespect the original.”

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I’ve written about and have photographed the Northeastern Pennsylvania-based shoegazers and JOVM mainstays The Stargazer Lilies quite a bit throughout this site’s nine-plus year history. The act, which is comprised of founding duo and married couple John Cep (guitar, bass, vocals, drums, production) and Kim Field (bass, vocals) and a rotating cast of live drummers can trace its origins to when Cep’s and Field’s previous band Soundpool broke up.

Soundpool had built up a national profile, touring with Chapterhouse, Ulrich Schnauss, A Place to Bury Strangers, School of Seven Bells, Black Moth Super Rainbow, TOBACCO, and a list of others, but despite the fact that there was growing buzz surrounding them, Cep and Field desired a chance in sonic direction. And with their Stargazer Lillies full-length debut, We Are The Dreamers, the duo quickly established a signature sound, which meshed elements of dream pop and shoegaze — but with a muscular and forceful insistence. Their sophomore album, 2016’s Door to the Sun firmly cemented their sound and approach while expanding upon it.

Since the release of Door to the Sun, Cep and Field have been relentlessly touring as both an opener and headliner, frequently with JOVM mainstay TOBACCO and his Black Moth Super Rainbow, among a list of others.

Now, as you may recall, the JOVM mainstays long-awaited, third full-length album Occabot is slated for a November 1, 2019 release through Rad Cult Records — and the album finds Cep and Field collaborating with their frequent tour mate TOBACCO (a.k.a Tom Fec). Interestingly, this collaboration can be traced back several years ago to a Stargazer Lillies show that TOBACCO had attended. “It just hit me they were way heavier than they seem,” TOBACCO explains in press notes. “And that wasn’t translating in their recordings. Their old stuff is panoramic and smooth; I wanted 3D and bumpy.”

Wanting to help get the duo where they all felt they wanted to be, Fec signed the band to his Rad Cult Records imprint and agreed to work on their third album. But he didn’t start working with the band right away. He let Cep and Field work on the material in their own idiosyncratic image first.  When the members of Stargazer Lilies had completed things on their end with eight raw and primal tracks, Fec then stepped in to distort, bend and burn the material’s overall sound even further.

Cep likens the creative process behind Occabot to what Andy Warhol did with pop art prints and The Velvet Undgeround and Nico. “Lou [Reed] said Andy was the best producer because he basically let the group do whatever the fuck they wanted. Tom did a similar thing with us; he let us have complete creative control, then added splashes of color and made it rough around the edges. Those embellishments make his artistic stamp on the project unmistakable, but leave the essence of our music very much intact.”

Occabot’s first single “Living Work of Art” found TOBACCO scrubbing the material with sandpaper than mangling Field’s and Cep’s work in a blender for a bit, then throwing it into an acid-bath –and while becoming heavily distorted and whirring batch of broken machinery and instruments, with skittering hi-hats, the song manages to retain the gauzy quality of their previously recorded work. Interestingly, the album’s second and latest single “Dizzying Heights” finds Field’s ethereal vocals floating and fight through a viscous haze of heavily distorted guitars, shimmering hi-hat and wobbling drums. It’s a woozy and dizzying swoon of a song that evokes the decay and disorder of the impending end of everything.

 

 

 

 

I’ve written about and have photographed the Northeastern Pennsylvania-based shoegazers and JOVM mainstays The Stargazer Lilies quite a bit over the years. And as you may recall, the act which is comprised of founding and married duo John Cep (guitar, bass, vocals, drums, production) and Kim Field (bass, vocals) and a rotating cast of live drummers can trace its origins to when Cep’s and Field’s previous band Soundpool broke up.

Although Soundpool had built up a national profile, touring with Chapterhouse, Ulrich Schnauss, A Place to Bury Strangers, School of Seven Bells, Black Moth Super Rainbow, TOBACCO, and a list of others, Cep and Field desired a change in sonic direction. With Stargazer Lilies’ full-length debut, We Are The Dreamers, the duo established a signature sound, which meshed elements of dream pop, shoegaze — but with a muscular forcefulness. Their sophomore album, 2016’s Door to the Sun firmly cemented their sound and approach while expanding upon it. Since the release of Door to the Sun, Cep and Field have been relentlessly touring as both an opener and headliner, frequently with JOVM mainstay TOBACCO and his Black Moth Super Rainbow, and a list of others.

Slated for a November 1, 2019 release through Rad Cult Records, the band’s long-awaited third full-length album Occabot finds the duo collaborating with their frequent tourmate TOBACCO (a.k.a Tom Fec). Interestingly, their collaboration with TOBACCO can be traced to a Stargazer Lilies show a couple of years ago. “It just hit me they were way heavier than they seem,” TOBACCO explains in press notes. “And that wasn’t translating in their recordings. Their old stuff is panoramic and smooth; I wanted 3D and bumpy.”

Wanting to help get the duo where they all felt they wanted to be, Fec signed the band to his Rad Cult Records imprint and agreed to work on their third album. But not right away though. He let Cep and Field work on the material in their own idiosyncratic image first.  When the members of Stargazer Lilies had completed things on their end with eight raw and primal tracks, Fec then stepped in to distort, bend and burn the material’s overall sound even further.

Cep likens the creative process behind Occabot to what Andy Warhol did with pop art prints and The Velvet Undgeround and Nico. “Lou [Reed] said Andy was the best producer because he basically let the group do whatever the fuck they wanted. Tom did a similar thing with us; he let us have complete creative control, then added splashes of color and made it rough around the edges. Those embellishments make his artistic stamp on the project unmistakable, but leave the essence of our music very much intact.”

“Living Work of Art,” Occabot‘s boundary pushing single finds TOBACCO scrubbing the song with sandpaper then mangling Field’s and Cep’s work in a blender and throwing it into an acid bath while still retaining the hazy shoegazer quality of their previous work. Sonically you’ll hear blasts of hi-hat driven drums skittering across a thick wave of heavily distorted guitars that sound like broken and fuzzy synths while Field’s vocals ethereally float over the mix. It’s shoegaze for the impending end of the world.