With the release of Out in the Dark, the Israeli-born, Paris-based singer/songwriter and guitarist MAGON established a sound that he described as “urban rock on psychedelics,” which to my ears seemed indebted to David Bowie and T. Rex.
The Israeli-born, Paris-based JOVM mainstay released his critically applauded sophomore album Hour After Hour through December Square/Differ-Ant Records late last year. Featuring tracks like Change,” a dreamy meditation on the passing of time, “Aerodynamic,” a decidedly glam rock-inspired take on psych rock and the No Wave meets post-punk like album title track “Hour After Hour,” MAGON’s sophomore album is a decided change in sonic direction: sonically, the album as the rising singer/songwriter and guitarist says is “somewhere between Ty Segall, Allah-Las and The Velvet Underground.”
Earlier this year, the rising JOVM mainstay played a live set for Groover Obsessions‘ Les Capsules sessions at La Marbrerie. Building upon the attention that live session received, MAGON filmed another live session at The Basement, featuring material from Hour After Hour. The first video sees the Israeli-born, Paris-based JOVM mainstay and his backing band playing the Jim Carroll Band-like “Shackles of the Wretched” with an insouciant and swaggering co
The mysterious and enigmatic British Columbia-based singer/songwriter now known as Art d’Ecco is a grizzled Vancouver music scene vet, who once played in a band with acclaimed producer and ACTORS frontman Jason Corbett; but in 2018 he emerged as a dark bobbed hair wearing, androgynous and charismatic glam rocker with the release of that year’s critically applauded, full-length debut Trespasser.
Since the release of Trespasser, the Canadian art rocker has played a live session for Seattle’s KEXP and played more than 75 clubs and music festivals across North America. Last spring, d’Ecco opened for acclaimed UK-based psych rock act Temples before the pandemic struck. “Trespasser was the start of a two-year ride taking me to all sorts of places I’d never been to,” the acclaimed British Columbia-based singer/songwriter says in press notes. “Seeing how different cultures interact with entertainment was the genesis for In Standard Definition. A lot of this record was actually written on the road late at night in motel rooms – with the flickering light of a television in the background.”
The forthcoming, Colin Stewart-produced In Standard Definition was recorded on two-inch tape with a handpicked, rotating cast of musicians that featured jazz and blues-trained horn players, Victoria Symphony Orchestra string players, soul singers and his backing band on a 50 year old console at The Hive. Sonically, the album will reportedly find the acclaimed Canadian art rocker further establishing a sound that some critics have described as neo-glam. But interestingly enough, the album’s overall sound and aesthetic pushes the boundaries of glam rock, as it draws draws from a diverse and eclectic array of influences including elements of 50s pop, psychedelia, Velvet Underground-like art rock, Grimes-inspired electronics, Ziggy Stardust-era Bowie and Brian Eno among others. “I’m obsessed with tape, film, and sounds of yesteryear, so recording could only be analogue – in standard definition – the way entertainment was once created,” d’Ecco explains. “I wanted to go back in time, exist in a different era and breathe my creativity through it.”
Thematically, the album holds up a mirror to pop culture and explores our obsessions with entertainment and celebrity. “No matter where you live or what language you speak, there’s an entertainment god for you,” d’Ecco explains in press notes. “Whether on TV or writing the books you read, it’s an odd sense of purpose we allocate to these humans whose talent is in distracting us from the doldrums of daily life. We’re constantly searching for something… glued to our phones… consuming various forms of entertainment. We feel less close with each other, and closer to the strangers who make us feel good.”
So far, throughout the year I’ve written about two of In Standard Definition’s previously released singles:
“TV God,” a synthesis of ’77 punk, Ziggie Stardust-era Bowie and Pleasure Principle-era Gary Numan, centered around anthemic hooks, twinkling piano stabs, punchily delivered lyrics, soulful backing vocals, propulsive bass lines, a scorching guitar solo and squiggling synths.
“Head Rush” an infectious boogie that owes a sonic debt to Man That Sold The World and Ziggy Stardust-era Bowie, complete with an enormous horn line and glistening synths.
“I Am The Dance Floor,” In Standard Definition’s latest single is a shimmering and strutting disco take on glam rock centered around a rapid-fire four-on-the-floor, fluttering synth arpeggios, a funky and propulsive, dance floor friendly grooves, a regal horn sample and an enormous hook that may remind some of Bay City Rollers “Saturday Night,” Echoes-era The Rapture and In Ghost Colours-era Cut Copy.
Directed by Wai Sun Cheng, the recently released video for “I Am the Dance Floor” features d’Ecco and his backing band under a glittering disco ball and on a giant, patchwork light up floor, made famous in Saturday Night Fever, beckoning the viewer — and of course, the listener — on to the dance floor, where there’s true liberation, if only for a three-minute song.
“I was picturing this alt version of Saturday Night Fever where the lead is this aging loner obsessed with dance, who every weekend shows up at different clubs around town and just murders the dance floor, and then disappears out the back door,” d’Ecco says. “There is a person from my home town who sort of fits this description quite well. I think every scene has their own version of Random Dancing Dude.”
In Standard Definition is slated for an April 23, 2021 release through Paper Bag Records.
With the release of Out in the Dark, the Israeli-born, Paris-based singer/songwriter and guitarist MAGON established a sound that he described as “urban rock on psychedelics,” which to my ears seemed indebted to David Bowie and T. Rex.
The Israeli-born, Paris-based singer/songwriter and guitarist released his critically applauded sophomore album, Hour After Hour through December Square/Differ-Ant Records last December. The album, which features Change,” a dreamy meditation on the passing of time, “Aerodynamic,” a decidedly glam rock-inspired take on psych rock and the No Wave meets post-punk like album title track “Hour After Hour,” is a decided change in approach and sonic direction for the Paris-based JOVM mainstay: sonically, the album as MAGON says is “somewhere between Ty Segall, Allah-Las and The Velvet Underground.”
MAGON with his live band recently played a live set for Groover Obsessions’ Les Capsules sessions at La Marbrerie that featured a jammy and trippy version of the aforementioned “Hour After Hour,” one of my favorite songs off his sophomore album and the slow-burning burning and brooding psych rocker “Coucou My Friend.” Both songs in the live session are delivered with an insouciant yet swaggering cool.
With the release of Out in the Dark, the Israeli-born, Paris-based singer/songwriter MAGON established a sound that seemed indebted to David Bowie and T. Rex, which he once described as “urban rock on psychedelics.” Quickly after Out in the Dark, MAGON released a couple of singles including “Change,” a dreamy meditation on the passing of time and “Aerodynamic,” a decidedly glam rock-inspired take on psych rock.
While becoming a JOVM mainstay artist, the Israeli-French artist has developed a reputation for being rather prolific. His sophomore album Hour After Hour was released through December Square/Differ-Ant Records. Hour After Hour is a decided change in sonic direction and approach for the Israeli-French singer/songwriter: the album ia mix of psychedelic ballads and garage rock bangers that MAGON describes as being “somewhere between Ty Segall, Allah-Las and The Velvet Underground” that finds the JOVM mainstay writing the most introspective and personal lyrics of his growing catalog.
Interestingly enough, the album’s latest single, album title track “Hour After Hour” is a No Wave/post-punk like song, featuring quiggling guitar lines, a sinuous and propulsive bass line and the Israeli-French singer/songwriter’s sing-songy/Lou Reed-inspired delivery. But interestingly, the song is centered by neurotic self-deprecation, novelistic details and observations as the song’s narrator describes a meet cute turn hookup gone horribly wrong.
Directed and animated by Mihaela Mîndru, the recently released video for “Hour After Hour” features trippy line animation that follows the events and situations described in the song with a dreamy and surreal quality.
The Lounge Society — Cameron Davey (vocals, bass), Archie Dewis (drums), Herbie May (guitar) and Hani Paskin-Hussain (guitar) — is a rising Hebden Bridge, West Yorkshire, UK band, whose members are roughly around the ages of 16-17. And in a remarkably short period of time, the Hebden Bridge, West Yorkshire-based act have developed a sound and approach that draws from a diverse array of influences including The Fall, Talking Heads, The Velvet Underground and Fat White Family among others.
The rising British act caught the attention of Speedy Wunderground co-founders Pierre Hall, Dan Carey, and Alexis Smith, and by the time the band’s manager had contacted the label, Hall, Carey and Smith quickly recognized that they were in a now-or-never moment to work with a band that by all accounts are lining themselves up to one of the next big things from Northern England. Because of their youth, the members of the and actually needed permission to miss their exams in order to come down to Speedy Wunderground’s Streatham, Greater London headquarters and studio to record material. And they needed an adult guardian to check them into the nearby hotel they booked for for their session.
Despite their relative youth, the young rising act made quite the impression on the Speedy Wunderground folks. “They are great. Really fun to work with — and a fucking amazing band,” Dan Carey enthuses. The day that the band entered the studio, things happened quickly: after messing around a bit with the members of the band trying out different amps and guitars. As soon as they were ready, Carey set the mood of the sessions by turning the lights off and turning on the smoke machine and lasers. And as they started to play, the building’s smoke alarm went off, which according to the band and the label was the first time that had ever happened.
Earlier this year,. I wrote about The Lounge Society’s debut single, the expansive yet breakneck “Generation Game.” Clocking in at 5:30, the band self-assuredly crafts a difficult to pigeonhole sound with the single featuring elements of shoegaze, psych rock, punk and Brit Pop held together by a propulsive rhythm section. “Generation Game” manages to capture the upstarts as a runaway train of rambunctious abandon, piss and vinegar and distortion pedaled power chords.
Building upon the buzz they received from “Generation Game,” The Lounge Society’s latest single “Burn the Heather” continues their ongoing collaboration with Dan Carey while being centered around a post-punk/punk funk strut that recalls Talking Heads, Gang of Four and Echoes-era The Rapture, complete with copious cowbell. And while being a dance floor friendly jam, the song finds the band continuing to write material that’s sociopolitically charged: The song’s title is derived from the annual local ritual of rich landowners burning moor-top heather for lucrative grouse-shoots. Locals in the valley have blamed that annual local ritual for frequent flooding that has devastated them financially and emotionally. Much like its predecessor, “Burn the Heather” is the sound and voice of England’s young people — and perhaps young people everywhere: hyper aware of their local and global world, articulate, pissed off, energized and ready to grab society by the horns.
Centered around strikingly macabre lyrics, “Burn the Heather” is a deeply personal song for the upstart British act. “‘Burn the Heather’ is a song deeply rooted in where we come from,” the band explain in press notes. “The lyrics are our interpretation of some of the darker aspects of where we live, and our personal reaction to them. Musically, ‘Burn the Heather’ is intended to be an adrenaline shot to the brain. We wanted this to be the second single all along. We don’t want to be just another post-punk band, and we knew ‘Heather’ would keep people on their toes. Unlike a lot of our tracks, the guitars are quite minimal and the rhythm really carries it, and we think it works really well. We want to make people move.”
Directed by Nick Farrimond, the recently released video fittingly follows the song’s macabre lyrics with rich landowner types hunting people — in this case, young people, dressed as prisoners in orange or perhaps red?) jumpsuits. (Editor’s note: Americans will see it this way. Across the country, the orange jumpsuit typically denotes prisoner.) Clearly pointing out the inequalities of power, class and wealth, the members of the band are hunted down — and there’s ton of carnage, as well as an ironic twist.
“Born from the sense of injustice surrounding irresponsible land owners who clear heather from the moorland for grouse hunting, (resulting in increased flood risks below in the valley where we all live) we decided to portray caricatured versions of grouse hunters, dressed head to toe in tweed and showing total disregard for the landscape and devoid of any values, morals or ethics,” the video’s director Nick Farrimond explains. “The band play the parts of grouse, making their way across the moors, dressed in fetching red boiler suits and unaware of the impending danger they face. What ensues is general carnage as the grouse are hunted one by one, each meeting a grizzly, untimely end…or do they? You’ll have to watch the video to find out.”
Café Bizarre — Fabien (vocals), Giles (bass, guitar), Jean-Michel (drums, percussion), Granlu (guitar, bass) and Jean-Marc (guitar) — is a Paris-based indie rock act that can trace its origins back to the 1990s. And since their formation, the Parisian indie rock act have largely been a musician’s musician band, and arguably one of the bigger influences of the indie music scenes of early 90s New York, Hoboken and Chicago.
As the story goes, Mark Ibold, who played bass on a number of Pavement and Sonic Youth albums in the 00s met members of the band in a Lower East Side bar. This chance meeting wound up cementing a deeply rooted 25 year friendship between the Parisian band and the members of Pavement. According to Café Bizarre, Pavement’s “Shoot The Singer” discreetly pays homage to them — but interestingly enough, the band says that the song was originally written the year, as a tribute to Lou Reed and The Velvet Underground.
The band’s first recorded output, 1995’s 13 song album Avenue A saw distribution through small shops and then disappeared from public consciousness — until a Télépopmusik fan came across the album on e-Bay. 1997’s four song EP Manipulate Men was originally distributed and sold through their local record store. Much like its predecessor, it disappeared until someone found some copies, 12 years later in a box in the store’s basement.
1998 saw the band’s lineup expanded into a quintet with the addition of a new member. And as the band joke, they continued their musical careers with personal funds and the logistical support of dear and steadfast friends.
1998 saw the band’s lineup expanded into a quintet with the addition fo a new member. And as the band joke, they continued their musical careers with personal funds and the logistical support of dear and steadfast friends. A few years later — 2001, to be precise — the Parisian band wrote and recorded a 3 song effort, aptly tired 3 that wasn’t distributed. By 2002, the band went on hiatus with its members spending time raising families and doing responsible, adult things.
In 2011, Café Bizarre released a CD-DVD boxed set of their Fallentfest Music Festival appearance at La Cigale. The following year, the band gave away the live album portion of the CD-DVD boxed sets to fans upon request.
After several attempts at self-production, the band recruited Mattéo Apher to produce the band’s first vinyl record, a 10 song effort released in 2017. The effort found the band blending 90s alt rock influences with loud, guitar-driven anthems. The album is available is also available digitally through Bandcamp.
Earlier this year,. the Parisian indie rock band released a 7 song EP Don’t Swim Tonight My Love , which boldly recalls 90s rock, complete with enormous hooks. The EP’s latest single, EP title track., “Don’t Swim Tonight My Love” is a shimmering rocker centered around Fabien’s plaintive vocals, a propulsive backbeat and a shout-along worthy hook that sonically brings Pablo Honey-era Radiohead and 120 Minutes-era MTV to mind.
With the release of 2014’s debut EP Melodies for the Contemporary Mind, which led to them opening for Stereolab’s Laetitia Sadier — and their full-length debut, 2018’s Soft Years, the act started to receive quite a bit of attention from the Norwegian press. Adding to a growing profile, the act played several showcases in their native Norway and they opened for The Brian Jonestown Massacre. They ended a big 2018 with the the 12-inch effort Reworked, which featured remixes from Lindstrøm & Prins Thomas, Young Dreams and Serena Maneesh.
The members of the rising Norwegian indie act spent last year writing and recording their recently released Emil Nikolaisen-produced sophomore album Eternal Fidelity. The album highlights a band that has grown more confident while crafting material that’s nostalgic yet modern, centered around big chords and sentimental melodies. “Sometimes I try very hard to hold on to something but it just feels like it’s slipping through my fingers. Ideals, dreams, identities or friendships are all things that live so strongly and easily when we’re young but often seem to lose footing as we grow older,” the band’s Eirik Asker Pettersen says of the album’s overall vibe and themes. “Convictions that seem so solid can suddenly dissolve and become unresolved issues. I don’t think we’re too good at dealing with that. Mostly, Eternal Fidelity is about those feelings. It’s about trying to hold on, let go and make sense of it all. It’s about clinging to what’s important even though it might not be easy all the time.”
Eternal Fidelity‘s latest single is the woozy “You Can Have Everything.” Centered around shimming and arpeggiated blocks of keys, boom bap-like drums, fuzzy power chords and an rousingly anthemic hook, the song manages to a woozy and achingly nostalgic song that evokes the rapid passing of time, as well as the constantly changing priorities and responsibilities of adult life. Life changes you after all; it does that very well.
Helene Alexandra Jæger is a Norwegian-born, Los Angeles-based singer/songwriter, multi-instrumentalist and creative mastermind behind the rising recording project Holy Boy. Recorded at Ben Hillier’s London-based Pool Studios, Jæger’s 2017 Holy Boy self-titled debut was released to widespread critical acclaim with EP single “The Blood Moon” receiving airplay on BBC Radio 1 while establishing her sound – a sound that takes cues from The Velvet Underground and Talk Talk’s Spirit of Eden, Suicide, the dark side of the 60s, vintage girl bands and West Coast hip-hop and she has dubbed “neon gothic.” Thematically, the Norwegian-born, Los Angeles-based artist’s work focuses on “explorations in consciousness,” she explains in press notes.
Building upon a growing profile, Jæger performed sets at that year’s CMJ, NXNE and SXSW. She followed that up with the critically applauded single “Elegy,” which The Line of Best Fit described as being “at once eclectic and utterly immersive; smoky and classic, yet simultaneously futuristic.”
Much like the countless emerging artists I’ve covered on this site over the past decade, Jæger began the year with big plans to boost her profile and her career that included booked sets at this year’s SXSW, which would have corresponded with the release of the first single off her forthcoming 11 song, full-length debut, which is slated for release this summer. Of course, as a result of the COVID-19 pandemic, SXSW was cancelled while countless other festivals, tours and shows were postponed until later this year. Interestingly, the album’s first single was released last month – and it turns out to be an eerily fitting and timely cover of The Doors’ classic “Riders On The Storm.” Centered around layers of shimmering organs, including Hammond, Rhodes, Optigan and Vox Continental, vintage 70s drum machines and 80s Casio synths, along with Jæger’s dusky vocals drenched in gentle reverb, delay and other ethereal effects, the Norwegian-born, Los Angeles-based artist’s haunting and cinematic rendition retains the somber and brooding tone of the original while adding that seemingly unending sense of dread and uncertainty that we’ve all felt in our lives over the past month or so.
The accompanying video is fittingly creepy and yet highly symbolic: it features a lo-fi, computer generated skeleton in space, walking up a never-ending staircase.
I recently exchanged emails with Jæger for this Q&A. Current events have impacted all of us – and they’ve found a way to bleed into our personal and professional lives in ways that will likely reverberate for some time to come. Because she had plans to play at SXSW until it was canceled as a result of the COVID-19 pandemic, we chat briefly about how the pandemic has impacted her and her career. But the bulk of our conversation, we chat about her attention- grabbing cover of The Doors’ classic tune, and what we should expect from her forthcoming debut. Check it out below.
___ WRH: Most parts of the country are enacting social distancing guidelines as a result of the COVID-19 pandemic. Here in New York, we’ve been social distancing and in-quarantine for the better part of three weeks. It’s been tough – but it’s for the greater good. How are you holding up?
Helene Alexandra Jæger: I love New York, and it’s crazy what’s happening right now. I hope it turns around and that we all learn something from this that can save lives in the future and now. Here in L.A., we’ve been at home for three or four weeks — I can’t even remember — and most things have been shut since then. It’s been strict, but I’m grateful for that – better safe than sorry in this type of a situation.
I’m lucky as an introvert, I’m quite comfortable spending time on my own reading, exploring info online, creating and listening to music.
WRH: You were about to release new material at around the time that SXSW had to cancel because of the COVID-19 pandemic. How has COVID-19 impacted you and your career at the moment?
HAJ: The cancellation came so suddenly; the whole festival was shut down less than a week before I was headed there to showcase my album live for the first time. I feel the cancellation of SXSW was a turnaround, for the first time people started to realize how serious this outbreak might get…
Until that, most people I heard from thought the danger was exaggerated, and so I’m really glad the city of Austin made a firm decision, because I don’t know what the situation would have been like if 60,000 people had gathered for SXSW as planned, just a few weeks back.
Since this outbreak, I’ve been trying to manage the “Riders On The Storm” release that was too late to cancel — and somehow turned out to be more poignant right now than I’d ever expected.
I was planning to release my debut album this spring, was working on music video plans, and had live shows in the pipeline around the release, but that’s all on ice now. The good thing is, I get to create more and spend time making more music. I also have a poetry collection I’ve been working on for a while, and it’s given me time to focus on that and prepare for that release.
WRH: How would you describe your sound, for those unfamiliar to you and Holy Boy’s sound?
HAJ: This is always tricky. I feel like it’s a world where it’s dark, but there are neon lights on, and you can see the stars and the moon. There’s a dreamy quality to it, but it can also get gritty and sensual. I sometimes think of it as Moon in Scorpio, 5th house, that’s my placement. It’s a dark and deep place where there’s sometimes a feeling of being closer to space than earth. Musically, I call it Neon Gothic or LA noir, organ rock.
WRH: Who are your influences?
HAJ: I love all kinds of music, but for this coming album, I’ve been immersing myself in what felt like it resonated with the emotions in those songs. Songs like “No Quarter” by Led Zeppelin, David Bowie’s Blackstar album, “Nikes” by Frank Ocean, Suicide and songs by The Shangri-La’s, Johnny Jewel’s work . . .
WRH: Who are you listening to right now?
HAJ: I’m really enjoying the Spotify Discover Weekly playlist where the algorithm presents you with music it thinks you’ll like, and I’ve been going on a deep dive based on doing research for a TV idea I’ve been working on… A beautiful and uplifting raw song I think everyone could benefit from right now is an old gospel type recording “Like A Ship” by Pastor T.L. Barrett and The Youth for Christ Choir… I think it’s a really inspiring song for this time.
I’ve also been listening to demos and outtakes from Bob Dylan’s “Blonde On Blonde” sessions and it’s been such a revelation to hear how incredibly different the other takes were… To see how fluid his process was, that a song like “Like A Rolling Stone” ended up the way we know it, when the other takes were so different… There’s a real magic to it. Like listening into an alternate reality.
WRH: You recently released an eerie and ominous cover of The Doors’ “Riders on the Storm.” I think if Jim Morrison was alive today, he would have really dug what you did with the song. What drew you to the song? Have the living members of The Doors heard the song? If they did, what did they think of it?
HAJ: That means a lot to me, thank you so much. I know he had an interest in the worlds beyond and the nature of life and death, which I personally resonate with, so it was a great experience to channel one of his/their songs . . .
One of the reasons I was drawn to making a cover of “Riders On The Storm”, besides being a huge fan of The Doors, is it feels like a seeker’s song, and it felt like a kindred spirit to the way I look at the world. A sense of not quite being at home and not quite belonging on earth.
From what I know, they haven’t heard it, but I really hope they would enjoy my version. I hope they are all safe and well, all four of them in this world and the other.
WRH: The recent video for “Riders on the Storm” features a computer-animated skeleton in space, walking up an infinite staircase. It’s fittingly ominous and as eerie. How did you come about this treatment – and what is it supposed to represent?
HAJ: When I saw Andrei/@dualvoidanimafff’s lofi retro futuristic animations online, I knew I wanted to work on something with him. For “Riders On The Storm”, I just saw this idea of a skeleton walking up a never-ending staircase in space… Like man’s ascension, our eternal human quest to become more or to rise out of the limitations of physical life, to reach this idea of heaven or perfection… It felt to me like a logical depiction of the song’s theme, “Riders On The Storm”… The impossibility of our pursuit, but also the beauty – that throughout history we’ve never stopped trying.
WRH: You have an album slated for a late August release. What should we expect from the album?
HAJ: My version of “Riders On The Storm” is definitely in the same world that the record takes place in. An otherworldly atmosphere built around Hammond/Rhodes/Optigan organs, Vox Continentals, vintage 70s drum machines and obscure 80s Casio synths. It’s definitely a nighttime record, it’s happening in the dark, songs that I hope can be cathartic in a time like this and what most likely lies ahead.
The Lounge Society — Cameron Davey (vocals, bass), Archie Dewis (drums), Herbie May (guitar) and Hani Paskin-Hussain (guitar) — are a young, rapidly rising band from Hebden Bridge, West Yorkshire, UK. In a relatively short time, the band whose members are roughly around the ages of 16-17 have quickly developed a reputation for making music that kicks the listener in the teeth with the band taking a fresh approach to an eclectic arrange of influences that include The Fall,Talking Heads, The Velvet Underground and Fat White Family among others. And from all accounts, the young quartet may be the next act hailing from Northern England that will be the next emerging band from Northern England to dominate the blogosphere, adding their names to the lies of Working Men’s Club, JOVM mainstays The Orielles and WH Lung.
The emerging band had already caught the attention of Speedy Wunderground co-founders Pierre Hall, Dan Carey, and Alexis Smith, so when the band’s manager contacted the label by email, Hall and Carey quickly recognized that they were in a now-or-never moment. Because of the band’s youth, they needed together permission to miss their music exams in order to come down to Speedy Wunderground’s Streatham headquarters and studio — and they had to have an adult guardian to check them into the nearby hotel they booked for the sessions.
The members of The Lounge Society made quite an impression on the folks at Speedy Wunderkind: “They are great. Really fun to work with — and a fucking amazing band,” Dan Carey enthuses. The day that the band entered the studio, things happened quickly: after messing around a bit with the members of the band trying out different amps and guitars. As soon as they were ready, Carey set the mood of the sessions by turning the lights off and turning on the smoke machine and lasers. And as they started to play, the building’s smoke alarm went off, which according to the band and the label was the first time that had ever happened.
The end result is the band’s expansive and breakneck debut single “Generation Game.” Clocking in at 5:30 the track is essentially comprised of a handful of different stylistic and sonic movements — with elements of shoegaze, psych rock, psych punk and Brit Pop — that are barely held together by a propulsive rhythm section; at points the band is a furious, runaway train of youthful rambunctiousness and abandon, piss and vinegar, and distortion pedaled power chords. Much like their Northern English counterparts, the members of The Lounge Society specialize in a difficult to pigeonhole sound — and they do so with a self-assuredness that belies their youth.
“We went through the track and there was a real energy in the room, it was like being at a gig which is exactly what this track needed,” the rising Northern English band says in press notes. “‘Generation Game’ means a lot to all of us, and we feel it’s an ideal introduction to us as a band. To us the lyrics reflect what we’re all about – shedding light on topics and events we feel are criminally ignored – and for it to be our very first offering to the world (especially through Speedy) really helps get that across. Once we’d finished the take we all stopped dead and looked at each other (and Dan) and he just said ‘that’s it, that’s the one’. I think we were all a bit shocked but the energy was there on the recording and we completely trusted him!”
The band adds “I don’t think it’s sunk in yet that we’re releasing a single with Speedy. It’s always been a dream for all of us to record with Dan Carey and release with Speedy. We love their ethos and all the music they’ve put out in the past, it’s a great scene.