Tag: The Stone Roses

New Audio: Los Angeles’ The Know Covers The Jesus and Mary Chain

Los Angeles-based dream pop/shoegaze duo The Know, married couple and collaborators Daniel Knowles and Jennifer Farmer, can trace their origins to late 2018, when Knowles suggested to Farmer that instead of traveling home for the holidays — the UK and Texas respectively — that they stay put in Los Angeles and try to write music together, just the two of them. And the material they would write would be their gift to themselves.

Over a couple of weeks, they isolated themselves in their home studio with no real plan but they shared a mutual love of Beach House, Julee Cruise, ye ye, The Jesus and Mary Chain, 60s girl groups, Patsy Cline and The National. Interestingly, the first batch of material they wrote together, included their debut single “143.” Inspired by Tom Waits‘ “(Looking for) The Heart of Saturday Night,” “143” found the duo meshing the autobiographical with the fantastic: focusing on the hazy half-remembered recollections of a wild night out paired with an instrumental arrangement that seemed indebted to Beach House and 60s girl groups.

Their second single “Hold Me Like You Know Me,” a personal account of the intense feelings of loneliness and isolation that the band’s Farmer felt over the past year, received favorably comparisons to David Lynch’s Twin Peaks and Phil Spector‘s Wall of Sound production.

Both of those singles will be included on the duo’s forthcoming debut EP, wearetheknow. Slated for a May 18, 2020 release, the EP finds the duo fully embracing a DIY ethos: the EP was produced, mixed and mastered by the band’s Knowles with Farmer handling the band’s visual side, including their videos and visual content. And as a result, the duo ensure that they have complete creative control over what they do. Thematically, the EP delves into the duo’s personal lives with the material touching upon their relationship and their experiences  — paired with a kaleidoscopic soundscape. 

Now, as you may recall, last month, I wrote about “Someday Maybe,” a track that continued a run of material based on their personal experiences while sonically meshing Phil Spector’s Wall of Sound with The Stone Roses and others as it featured swooning boy-girl harmonies paired with layers of swirling and buzzing guitars and pedal effects.  Interestingly, the duo’s latest single, a cover of The Jesus and Mary Chain’s “Sometimes Always” was inspired by quarantine-induced boredom — and was initially just intended for their own amusement and ears. After completing the track, the duo liked the way it came out, so they sent it to their CLUB 143 fan club an exclusive listen and feedback. The feedback was so positive that the and decided to squeeze in another single before the release of their debut EP. 

The Know’s cover of “Sometimes Always” the first song in which Knowles takes on lead vocal duties — but the cover is a deceptive, sonic detour with the duo taking one of The Jesus and Mary Chain’s more pop-leaning songs and playing it in the style of the influential act’s psychedelic leaning material.  And yet, it still manages to hew closely to the spirit and overall vibe of the original. 

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New Video: The Know Releases a Wistful and Nostalgic Visual for Swooning “Someday Maybe”

Los Angeles-based dream pop/shoegaze duo The Know, married couple and collaborators Daniel Knowles and Jennifer Farmer, can trace their origins to late 2018, when Knowles suggested to Farmer that instead of traveling home for the holidays — the UK and Texas respectively — that they stay put in Los Angeles and try to write music together, just the two of them. And the material they would write would be their gift to themselves. 

Over a couple of weeks, they isolated themselves in their home studio with no real plan but they shared a mutual love of Beach House, Julee Cruise, ye ye, The Jesus and Mary Chain, 60s girl groups, Patsy Cline and The National. Interestingly, the first batch of material they wrote together, was their debut single “143.” Inspired by Tom Waits‘ “(Looking for) The Heart of Saturday Night,” “143” found the duo meshing the autobiographical with the fantastic: focusing on the hazy half-remembered recollections of a wild night out paired with an instrumental arrangement that seemed indebted to Beach House and 60s girl groups. 

Their second single “Hold Me Like You Know Me,” a personal account of the intense feelings of loneliness and isolation that the band’s Farmer felt over the past year, received favorably comparisons to David Lynch’s Twin Peaks and Phil Spector’s Wall of Sound production. 

Both of those singles will be included on the duo’s forthcoming debut EP, wearetheknow. Slated for a May 18, 2020 release, the EP finds the duo fully embracing a DIY ethos: the EP was produced, mixed and mastered by the band’s Knowles with Farmer handling the band’s visual side, including their videos and visual content. And as a result, the duo ensure that they have complete creative control over what they do. Thematically, the EP delves into the duo’s personal lives with the material touching upon their relationship and their experiences  — paired with a kaleidoscopic soundscape. 

Interestingly, the EP’s third and latest single “Someday Maybe” finds the duo continuing  a run of material that thematically is based on their personal experiences — while sonically meshing Phil Spector’s Wall of Sound with The Stone Roses and others. In other words, swooning melodies with layers upon layers of swirling and buzzing guitars, and pedal effects. As the duo explains the song “is about the potential you feel when you first meet someone you connect deeply with.” 

Directed by the band’s Jennifer Farmer, the recently released video stars Los Angeles music scene personality Howard Mordoh as The LA Rocker, along with the members of The Know as themselves, Kris Correa, Lauren Womack, Skylar Francise and Colin Coleman — and is set at barbecue/backyard party.  Of course, the video has me dreaming of the day that we all can get together at a party, drink tons of cheap beer, dance and listen to music all day and night. 

Howie Payne is aLiverpool-born and-based singer/songwriter, multi-instrumentalist and producer. And although his music career started in earnest in the early 1990s when he played in a number of local bands including The Magic Clock, The Windmills, Telephone, Blueseed (who, released their debut single “The Only Ones” in 1997 and their debut EP, 1998’s Special Care and Spare Change through Ultimate Records) and The Big Kids, Payne is best known for his solo project-cum-full-fledged band The Stands, an act that was both critically applauded and championed by the likes of The Stone Roses, Spiritualized, Jack White, Noel Gallagher and Bill Ryder-Jones.

The band supported their two albums together, 2004’s All Years Leaving and 2005’s Horse Fabulous, with tours opening for Paul Weller, The Libertines, The Coral and Oasis before Payne ended the project in late 2005. Since then Payne has developed a reputation as a critically applauded solo artist releasing two albums 2009’s Bright Light Ballads and 2017’s Mountain. Payne is gearing up to release his highly-anticipated third, full-length later this year. But in the meantime, his latest single, the self-produced and self-engineered “Into Daylight” is the first bit of new material from the acclaimed Liverpool-born and-based singer/songwriter, multi-instrumentalist and producer since Mountain. Clocking in at a little over 2 minutes, the track is a breakneck, Brit Pop take on psych rock that’s a decided change in direction from Payne’s previously released solo work, as the track is centered around fuzzy and darting power chords, a motorik-like groove, a bluesy and expressive guitar solo and an enormous hook before a sudden fade out.

“The first person I played it [the song] to said, ‘It sounds like if Peter Green’s Fleetwood Mac and early Pink Floyd were in the same band’ . . . I’m having that thank you very much,” Payne says of the song inn which he plays all the instrumental parts. “It’s the first full on electric rock and roll tune I’ve put out since I was doing The Stands, definitely the most psychedelic and the first guitar solo I’ve cut in a while. I’ve been listening to a lot of rock and roll and rediscovered my love of playing the electric guitar and of volume and it sent me off in a new, heavier direction. ‘Into Daylight’ is a pure rock and roll song. It’s loud, fast and exciting to play live. I can see us  absolutely jamming the shit out of it at the shows down the line.”

 

 



New Video: Watch Game of Thrones’ Lena Headley Party with King Richard III in Hilarious Visuals for Kasabian’s Swaggering New Single Ill Ray (The King)”

Currently comprised of founding members Tom Meighan (vocals), Sergio Pizzorno (guitar, vocals), and Chris Edwards (bass) with Ian Matthews (drums), the Leicester, UK-based indie rock/dance punk act Kasabian initially formed under the name Saracuse and  derive their name from Linda Kasabian, a member of the infamous Charles Manson cult. As the band’s Chris Edwards explained in an interview with Ukula, their former guitarist Chris Karloff had been reading up on Charles Manson, and the name Kasabian just stuck with him. “He thought the word was cool, it literally took about a minute after the rest of us head it . . . so it was decided.”  And although the band has gone through several lineup changes — at one point being a quintet before settling on its current lineup, the band can trace its origins to when its founding trio met while attending Countesthorpe Community College. 
The founding trio along with a rotating cast of studio drummers recorded their Scott Gilbert-produced demo EP,  which was finished in December 1998 and featured three songs “What’s Going On,” “Life of Luxury” and “Shine On.” After making their first live appearance to celebrate Edwards’ 18th birthday, the band was signed to BMG by London-based DJ and producer Sam Young, who took over managerial duties for a period of time before both sides had a massive falling out. Since then the band has released six studio albums — 2004’s self-titled debut, 2006’s Empire, 2009’s Pauper Lunatic Asylum, 2011’s Velociraptor!, 2014’s 48:13 and For Crying Out Loud, which was released earlier this year — all of which have further cemented the Leicester-based act’s reputation for crafting a sound that’s been described as a mix between The Stone Roses, Primal Scream and Oasis and for a critically applauded live show. Along with that, the band has managed to be commercially successful in the UK as they received a Brit Award for Best British Group in 2010, won two Q Awards for Best Act in the World Today in 2010 and 2014, as well as one Best British Band at 2007’s NME Awards. 

Produced by the band’s Sergio Pizzorno and recorded at his Leicester-based studio the Sergery, For Crying Out Loud has proven to be commercially successful, as it’s the band’s fifth #1 album on the UK Album Charts, thanks to the success of its first two singles “You’re In Love With A Psycho” and “Bless This Acid House,” both of which continue the band’s reputation for crafting swaggering, arena-friendly rock with shout worthy, crowd rousing hooks. Interestingly, album opening track and latest single “Ill Ray (The King)” is full of hip-hop inspired swaggering braggadocio paired with club-banging beats, buzzing guitars, rousing shout and stomp friendly hooks with a surprisingly disco/psychedelic house-inspired bridge — and as a result, it possesses a riotous “we’ll stomp the shit of you” vibe, reminiscent of Queen’s “We Will Rock You.” 

The recently released video was written and conceived by the band’s Sergio Pizzorno and features three-time Emmy Award-nominated actor Lena Headley, who’s best known for playing Queen Cersei in Game of Thrones. The video follows Lena’s character as she meddles with the occult in a weird ploy to bring King Richard III, who was buried in Leicester, back from the dead. And in case you ever wondered what it might be like to drink way too much with a British royal, who has been dead for over 500 years, this video may be your primer. 

Preview: Secret Solstice Festival 2017

With its inaugural run back in 2014, Reykjavik, Iceland’s Secret Solstice Festival has quickly become one of Iceland’s largest music festivals, featuring a diverse and eclectic array of established and internationally recognized artists, locally renowned acts and up-and-coming artists from all over the globe, performing in one of the most unique backdrops in the entire world – the roughly 72 hour period of near constant daylight Iceland experiences during the Summer Solstice, because of its proximity to the Arctic Circle. (After all, Reykjavik is the northernmost capital and administrative region of the northernmost country in the entire world.) Building upon its growing reputation as one of the world’s most unique music festivals, the fourth edition of the festival may arguably be one of the biggest and most diverse lineups to date as it includes Foo Fighters, Rick Ross, the UK electronic act The Prodigy, The Verve’s former frontman Richard Ashcroft, Pharoahe Monch, Chaka Khan, Foreign Beggars, Dubfire, Novelist, Rhye, Dusky and Chicago house music artist Kerri Chandler. Along with those artists, some of Iceland’s renowned acts, including Högni, Úlfur Úlfur, Amabadama, Emmsjé Gauti, GKR, Tiny, Aron Can, KSF, and Alvia Islandia will be performing. And adding to the 72 hour party vibe, the festival’s organizers have planned a series of electronic dance music takeovers and showcases featuring some of the world’s best party crews – including Ibiza’s Circoloco, Above & Beyond Records’ deep house imprint Ajunadeep Records’ dance floor collective Crew Love, ATG and Dubfire’s SCI+TEC among others.
Interestingly, for the second consecutive year, Secret Solstice is currently the only major music festival in the world to be certified CarbonNeutral®, as the festival sources almost all of their power needs from the use 100% renewable geothermal energy, hybrid vehicles provided by Toyota Iceland – and from offsetting any residual emissions through the purchase of high quality, verified carbon credits. Unlike any other festival I’ve attended or heard of, festivalgoers and artists alike can know that they’re being environmentally responsible while partying and catching some of the world’s most interesting artists. Of course, during a multi-day festival like Secret Solstice, it’s difficult and damn near impossible to catch everyone and everything, so consider me as a helpful guide – with some information on artists I’d love to catch while in Reykjavik.

Comprised of Ben Roth (vocals, guitar, synth), Lance Umble (bass), Zach Dimmick (guitar, synths) and Jonathan Angle (drums), the Seattle WA and Tacoma, WA-based indie rock quartet bod is arguably one of that area’s more accomplished bands as the band features former and current members of several renowned indie bands including Oberhofer, EZTV, Telekinesis, Sloucher, Crater, and BOAT. The recently released True Cinnamon EP is the second release from the band, since their formation in 2013 and the EP’s material reportedly is an aggressive exploration inwards, a sort of adult re-calibration of their sound and thematic concerns, in which they realize the dark and uncertain realities of a world in constant turmoil — and to be constantly overwhelmed by it while drawing influence from a broad variety of artists including D’Angelo, Deerhoof, Can, Cate Le Bon, Bjork, Big Star and others.

True Cinnamon‘s latest single, EP title track “True Cinnamon” is an anthemic bit of Brit Pop-leaning psych rock that reminds me of The Jesus and Mary Chain and The Stone Roses while nodding at Radiohead and others, thanks to a rousing, arena rock friendly hook and blistering guitar work; however, the song possesses a twisting and turning structure and an explosive sense of unpredictability   — both of which evoke a sense of being awoken from a pleasant dream and experiencing a sudden, world-altering, nightmarish trauma.

Although the band recently released True Cinnamon, they’re finishing up work on a full-length album, produced by Telekineses’ Michael Lerner, slated for a fall 2017 release.

 

 

 

 

 

 

Comprised of Canadian-born and based Imran Haniff (vocals), British-born and Canadian based Alex Roberts (guitar), Irish-born and Canadian based John Coman (drums) and Canadian-born and based guitarist Colin Bowers, the Toronto, ON-based indie rock quartet The Holiday Crowd can trace their origins to when its founding duo Haniff and Bowers met in high school. As the story goes, the band’s founding duo had started a conversation over Bowers’ Stone Roses t-shirt, which quickly lead to the duo bonding over a mutual love of 80s guitar pop — i.e., The Smiths, The Stone Roses, The Chills, etc. — and to the duo began songwriting.  Interestingly with the release of their full-length debut Over the Bluffs, a cover of Duran Duran‘s “Friends of Mine” for the charity tribute album Making Patterns Rhyme and bit of international touring, which included a set at the 2012 PopFest Berlin and a 2013 European tour, the Canadian band quickly developed a reputation as one of their country’s finest, up-and-coming indie pop bands.

“Anything Anything” is the latest single off the band’s forthcoming, self-titled, sophomore effort, slated for an October 21, 2016 through Shelflife Records and the single will further cement the Toronto-based quartet’s reputation for shimmering and jangling guitar pop that’s not only clearly influenced by 80s guitar pop but also sounds as though it could have been released in the period that influenced it, complete with a swooning and aching Romanticism.