Tag: The Zombies

Founded back in 2014 by Jessica Louise Dye (vocals, guitar) and Jono Bernstein (drums), the New York-based JOVM mainstays High Waisted have received attention across the blogosphere and elsewhere for a sound that draws from surf rock, garage rock, dream pop, Riot Grrl punk and punk rock among others and for their long-running and very popular DIY concert showcase/booze cruise High Waisted at Sea.

The band’s Bryan Pugh-produced full-length debut On Ludlow further cemented their reputation for scuzzy, party ’til you drop rock — but just under the surface, the material revealed vulnerability and ache.  Since the release of On Ludlow, the the band contributed “Firebomb,” a scuzzy, ass-kicking, power chord-driven Lita Ford and Motley Crue-like single to a split single with The Coax, toured with the likes of Hundred Hounds, Beechwood, played a handful of live shows across town and been periodically working on a bunch of new material. And they’ve done all of that while going through a series of lineup changes but one thing has remained: they’re a non-stop party machine.

Throughout their history, the JOVM mainstays have released an ongoing, psychedelic mixtape series, Acid Tapes and like the preceding three other editions, the fourth edition, which will drop on Friday finds the New York-based act covering an eclectic variety of beloved songs. Naturally, the covers reveal the band’s impressive and wide ranging tastes   with the fourth edition featuring the band’s unique take on songs by the likes of The Zombies, 10cc, Kacey Musgraves, The Troggs and others. As the band explains in press notes, the covers allow them to  “dissect songs we love, throw everything we know about them away and rebuild something entirely new.” The band’s frontwoman Jessica Louise Dye adds “It changes the gravitational pull in my creative mind, often spawning a big writing period of new High Waisted material as well.” Along with covers, there are a handful of rare, previously unreleased originals.

The fourth installment of Acid Tapes may arguably find the JOVM mainstays at their best sounding. The guitars shimmer and glisten while the band’s Jessica Louise Dye sounds at her very best, beginning with a gorgeous and Patsy Cline-like take of The Zombies,” “The Way I Feel Inside,” a Pretenders-like original, “Modern Love,” a stunningly accurate 60s and dexterous take on The Lively Ones  instrumental composition “Surf Rock,” a dream pop-like take of Kacey Musgraves’ “High Horse” that nods at Still Corners‘ gorgeous Slow Air, the slow-burning, Quiet Storm-like original “Dream Sea,” and a slow-burning, straightforward take on 10cc’s “I’m Not in Love” closes out the tape’s A Side. The tape’s B side features the anthemic and alt rock meets alt country ballad “Eyes Crying,” which manages to recall Pearl Jam‘s “Dissident” to my ears, a Cars meets Phil Spector Wall of Sound-like take on Wreckless Eric‘s “Whole Wide World” before ending with a heartbreakingly gorgeous cover of Julie London‘s “Cry Me a River.” It’s a wildly eclectic grouping of songs but the mixtape reveals the JOVM mainstays’ ridiculous versatility paired with a deep emotional connection to the material.

“Our recording process has come a long way from the first cassette. Acid Tape, Vol. 1 was recorded while were on acid, all in one go, in a haunted house in Nashville. A buddy of ours threw a room mic over the chandelier and ran it through the tape deck and away we went.  Now the recording process is more deliberate, articulated and better executed.” the band explains in press notes. Vol 4 was recorded entirely in our new studio which Jono Bernstien and Stephen Nielsen built in Bed Stuy. We’re mixing digital and analog gear with vintage instruments and a little magic.”

The band is celebrating the release of  Acid Tape, Vol. 4 with a release show at Mercury Lounge with Yella Belly and Songs for Sabotage. You can check out ticket info and purchase here:

https://www.eventbrite.com/e/high-waisted-acid-tapes-vol-4-release-party-tickets-69052520949?aff=efbeventtix&fbclid=IwAR1c18aYR2lwka706043Xe4Wu5DGHXUerQf3xwlTVR9BVzl4Asu6z36VUC0

You can purchase the pre-release of the limited edition mixtape here: https://www.highwaisted.party/merch/acid-tape-vol-4

 

 

 

New Video: Watch Acclaimed Indie Rock Act Night Beats Take on The Sonics

Deriving its name from Sam Cooke’s Night Beat album, the Seattle, WA-based psych rock/garage rock act Night Beats was formed by its Dallas, TX-born, Seattle, WA-based founding member and creative mastermind Danny “Lee Blackwell” Rajan Billingsley back in 2009 when Billingsley relocated to Seattle to study comparative religion at the University of Washington. That same year, Billingsley self-recorded the Night Beats debut EP, Street (Atomic), which was released through Holy Twist Records. 

After trying out a couple of different lineups, Billingsley recruited his high school friend and former B.B. Mercy drummer James Traeger to join the band. Traeger relocated from Austin, TX, where he was studying at the time to join Billingsley. The band played for a while as a duo before recruiting Tacoma, WA-born Tarek Wegner (bass), who once played with The Drug Purse and Paris Spleen to join the band. Early in their history, the band toured across North America extensively — and within weeks of releasing the H-Bomb EP the band was signed by Chicago-based label Trouble in Mind Records, who re-released the album in the fall of 2010. The re-released EP wound up topping several college radio while helping the band develop a reputation for a sound that incorporates elements of early R&B, psych rock, blues rock, funk and soul. (Unsurprisingly, the band has toured with the likes of The Black Angels, Roky Erickson, The Zombies, The Jesus and Mary Chain, The Strange Boys, Black Lips, Black Rebel Motorcycle Club and The Growlers.) 

The following year, the band released a split EP with The UFO Club through Austin-based label The Reverberation Appreciation Society, which they followed up with their self-titled debut album. They also released a 2012 split single with TRMRS, which was released through Volcom Vinyl Club. 2013 saw the release of their sophomore album Sonic Bloom through The Reverberation Appreciation Society. The band supported the album with touring across North America, Europe, Israel, South Africa and Australia. 

2014 saw the band go through the first of a series of lineup changes. Tarek Wegner left the band and eventually released an EP What Colors Last, as well as a full-length effort Soul Fuckers, which was supported by a West Coast tour with Tomorrow’s Tulips. Meanwhile, Night Beats signed to London-based label Heavenly Recordings, who released the band’s acclaimed Robert Levon Been co-produced third album Who Sold My Generation in 2016. The album also featured Been, who’s best known for his work with Black Rebel Motorcycle Club contributing bass. Jakob Bowden was recruited to tour in support of the album. 

The last half of 2016 saw the band go on an UK and European Union tour without James Traeger. Throughout 2017, Evan Synder toured with the band. During a 2018 US tour opening for Black Rebel Motorcycle Club, Jonah Swilley sat in on drums with the band. Last May saw the band touring Spain with Evan Synder playing drums. Bowden wasn’t with the band either. 

This year has been a rather busy year for Billingsley. Night Beats’ Dan Auerbach-produced Myth Of A Man was released in January — and the album found the band’s founder playing with a backing band of session musicians, who had worked with the likes of Elvis Presley and Aretha Franklin. Perhaps as a way of explaining Traeger’s and Bowden’s absence from the album, the official press release simply said that the album was “written during a particularly destructive period of the band.” Additionally, Billingsley along with an all-star backing cast featuring The Mystery Lights’ Mike Brandon, Black Lips’ Cole Alexander and Warbly Jets’ Julien O’neil recorded and released a Record Store Day album, Night Beats Perform The Sonics’ Boom, an exact track-by-track over of The Sonics classic (and beloved) 1966 album Boom. 

Night Beats Perform The Sonics’ Boom finds Billingsley and an indie rock All-Star backing band treading a line between faithful cover meant to keep the legacy of The Sonics’ classic album alive for contemporary listeners while imbuing the material with a fuzzy  and soulful take. Album single “Let The Good Times Roll” manages to sound almost like it were released sometime between 1966-1968 but with a gritty, mod rock vibe reminiscent of The Who Sings My Generation-era The Who. 

Directed, shot, and edited by James Oswald on what looks like grainy Super 8mm film, the recently released video follows Billingsley and his backing band on tour, split between the yellow and white lines of endless blacktop, the band playing sweaty and passionate  shows in front of rapturous fans, and intimate backstage footage featuring the band getting themselves together before playing. As someone, who has covered and seen thousands of shows, the video captures the spirit and soul of a show in a way that feels warmly familiar. 

   

Last month, I wrote about the Chicago-based psych rock act Lucille Furs, and as you may recall, the act comprised of Patrick Tsotsos,  Nick Dehmlow, Brendan Peleo- Lazar, Trevor Newton Pritchett and Constantine Hastalis initially formed in the Logan Square section of Chicago and in a relatively short period of time, the band added themselves to a growing list of attention-grabbing indie acts from the Chicagoland area, thanks in part to a sound that borrows liberally from the likes of The Zombies, West Coast Pop Art Experimental Band, Temples, Love, Diane Coffee, Charles Bradley and others.  Interestingly, since their formation, half the band has relocated to Los Angeles, and as the band mentions, listeners will likely hear the sounds of their new home within some of their work.

Recently pushed back to a March 15, 2019 release through Requiem Pour Un Twister Records, Lucille Furs’ forthcoming sophomore album Another Land was written back in September 2017 and was recorded direct to tape before being completed at Treehouse Records. Rather than being topical, the album’s material is rooted in the surreal and esoteric — perhaps sin a way to aim at the timeless. The bouncy early 60s-inspired stomper “Paint Euphrosyne Blue,” was centered around jangling guitars, twinkling organs and infectious and soaring hook that recalled The Monkees and The Doors. And while a perfect soundtrack for a road trip, the band noted that the song referenced the goddess of mirth, with the song being about the human need to adapt to the point of becoming unoriginal.

Another Land‘s latest single is the shimmering Sgt. Pepper-era Beatles and The TurtlesHappy Together“-like “All Flowers Before Her” and much like its predecessor, the song is centered around a bouncy and buoyant hook and lysergic, 60s vibes — but with a blazing guitar solo and a subtly modern touch.

 

 

Comprised of Patrick Tsotsos,  Nick Dehmlow, Brendan Peleo- Lazar, Trevor Newton Pritchett and Constantine Hastalis, the up-and-coming psych rock act Lucille Furs initially formed in Logan Square section of Chicago — and in a short period of time, the band added themselves to a growing list of attention-grabbing psych rock and indie rock acts in the Chicagoland area, thanks in part to a sound that borrows liberally from the likes of The Zombies, West Coast Pop Art Experimental Band, Temples, Love, Diane Coffee, Charles Bradley and others. Since the band’s formation, half the band has relocated to Los Angeles, and as the band notes, listeners will likely hear those influences within their work.

Slated for a February 15, 2019 release through Requiem Pour Un Twister Records, Lucille Furs’ forthcoming sophomore album Another Land was written back in September 2017 and was recorded direct to tape before being completed at Treehouse Records. Rather than being topical, the album’s material is rooted in the surreal and esoteric — perhaps sin a way to aim at the timeless. Interestingly, the album’s latest single is the bouncy and stomping “Paint Euphrosyne Blue,” a track that sonically sound as though it could have been released sometime between 1964-1968 as the track is centered around jangling guitars, twinkling organs and an infectious and soaring hook that recalls The Monkees, The Doors and others. And while arguably being a perfect road trip song, the band notes that the song references the goddess of mirth — and that the song is about the human need to adapt to the point of becoming unoriginal. It’s about chasing Van Gogh’s depression because it makes you feel like a better painter.  So at its core the song is rooted in a bitter yet hilarious irony.

 

 

 

 

Currently comprised of the band’s founding duo Julian Ducatenzeiler (vocals, guitar) and Tony Malacara (bass), along with newest members  Shane Stotsenberg (guitar), Cameron Gartung (drums) and Ignacio Gonzalez (organs), the Los Angeles-based garage rock/psych rock act Mystic Braves can trace their origins to when Ducantenzeiler and Malacara formed the band in San Diego in 2011. Since then the band has gone through a series of lineup changes but their current lineup was solidified in 2013 when Ducantenzeiler and Malacara relocated to Los Angeles, where they recruited Stotsenberg and Gartung. As a quartet featuring Ducatenzeiler, Malacara, Stotsenberg and Gartung, the band had begun writing material and touring while searching for a full-time organist  when they found Gonzalez.

Mystic Braves’ fourth album, The Great Unknown is slated for an August 17, 2018 release through Lolipop Records, and the soon-to-be released album found the band recruiting Kyle Mullarky, who has worked with The Growlers and The Allah-Las. The band spent a week at Mullarky’s Topanga Canyon, CA studio exploring new sounds and approaches and cutting demos, and as the band’s Julian Ducatenzelier says in press notes, “We just wanted to work with him to help shape the songs creatively, but he ended up being so great to work with that we just stuck with him.”

After recording somewhere between 30-40 demos at Mullarky’s studio, the band returned to their hometown, holing up in Lolipop Records‘ new office/studio/living quarters in the Boyle Heights section to record the final versions of the songs that would comprise The Great Escape. “We spent three days a week at Lolipop for about a month and a half, all living together, writing, recording, grilling, drinking too much tequila and coffee,” Ducatenzelier recalls. “We decided to get a little experimental—some of the songs came out sort of country and some were super funky, almost like James Brown.”

Sonically, the material channels The Seeds, The Zombies, The Kinks and others — but while earnestly maintaining a unique sense of individuality, which Ducatenzelier attributes to the album’s deeply personal nature. “A lot of this record comes from a breakup,” he explains. “It deals with the end of past relationships, with knowing that things should end, and figuring out how to cope with the loss.”

The album’s latest single “Under Control” is a shimmering bit of lysergic-tinged bubblegum pop centered around some timeless rock ‘n’ roll tropes: the inevitable end of a romantic relationship, the desperate attempt to move forward as time passes by, the acknowledgement that many things in life are unresolved and unfulfilled — and of life’s fleeting nature. Of course, the song naturally has the band balancing between a swaggering and hook-laden arrangement reminiscent of The CastawaysLiar Liar” with an earnest and familiar heartache.

The members of Mystic Braves are currently touring across Europe to support their new album, which they’ll follow up with al lengthy US tour throughout the fall that includes a September 15, 2018 stop at Rough Trade. Check out the tour dates below.

 

Tour Dates 
August 6 – Molotow – Hamburg, Germany
August 7 – Bestpol – Dresden, Germany
August 9 – Paradiso – Amsterdam, Netherlands
August 10 – Borderline – London, UK
August 11 – Bodega – Nottingham, UK
August 12 – Buddha Blood – Brighton, UK
August 17 – Teragram Ballroom – Los Angeles, CA
August 18 – Velvet Jones – Santa Barbara, CA
August 22 – Casbah – San Diego, CA
August 23 – Wayfarer – Costa Mesa, CA
August 25 – Pappy & Harriets – Pioneertown, CA
August 29 – Harlow’s – Sacramento, CA
August 31 – The Chapel – San Francisco, CA
September 1 – The Loving Cup – Reno, NV
September 7 – High Noon Saloon – Madison, WI
September 8 – The Empty Bottle – Chicago, IL
September 13 – BSP – Kingston, NY
September 15 – Rough Trade – Brooklyn, NY
September 17 – Cafe Nine – New Haven, CT
September 21 – Johnny Brenda’s – Philadelphia, PA
September 22 – DC9 – Washington D.C.
September 26 – White Oak Music Hall – Houston, TX
September 27 – Dada Dallas – Dallas, TX
September 28 – Mohawk – Austin, TX
September 29 – Paper Tiger – San Antonio, TX
September 30 – Ethos Live – Laredo, TX
October 3 – Lowbrow Palace – El Paso, TX
October 4 – Cans – Tucson, AZ
October 5 – Taos Mesa Brewing – Taos, NM
October 6 – Hi Dive – Denver, CO
October 7 – Surfside 7 – Fort Collins, CO
October 9 – Urban Lounge – Salt Lake City, UT
October 10 – Neurolux – Boise, ID
October 12 – Mississippi Studios – Portland, OR
October 13 – Astoria – Vancouver, Canada
October 14 – Sunset Tavern – Seattle, WA

Arguably best known for her Oscar nominated and Golden Globe nominated role in Martin Scorsese‘s 1991 remake of Cape Fear, and for her roles in a number of major motion pictures including What’s Eating Gilbert GrapeNatural Born KillersStrange Days, The Evening Star, KaliforniaFrom Dusk till Dawn and The Other Sister, Juliette Lewis initially launched a recording career in 2004 with her punk rock-leaning band Juliette and the Licks before going completely solo in 2009.

After an eight year hiatus from music and touring, 2016 has proven to be a very busy year as earlier this year, she released “Hello Hero,” a single cowritten and produced by Florence and the Machine‘s Isabella Summers before reuniting her backing band and embarking on successful and extensive tours of Europe and North America. Lewis’ second and latest single of this year “Any Way You Want” was co-written and produced by Cage the Elephant‘s Brad Shultz, Jared Champion and Matthan Minister, and the single according to Lewis is a “60s garage rock, hyped up, sexual banger inspired by The Animals, The Kinks and The Zombies,” complete with a larger-than-life cocksure, swaggering braggadocio and a ton of mischievous sexual innuendo and the open acknowledgement of the fact that the ladies want sex as much as the dudes and can seek it with a similar urgency. But perhaps most important it’s a fun and modern take on a beloved sound, led by a fearless, ass-kicking lady, who knows what she wants while also nodding at The Stooges‘ “I Wanna Be Your Dog” among others.

 

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New Video: The Stunning and Surreal Visuals for Kristoffer and the Harbour Heads’ “When You Say Stay”

  Gothenburg, Sweden-based electro-pop trio Kristoffer and the Harbour Heads have developed a profile across Scandinavia and elsewhere for crafting expansive, experimental electro pop that’s been compared favorably to the likes of Menomena. Woods and […]