Tag: The Verve

Ollie Trevers is an emerging London-based singer/songwriter and guitarist, who started writing and performing music when he was 14. Like countless other young people, Trevers harbored artistic aspirations from the very beginning.

While studying at Leeds College of Music, Trevers joined a band then known as The Doldrums — they’re now known as Velvit — as the band’s lead singer and rhythm guitarist. The band wound up playing gigs in and around the Leeds area but while earning a masters at ICMP, Trevers decided it was time to spent out into the limelight as a solo artist, writing and recording his solo debut, last year’s Saucy Naughty Rubbish EP, an effort that found the London-based singer/songwriter crafting a sound that drew equally from classic rock and post-punk.

Around the same time, Trevers started to receive film industry work, eventually writing period specific songs for the feature film Funny Cow and publishing music to be used in the feature film Burning MenSince then he was commissioned to write the score and the soundtrack album for the upcoming feature film Cordelia. And after completing his masters, Trevers has begun to refocus his efforts into his solo career, including recruiting a backing band, which has started to play gigs in and around London.

Trevers’ recently released, five song EP Cordelia finds the emerging British singer/songwriter and guitarist expanding upon the sound of his debut, with the new EP’s material inspired by Led Zeppelin, Ella Fitzgerald, Edith Piaf, Tim Buckley, Jeff Buckley, Pink Floyd, Queen, Jimi Hendrix, Joni Mitchell and David Bowie among others. And as a result, the material’s overall sound touches upon punk, alt rock, prog, blues, folk and psych rock. Thematically, the material touches upon heartache, melancholia, catharsis and emotional claustrophobia — and the feelings which often transcend our ability to accurately describe them. Additionally, the material finds the emerging British singer/songwriter and guitarist exploring unrequited love and its causes and effects — depression, addiction, disillusionment and longing.

The EP’s latest single is the oceanic “Can’t Make It Up.” Centered around fuzzy power chords, Trevers plaintive and expressive vocals and an enormous, arena rock friendly hook, the expansive song sonically nods at alt rock, the blues, psych rock, folk and Brit Pop in a way that reminds me of Love Is Here-era Starsailor and The Verve.  “‘Can’t Make It Up’ was written as a result of a  rather turbulent period in my life,” Trevers says in press notes. “I think a lot of people have expressed a similar despondency, and I’m really happy that I managed to find a way to share that in my music . . . especially as I sometimes find it too hard to write about things that are personal.”

 

New Video: City and Colour’s Achingly Lonely Visual for “Astronaut”

Throughout the course of 2019, I’ve written quite a bit about the St. Catherines, Ontario, Canada-born singer/songwriter and guitarist, Dallas Green, the creative mastermind behind the acclaimed and commercially successful folk rock/alt country solo-recording City and Colour. Interestingly, Green may arguably be one of the most successful Canadian artists of his generation: he’s won 3 Juno Awards, including two Songwriter of the Year Awards — and in Canada he has 3 Double Platinum-certified albums, 1 Platinum-certified album and 1 Gold-certified album.

Now, as you may recall, Green’s sixth album, the Jacquire King-produced A Pill for Loneliness is slated for an October 4, 2019 release through the acclaimed Canadian singer/songwriter’s Dine Alone Records imprint, Still Records. The album’s first single “Astronaut,” which marks the first bit of new material from Green in over 4 years, and the track manages to be one part slow-burning, honky tonk ballad and one part towering and anthemic hook-driven Slowdive and The Verve shoegaze, centered around a lonely life on the road, far from friends, family and loved ones. “I always think of the relationships in my life that have been fractured because I ended up doing what I do for a living,” Green says of the new single. “I’m always gone, wandering around and singing songs. However, it weighs on my family and friends. I’m asking for ‘one more year.’ I left home at 21 to go play my guitar. It’s lonely, but it’s because I yearn to wander, I’m aware of how lucky I am.”

Directed by Maxxis, the recently released video stars City and Colour’s Green alone in an empty movie theater as space and aeronautical imagery is projected on the big screen — although briefly the astronaut becomes real. The video manages to evoke the aching loneliness at the core of the song: after all, what can be lonelier than an empty movie theater, with your thoughts, regrets and dreams? 

Green will be embarking on an extensive North American tour that will feature back-to-back nights in Nashville, San Francisco, Los Angeles, Boston and New York. One night in each of those cities will take place in a seated theater, featuring Green playing an intimate solo show with stripped down versions of songs across his catalog with Ben Rogers, the first artist to sign onto Green’s new label.  The second night will feature Green and his touring band playing in general admission rock and indie rock venues with Ruby Waters opening. You can check out the tour dates below.

New Audio: Nashville’s Twen Releases an Anthemic New Single

Earlier this year, I wrote about the Nashville-based indie rock act Twen.  The act, which is led by founding members Jane Fitzsimmons (vocals) and Ian Jones (guitar) can trace their origins to their involvement in Boston’s DIY scene, and as you may recall, the duo since their formation have been actively been redefining what a touring band should be and should be in the streaming age. Initially releasing only a live EP recorded from the band’s live debut in a Boston basement, the band has toured non-stop, honing and perfecting a live show that’s been described by critics and fans alike as raw and mesmerizing. 

Continuing to proudly ascribe to the DIY ethos that has influenced and sustained them, Twen’s core duo have run AirBNBs while touring, played in exchange for skydiving, screen printed self-designed merch items by hand and book their own tours. The duo emerged into the national scene with the release of their attention-grabbing single “Waste,” which received praise from the likes of NPR, Stereogum, Paste Magazine, BrooklynVegan, Uproxx, Under The Radar and others. Earlier this year, the duo opened for the acclaimed Louisville-based JOVM mainstays White Reaper — and they released the slow-burning and shoegazer-like “Holy River,” a track that to my ears would likely draw comparisons to classic 4AD Records, Cocteau Twins, Slowdive, A Storm in Heaven-era The Verve and Beach House — but with a yearning, dream-like quality that gives the ethereal track a subtle bit of emotional weight.

 Building upon a growing profile, the buzz-worthy, Nashville-based duo will be releasing their full-length debut Awestruck through Frenchkiss Records on September 20, 2019. I also wrote about the album’s first official single “Baptism,” an atmospheric and shoegazer-like track centered around shimmering guitars, propulsive drumming, Jane Fitzsimmons’ enormous, room-filling vocals singing impressionistic lyrics full of a yearning desire to be born, becoming and re-born. The album’s latest single “Make Hard” is centered around jangling, reverb-soaked guitars, propulsive drumming and rousingly anthemic hook — and while bearing a bit of a resemblance to Fleetwood Mac, the song is rooted in lived-in, personal experience that gives the song an emotional weight. 

“The song was rewritten and arranged very late in the recording process,” the band explained to DIY. “Another one of our earliest tunes, the second verse was a response to the growing pains we were going through at the time, transitioning from part-time rockers to full-time road warriors. The lyrics have come to symbolize the dynamics and relationships within a band as it grows, through the transformation of defined roles and how they change over time.” 

New Audio: Nashville’s Twen Releases a Shimmering and Celestial New Single

The Nashville-based indie rock act Twen, led by founding members Jane Fitzsimmons (vocals) and Ian Jones (guitar) can trace their origins to when they formed while both were involved in Boston’s DIY scene. Since their formation several years ago, the band has been busy redefining what a touring band should do — and should be in the streaming age. Initially releasing nothing more than a live EP recorded fro the band’s live debut in a Boston basement, the band has toured non-stop, honing and perfecting a live show that’s been described as raw and mesmerizing.

Continuing to proudly ascribe to the DIY ethos that influenced them, Twen’s core duo have run AirBNBs while touring, played in exchange for skydiving, screen printed self-designed merch items by hand and book their own tours. Now, as you may recall, the duo quickly emerged into the national scene with the release of attention-grabbing single “Waste,” which received praise from the likes of NPR, Stereogum, Paste Magazine, BrooklynVegan, Uproxx, Under The Radar and others. Earlier this year, the duo opened for the acclaimed Louisville-based JOVM mainstays White Reaper — and they released the slow-burning and shoegazer-like “Holy River,” a track that to my ears would likely draw comparisons to classic 4AD Records, Cocteau Twins, Slowdive, A Storm in Heaven-era The Verve and Beach House — but with a yearning, dream-like quality that gives the ethereal track a subtle bit of emotional weight.

Building upon a growing profile, the buzz-worthy, Nashville-based duo will be releasing their full-length debut Awestruck through Frenchkiss Records on September 20, 2019. “Baptism,” the album’s first official single is an atmospheric bit of shoegaze centered around shimmering guitars, propulsive drumming, Jane Fitzsimmons’ enormous, room-filling vocals singing impressionistic lyrics full of a yearning desire to be born, becoming and re-born. Interestingly, Jones’ guitar lines actually is a revisited riff that he wrote as a teenager, that he reworked with a fresh perspective — essentially giving the song a trippy and anachronistic sensibility. 

Earlier this month, I wrote about the St. Catherines, Ontario, Canada-born singer/songwriter and guitarist, Dallas Green and his acclaimed, commercially successful folk rock/alt country-solo recording project City and Colour. Green started playing piano when he turned eight and was writing music when he turned 14. Initially beginning his music career as a member of Helicon Blue, Green was a founding member of Canadian post-hardcore act Alexisonfire with whom he wrote and recorded four Platinum-certified albums and an EP — 2001’s self-titled album, 2004’s Watch Out!, 2006’s Crisis and 2009’s Old Crows/Young Cardinals and 2010’s Dog’s Blood EP — before officially breaking up in 2011.

City and Colour, Green’s solo recording project can trace its origins back to 2005 when he began releasing early versions of songs for fans to download. Many of those songs were written when Green turned 16 — and he complied those songs and rewrote many of those songs, eventually releasing them as his 2005 City and Colour debut, Sometimes.

2008’s City and Colour sophomore album, the folk-influenced Bring Me Your Love featured a wider arrangement of instrumentation, including harmonica, banjo, drums and lap steel and found Green collaboration with The Tragically Hip’s Gordon Downie and Attack in Black‘s Matt Sullivan. The album’s lead single “Waiting . . . ” peaked at #32 on the Canadian Hot 100. Building upon a growing profile on both sides of the border, Green and his backing band went on their first American tour, opening for Tegan and Sara and Girl in a Coma. The following year, Green went on a Stateside headlining tour with William Elliott Whitmore. 

January 2010 saw Green on another headlining Stateside tour to support Bring Me Your Love with opening act Lissie, which he followed with a UK tour opening for Pink and Butch Waters, with a handful of headlining dates. He ended that year collaboration with Polaris Music Prize-nominated artist Shad on a remix of one of “Listen” off TSOL, and an original song “Live Forever.

2011’s Little Hell featured Green’s highest charting single, “Fragile Bird,” which reached #1 on the Canadian rock/Alternative Charts. That August, Alexisonfire formally broke up with a statement from the band’s George Pettit saying that Green had been planning to leave the band to focus on his solo work, as balancing the two projects became too difficult.

In 2014 Green collaborated with multi-Grammy nominated and winning pop artist Pink in You + Me and the duo’s full-length debut, rose ave. debuted at #4 on the US Top 200 Charts, #1 in Canada and #2 in Australia, eventually being certified Platinum and culminating in appearances on The Ellen DeGeneres Show and Jimmy Kimmel Live!

Green’s most recent full-length album 2015’s If I Should Go Before You debuted at #16 on the US Billboard 200 and #1 in his native Canada, marking his third consecutive chart-topping album in his homeland.  As far as other accolades, Green has won 3 Juno Awards, including two Songwriter of the Year Awards — and in Canada he has 3 Double Platinum-certified albums, 1 Platinum-certified album and 1 Gold-certified album, which may arguably make him one of the most commercially successful, Canadian artists of his generation.

His forthcoming sixth, Jacquire King-producedfull-length album is slated for release this Fall through the acclaimed Canadian singer/songwriter’s newly minted Dine Alone Records imprint, Still Records. Now, as you may recall, the album’s first single “Astronaut” was one part, honky-tonk ballad about a lonely life on the road, far from friend and family, playing your sad, beer and whiskey-soaked songs on the road, one part, towering and anthemic hook-driven shoegaze that recalls Slowdive and The Verve.  “I always think of the relationships in my life that have been fractured because I ended up doing what I do for a living,” Green says of the new single. “I’m always gone, wandering around and singing songs. However, it weighs on my family and friends. I’m asking for ‘one more year.’ I left home at 21 to go play my guitar. It’s lonely, but it’s because I yearn to wander, I’m aware of how lucky I am. “

The as of yet-unnamed album’s latest single “Strangers” is interestingly enough, its first official radio single and it manages to continue in a similar vein as its predecessor — a mesh of honky tonk country and towering shoegaze, centered around an enormous, arena friendly hook, Green’s plaintive vocals and a haunting refrain in which Green pleads “Don’t wake when when this is over/just let me drift amidst my dreams.” “‘Strangers’ is about how you will never truly know another human being,” says Green. “You’ll never really understand what it’s like to be inside someone else’s brain or heart. So, we need to appreciate the differences. If we do, maybe we can live better with one another.”

Earlier this month Green announced festival dates and a North American tour that will feature back-to-back nights in Nashville, San Francisco, Los Angeles, Boston and New York. One night in each of those cities will take place in a seated theater, featuring Green playing an intimate solo show with stripped down versions of songs across his catalog with Ben Rogers, the first artist to sign onto Green’s new label.  The second night will feature Green and his touring band playing in general admission rock and indie rock venues with Ruby Waters opening. You can check out the tour dates below.

For this tour, Green has partnered with PLUS1. $1 from every ticket sold in Canada and the States will be donated to charitable foundations — Crisis Text Line here in the States and MusiCounts and Indpsire in Canada. Since launching in 2013, Crisis Text Line has provided free, 24/7 confidential support for those in crisis across the country, exchanging over 100 million messages from folks across the country. If you or someone you know needs help, have them text 741714 in the US to connect with a trained Crisis Counselor.

TOUR DATES
Festival Dates
Jun 27 – Lansing, MI @ Common Ground Festival (Solo)
Jun 29 – Peterborough, ON @ Peterborough Musicfest (Solo)
Aug 3 – Montreal, QC @ Osheaga Festival
Aug 5 – St. John’s, NL @ George Street Music Festival
Aug 4 – Saint John, NB @ Area 506 Festival
Aug 17 – Elora, ON @ Riverfest
U.S. Tour Dates
Sep 20 – Tacoma, WA @ WAMU Theatre (w/ ALICE IN CHAINS)
Oct 09 – Nashville, TN @ The Basement East**
Oct 10 – Nashville, TN @ James K. Polk Theater (Solo)*
Oct 14 – San Francisco, CA @ Palace of Fine Arts (Solo)*
Oct 15 – San Francisco, CA @ The Fillmore**
Oct 16 – Los Angeles, CA @ Ace Hotel (Solo)*
Oct 17 – Los Angeles, CA @ The Fonda Theatre**
Oct 21 – Boston, MA @ Royale**
Oct 22 – Boston, MA @ Berklee Performance Center (Solo)*
Oct 24 – New York City, NY @ Webster Hall**
Oct 25 – New York City, NY @ Town Hall (Solo)*
Canadian Tour Dates
Nov 08 – Victoria, BC @ Save On Foods Memorial Centre^
Nov 09 – Vancouver, BC @ Pacific Coliseum^
Nov 10 – Kelowna, BC @ Prospera Place^
Nov 12 – Calgary, AB @ Scotiabank Saddledome^
Nov 13 – Edmonton, AB @ Rogers Place^
Nov 15 – Regina, SK @ Brandt Centre^
Nov 16 – Winnipeg, MB @ Bell MTS Place^
Nov 19 – Sudbury, ON @ Sudbury Arena^
Nov 22 – Toronto, ON @ Scotiabank Arena^
Nov 25 – Ottawa, ON @ Canadian Tire Centre^
Nov 26 – Kingston, ON @ Leon’s Centre^
Nov 29 – Halifax, NS @ Scotiabank Centre^
* = w/Ben Rogers
** = w/Ruby Waters
^ = w/Jacob Banks and Ben Rogers

Dallas Green is a St. Catherines, Ontario, Canada-born singer/songwriter and guitarist, who started playing piano when he was eight and writing music when he was 14. Initially beginning his music career as a member of Helicon Blue, Green was a founding member of Canadian post-hardcore act Alexisonfire with whom he wrote and recorded four Platinum-certified albums and an EP — 2001’s self-titled album, 2004’s Watch Out!, 2006’s Crisis and 2009’s Old Crows/Young Cardinals and 2010’s Dog’s Blood EP — before officially breaking up in 2011.

Interestingly, Green’s critically acclaimed and commercially successful folk rock/alt-country solo recording project City and Colour, can trace its origins back to 2005 when he began releasing early versions of songs for fans to download. Many of those songs were written when Green turned 16 — and he complied those songs and rewrote many of those songs, eventually releasing them as his 2005 City and Colour debut, Sometimes.

2008’s City and Colour sophomore album, the folk-influenced Bring Me Your Love featured a wider arrangement of instrumentation, including harmonica, banjo, drums and lap steel and found Green collaboration with The Tragically Hip’s Gordon Downie and Attack in Black‘s Matt Sullivan. The album’s lead single “Waiting . . . ” peaked at #32 on the Canadian Hot 100. Building upon a growing profile on both sides of the border, Green and his backing band went on their first American tour, opening for Tegan and Sara and Girl in a Coma. The following year, Green went on a Stateside headlining tour with William Elliott Whitmore. 

January 2010 saw Green on another headlining Stateside tour to support Bring Me Your Love with opening act Lissie, which he followed with a UK tour opening for Pink and Butch Waters, with a handful of headlining dates. He ended that year collaboration with Polaris Prize-nominated artist Shad on a remix of one of “Listen” off TSOL, and an original song “Live Forever.

2011’s Little Hell features Green’s highest charting single, “Fragile Bird,” which reached #1 on the Canadian rock/Alternative Charts. That August, Alexisonfire formally broke up with a statement from the band’s George Pettit saying that Green had been planning to leave the band to focus on his solo work, as balancing the two projects became too difficult.

In 2014 Green collaborated with multi-Grammy nominated and winning pop artist Pink in You + Me and the duo’s full-length debut, rose ave. debuted at #4 on the US Top 200 Charts, #1 in Canada and #2 in Australia, eventually being certified Platinum and culminating in appearances on The Ellen DeGeneres Show and Jimmy Kimmel Live!

Green’s most recent full-length album 2015’s If I Should Go Before You debuted at #16 on the US Billboard 200 and #1 in his native Canada, marking his third consecutive chart-topping album in his homeland.  As far as other accolades, Green has won 3 Juno Awards, including two Songwriter of the Year Awards — and in Canada he has 3 Double Platinum-certified albums, 1 Platinum-certified album and 1 Gold-certified album, which may arguably make him one of the most commercially successful, Canadian artists of his generation.

His forthcoming sixth, full-length album is slated for release this Fall through the acclaimed Canadian singer/songwriter’s newly minted Dine Alone Records imprint, Still Records — and the album’s first single the Jacquire King-produced “Astronaut,” is the first batch of new material from Green in over four years. Interestingly, the single is one part, honky-tonk ballad about a lonely life on the road, far from friend and family, playing your sad, beer and whiskey-soaked songs on the road, one part, towering and anthemic hook-driven shoegaze that recalls Slowdive and The Verve.  “I always think of the relationships in my life that have been fractured because I ended up doing what I do for a living,” Green says of the new single. “I’m always gone, wandering around and singing songs. However, it weighs on my family and friends. I’m asking for ‘one more year.’ I left home at 21 to go play my guitar. It’s lonely, but it’s because I yearn to wander, I’m aware of how lucky I am. “

Along with the new single, Green announced festival dates and a North American tour that will feature back-to-back nights in Nashville, San Francisco, Los Angeles, Boston and New York. One night in each of those cities will take place in a seated theater, featuring Green playing an intimate solo show with stripped down versions of songs across his catalog with Ben Rogers, the first artist to sign onto Green’s new label.  The second night will feature Green and his touring band playing in general admission rock and indie rock venues with Ruby Waters opening. You can check out the tour dates below.

For this tour, Green has partnered with PLUS1. $1 from every ticket sold in Canada and the States will be donated to charitable foundations — Crisis Text Line here in the States and MusiCounts and Indpsire in Canada. Since launching in 2013, Crisis Text Line has provided free, 24/7 confidential support for those in crisis across the country, exchanging over 100 million messages from folks across the country. If you or someone you know needs help, have them text 741714 in the US to connect with a trained Crisis Counselor.

TOUR DATES
Festival Dates
Jun 27 – Lansing, MI @ Common Ground Festival (Solo)
Jun 29 – Peterborough, ON @ Peterborough Musicfest (Solo)
Aug 3 – Montreal, QC @ Osheaga Festival
Aug 5 – St. John’s, NL @ George Street Music Festival
Aug 4 – Saint John, NB @ Area 506 Festival
Aug 17 – Elora, ON @ Riverfest
U.S. Tour Dates
Sep 20 – Tacoma, WA @ WAMU Theatre (w/ ALICE IN CHAINS)
Oct 09 – Nashville, TN @ The Basement East**
Oct 10 – Nashville, TN @ James K. Polk Theater (Solo)*
Oct 14 – San Francisco, CA @ Palace of Fine Arts (Solo)*
Oct 15 – San Francisco, CA @ The Fillmore**
Oct 16 – Los Angeles, CA @ Ace Hotel (Solo)*
Oct 17 – Los Angeles, CA @ The Fonda Theatre**
Oct 21 – Boston, MA @ Royale**
Oct 22 – Boston, MA @ Berklee Performance Center (Solo)*
Oct 24 – New York City, NY @ Webster Hall**
Oct 25 – New York City, NY @ Town Hall (Solo)*
Canadian Tour Dates
Nov 08 – Victoria, BC @ Save On Foods Memorial Centre^
Nov 09 – Vancouver, BC @ Pacific Coliseum^
Nov 10 – Kelowna, BC @ Prospera Place^
Nov 12 – Calgary, AB @ Scotiabank Saddledome^
Nov 13 – Edmonton, AB @ Rogers Place^
Nov 15 – Regina, SK @ Brandt Centre^
Nov 16 – Winnipeg, MB @ Bell MTS Place^
Nov 19 – Sudbury, ON @ Sudbury Arena^
Nov 22 – Toronto, ON @ Scotiabank Arena^
Nov 25 – Ottawa, ON @ Canadian Tire Centre^
Nov 26 – Kingston, ON @ Leon’s Centre^
Nov 29 – Halifax, NS @ Scotiabank Centre^
* = w/Ben Rogers
** = w/Ruby Waters
^ = w/Jacob Banks and Ben Rogers

Comprised of founding duo Maja (guitar, vocals) and Andreas (guitar, vocals) along with Samuel (drums), the Stockholm, Sweden-based shoegazers Star Horse can trace their origins back to 2011 when the band’s founding duo met while in Toyko. And as the story goes, Maja and Andreas bonded over a mutual desire to create a sound based around their love of 90s shoegaze. When they returned to Stockolm, they recruited Andreas and Samuel — and while each member individually has dissimilar tastes and preferences, they used the Twin Peaks soundtrack as a common musical thread to create their sound and aesthetic.

Interestingly, since their formation, the Stockholm-based quartet has been considered at the forefront of their homeland’s shoegaze/dream pop scene, developing a developing a devoted international fanbase — and for most of their history, they’ve done it all in a completely DIY fashion, releasing three EPs and a handful of singles through their own label Haxrummet Records. Additionally, along with Follow the Sea, they created the local DIY noise rock/shoegazer festival Fuzztival.

Since, the release of the highly praised single “Slower Now,” the band has been holed up in the studio, finishing up their highly-anticipated full-length debut You Said Forever, which is slated for a February 15, 2019 release through Startracks Records. The album’s latest single is the slow-burning epic track “Albatross” which clocks in at a little under 9 minutes and is centered around shimmering guitar chords and ethereal vocals. And while recalling A Storm in Heaven-era The Verve, the track manages to be melancholic but yearning.

 

 

 

 

Last year, I wrote a bit about he Austin, TX-based dream pop/shoegaze quartet Blushing, and as you may recall, the act which is comprised of two married couples — Christina Carmona (vocals, bass) and Noe Carmona (guitar, keys) and Michelle Soto (guitar, vocals) and Jake Soto (drums) can trace its origins back to 2015, when Michelle Soto recruited her classically trained friend Christina Carmona to join her new project, after spending several years writing material on guitar. Soto and Carmona then recruited their spouses to complete the band’s lineup. And after about a year of writing and revising material, they went into Bad Wolf Recordings to record their debut EP Tether, an effort that at points recalled A Storm in Heaven-era The Verve and Lightfoils Hierarchy.

Building upon a growing profile and the positive reception of their debut EP, the Austin-based shoegazers returned to the studio to record their sophomore EP Weak, which was released through Austin Town Hall Records earlier this year, and from EP single and title track “Weak,” the band further cemented their reputation for crafting material that sonically was indebted to the likes of Lush, Cocteau Twins and The Sundays —  and while arguably being one of the more direct and anthemic songs of their growing catalog, the song revealed a gentle refinement of the overall sound and aesthetic that first caught the attention of the blogosphere. Adding to a busy year, the band recently released the Elliot Frazier-produced and mixed “The Truth”/”Sunshine” 7 inch both digitally and on colored vinyl through The Nothing Song Records, and the 7 inch single represents a band that has yet again expanded upon their sound: “The Truth” is arguably the most muscular song they’ve released as it featured crunchy and fuzzy guitar lines, thundering drumming paired with soaring vocals. And throughout, there’s a decided focus on crafting an anthemic and rousing hook that sounds as though it inspired by 120 Minutes-era MTV before ending with a feedback-driven coda. “Sunshine,” the second track of the 7 inch is  arguably the most towering and expansive sound that the Austin-based shoegazers have released to date, as Christina Carmona’s and Michelle Soto’s vocals soar over layers of lushly shimmering and pedal effected guitars, a simple yet propulsive backbeat and a soaring hook while recalling A Storm in Heaven and Lightfoils but with a bold self-assurance. Both singles may be among the most ambitious and focused songwriting and playing the band has recorded to date, and I’m looking forward to the forthcoming full-length, slated for early next year.