Tag: Toronto ON

Comprised of Reid MacMaster (vocals, guitar), Sean Hackl (guitar, vocals), Duncan Briggs (bass, vocals) and Owen Wolff (drums, vocals), the Toronto, Ontario, Canada-based indie rock/garage rock act Fade Awaays have emerged as one of their hometown’s up-and-coming acts, thanks in part to a reputation for rowdy live sets centered around material with enormous, arena rock friendly choruses and hooks and fuzzy, 90s grunge rock-like power chords. In fact, the band has played some of Toronto’s most famed and beloved venues including Horseshoe Tavern, Mod Club Theatre and The Danforth Music Hall, have opened for the likes of Wolf Alice, Public Access TV, Hot Flash Heat Wave and The Sherlocks. And building upon a growing profile, the band has played sets at some of Canada’s largest music festivals including CMW, NXNE, Trapdoor Fest and Indie Week.

The Canadian band’s debut single “Get Along” is a gritty and anthemic garage rock barn-burner, complete with distortion heavy power chords, thundering drumming, howled vocals and a mosh-pit friendly, shout worthy hook. And while the song sounds as though it were indebted to The Hives and others, the song as the band says “is about trying to make the best of a situation and trying to get along with the ones you love in hard times.” Certainly, in light of our current sociopolitical moment, the urgent song is centered around a much-needed message for anyone trying to survive our mad, mad, mad, mad world.

As the band adds, the song was a last minute addition to their growing repertoire. “We wrote the arrangement for the song and sat on the lyrics for the rest of our days in the studio. I can’t even remember what we were trying to write the lyrics about because it took us way too long. Nothing felt right – it felt too rushed to be interesting but eventually we ended up writing lyrics about our situation, trying to get work done and how to work together in the studio. ‘I hope we get along / staying lazy ain’t no job couch driven trying to get along.’ It felt more accurate, natural, and engaging.”

 

 

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New Video: JOVM Mainstays Stonefield Returns with a Decidedly Psych Rock-Inspired New Single

Over the past year or so, I’ve written quite a bit about the Darraweit Guim, Australia-based sibling psych rock quartet Stonefield, and as you’d recall the Australian band comprised of Amy (drums, lead vocals), Hannah (guitar), Sarah (keys) and Holly Findlay (bass) began playing together when they were extremely young — the youngest member was seven while the oldest was 15. And as the story goes, the eldest sister Amy recorded their first song “Foreign Lover” for a school project, and then reportedly entered the song into Triple J’s national, unsigned band competition for youngsters Unearthed High as an afterthought. Much to her and her sisters’ surprise, the band wound up winning the contest, and within an incredibly short period of time after their Unearthed High win, the Findlay sisters had two singles receiving regular airplay on Australian radio and an invitation to play at Glastonbury Festival.

Since their attention-grabbing Unearthed High win, the Australian sibling quartet has been incredibly prolific as they’ve written, recorded and released two EPs, their self-titled full-length debut, their sophomore album As Above So Below and their third album Far From Earth through King Gizzard and the Lizard Wizard’s Flightless Records earlier this year. Stonefield is currently on a North American tour to support both their recently released 7 inch and their third album that will include stops at Desert Daze, Toronto’s Night Owl Fest, Mexico City’s Hipnosis Festival and a special NYC area show at Baby’s All Right to celebrate the release of the “Through the Storm” 7 inch, a single that finds the Australian sibling and and JOVM mainstays cementing their reputation as one of the world’s hardest bands, while pushing their sound towards a new direction — doom metal with hints of 60s psych rock in a way that brings Black Sabbath, Soundgarden and Alice in Chains to mind.

Interestingly, Far From Earth’s latest single “In The Eve” is  slow-burning, hypnotizing song that may arguably be the most decidedly 60s psych rock-inspired song centered around a propulsive and sinuous bass line, shimmering guitar lines, Amy Findlay’s ethereal vocals and a gently unfurling yet song structure — and sonically speaking, the song brings to mind JOVM mainstays Sleepy Sun, Secret Colours, and Elephant Stone but with a clean yet sensual sheen. The recently released video is equally hypnotic while visually drawing from 60s psych rock as it features the Findlay Sisters dressed entirely in white, wandering in a prototypically British field — and in some way it hints at some menacing ritual about to go down.

New Video: Up-and-Coming Canadian Duo Always Never Releases Dark and Seductive Visuals for “Wylin'”

Always Never is an up-and-coming Toronto, Ontario, Canada-based electro pop production and artist duo, comprised of Patrick Kirschner (vocals) and Dean Guilbault (production) — and with the release of “Millions,” “No Good,” “Morgan Freeman” and “Dangerous,” off their recently released self-titled debut, the Canadian duo have been compared to the likes of Majid Jordan, Miguel and The Weeknd among others — although with the attention grabbing single “Wylin,” the duo’s sound strikes me as bearing a closer resemblance to For Now and The Ways We Separate-era Beacon, as Kirschner’s soulful yet tender vocals are paired with gauzy, atmospheric and yet super modern productions featuring stuttering beats, tweeter and woofer rocking low end and infectious hooks; in fact, much like Beacon, the duo’s sound possesses a pensive, late night vibe, full of regret, confusion and longing.

Directed by Kid Studio, best known for his work on videos for The Weeknd, Big Sean and 6LACK, the recently released video is dark, murky, and dramatic — and features illicit drug use, overdosing, late night seduction and murder, but centered around a trippy and mind-altering series of flashbacks that further evoke the song’s regret, confusion and longing. 

Always Never is an up-and-coming Toronto, Ontario, Canada-based electro pop production and artist duo, comprised of Patrick Kirschner (vocals) and Dean Guilbault (production) — and with the release of “Millions,” “No Good,” “Morgan Freeman” and “Dangerous,” off their recently released self-titled debut, the Canadian duo have been compared to the likes of Majid Jordan, Miguel and The Weeknd among others — although with the attention grabbing single “Wylin,” the duo’s sound strikes me as bearing a closer resemblance to For Now and The Ways We Separate-era Beacon, as Kirschner’s soulful yet tender vocals are paired with gauzy, atmospheric and yet super modern productions featuring stuttering beats, tweeter and woofer rocking low end and infectious hooks; in fact, much like Beacon, the duo’s sound possesses a pensive, late night vibe, full of regret, confusion and longing.

 

 

 

Live Footage: Nick Cave & The Bad Seeds Perform “The Mercy Seat” Live in Copenhagen

Currently comprised of Australian-born founding member Nick Cave (vocals, piano, guitar), Australian-born multi-instrumentalist Warren Ellis, Australian-born Martyn P. Casey (bass), British-born George Vijestica (guitar),  American-born Toby Dammit (keys, percussion) (a.k. Larry Mullins), Swiss-born Thomas Wydler (drums) and American-born Jim Sclavunos (drums), the renowned indie rock act Nick Cave & The Bad Seeds can trace its origins back to 1983 when the band formed after the breakup of Cave’s and multi-instrumentalist Mick Harvey’s previous band The Birthday Party.  Throughout the band’s 35 year history, the band has gone through a series of lineup changes, but they’re known for featuring a cast of internationally-based collaborators — and perhaps most importantly, as one of the most critically celebrated and original post-punk, alt rock and indie rock bands of their era, managing to write and record material across a wide range of sounds, styles and genres — i.e., after the release of 1988’s Tender Prey, the band shifted from post-punk to experimental rock for a series of albums; 2008’s Dig, Lazarus, Dig!!! found the band playing gritty garage rock; 2013’s Push the Sky Away found the band increasingly incorporating synths after Mick Harvey’s departure in 2009.

Additionally, Nick Cave and The Bad Seeds have a long-held reputation for being one of the more intense live acts around and interestingly enough, the members of the band filmed one show, during their 2017 world tour — their Copenhagen stop — and presented in cinemas across the world for one night only as Distant Sky — Nick Cave & The Bad Seeds Live in Copenhagen. September 28, 2018 will mark the release of the digital and 12 inch vinyl release of a limited, special release EP of the audio from the show. Of course, it’ll feature this urgent, live rendition of the gorgeous and moody “The Mercy Seat.”

New Video: JOVM Mainstays Stonefield Return with a Grunge Inspired Face Melter

Last year, I wrote quite a bit about the Darraweit Guim, Australia-based sibling psych rock quartet Stonefield, comprised of Amy (drums, lead vocals), Hannah (guitar), Sarah (keys) and Holly Findlay (bass). Now, as you may recall, the siblings began playing together when they were quite young — with the youngest being seven and the oldest being 15. And as the story goes, the band’s elder member Amy recorded their first song “Foreign Lover” for a school project, and then reportedly entered the song into Triple J’s national, unsigned band competition for youngsters Unearthed High as an afterthought. Much to her and her sisters’ surprise, the band wound up winning the contest, and within an incredibly short period of time after their Unearthed High win, the Findlay sisters had two singles receiving regular airplay on Australian radio and an invitation to play at Glastonbury Festival.

During that same period, the sibling quartet has been incredibly prolific as they’ve released two EPs, their self-titled full-length debut, their sophomore effort As Above So Below, a handful of singles, and their third album Far From Earth through King Gizzard and the Lizard Wizard’s  Flightless Records earlier this year. The band will be making a North American tour that will include stops at Desert Daze, Toronto’s Night Owl Fest, Mexico City’s Hipnosis Festival and a special NYC area show at Baby’s All Right to celebrate the release of the “Through the Storm” 7 inch, which coincidentally is the album’s latest single, as well. Interestingly, the single finds the Australian sibling band and JOVM mainstays cementing their reputation as one of the world’s hardest bands — while gently pushing their sound towards doom metal and psych rock, thanks to pummeling drumming, scuzzy down-tuned power chords, and a soaring and ethereal bridge. To my ears, the band sounds as though they’re actively channeling both Black Sabbath and 90s grunge — in particular, Soundgarden and Alice in Chains. 

Directed and shot by Jenna Putnam, the recently released video is centered around footage from Stonefield’s Los Angeles area residency at The Bootleg Theater, during their last North American tour. 

OctFest 2018 Preview

Last year, Pitchfork, one of the premier music websites; October, a beer culture-centric website that aims to capture the spirit, ambition, making and drinking of the precious and beloved stuff through essays, travelogues and events; and Bon Appetit, the award-winning food lifestyle brand teamed up for what may arguably be one of the most unique festivals I’ve come across in some time: OctFest, a beer, music and food festival.  2018’s edition of OctFest, which will take place on Governor’s Island on September 8, 2018 and September 9, 2018 will feature a food lineup curated by Bon Appetit , a music lineup curated by Pitchfork that will include Vince Staples, The Flaming Lips and dozens of other music acts, 90+ craft breweries from all around the world – and with arguably some of the most gorgeous views of Manhattan you’ll see in your life.

So let’s talk a bit about each aspect of the festival, huh?

Food

The food program is centered around a Food Village that will offer a number of New York-based quick-serve staples including the Mission Chinese Food, Roberta’s Pizza, Oddfellows Ice Cream Co, Sweet Chick, the STUF’D Truck, Cervo’s, Best Pizza, Oakland, CA-based KronnerBurger and many others preparing specialties to compliment the domestic and international craft beer being sampled.  (Check out the full lineup below.)

FOOD LINEUP

Curated by Bon Appétit

Best Pizza

Cervo’s

Hank’s Juicy Beef

Island Oyster

KronnerBurger

Los Viajeros Food Truck

Mission Chinese Food

Oddfellows Ice Cream Co.

Sweet Chick

STUF’D Truck

Roberta’s Pizza

 

Beer

 OctFest will be hosting 90 breweries from 20 different countries, pouring more than 250 varieties of award-winning craft beer. Several breweries will be making their New York City debut, including Wicked Weed Brewing, DC Brau, Wedge Brewing Co, Four Peaks Brewing Co, Wild Beer Co., and Karbach Brewing, Co. (Check out the full lineup below.)

BREWERY LINEUP

North America – West

10 Barrel Brewing Co. (Bend, OR)
Austin Eastciders (Austin, TX)
Breckenridge Brewery (Littleton, CO)
Elysian Brewing Company (Seattle, WA)
FiftyFifty Brewing Company (Truckee, CA)
Firestone Walker Brewing Company (Paso Robles, CA)
Founders Brewing Co. (Grand Rapids, MI)
Four Peaks Brewing Co. (Tempe, AZ)
Golden Road Brewing (Los Angeles, CA)
Goose Island Beer Co. (Chicago, IL)
Jolly Pumpkin Artisan Ales (Dexter, MI)
Karbach Brewing Co. (Houston, TX)
Kona Brewing Company (Kailua-Kona, HI)
Live Oak (Austin, TX)
Monkless Belgian Ales (Bend, OR)
On Tour Brewing Company (Chicago, IL)
Rogue Ales (Newport, OR)
The Shop Beer Co. (Tempe, AZ)
Virtue Cider (Fennville, MI)
North America – East

Blue Point Brewing Company (Patchogue, NY)
Brasserie Archibald (Canada)
Braven Brewing Company (Brooklyn, NY)
Brewery Ommegang (Cooperstown, NY)
Brickworks Cider (Canada)
Circa Brewing Co. (Brooklyn, NY)
Cisco Brewers (Nantucket, MA)
Collective Arts Brewing (Canada)
DC Brau (Washington, D.C.)
Devils Backbone Brewing Company (Roseland, VA)
Flying Dog Brewery (Frederick, MD)
Hanging Hills Brewing Company (Hartford, CT)
Jack’s Abby Craft Lagers (Framingham, MA)
Keegan Ales (Kingston, NY)
Lamplighter Brewing Co. (Cambridge, MA)
LIC Beer Project (Long Island City, NY)
Lord Hobo Brewing Company (Woburn, MA)
M.I.A. Beer Company (Doral, FL)
Microbrasserie Gainsbourg (Canada)
Mill Street Brewery (Canada)
Narragansett Brewing Company (Pawtucket, RI)
Sand City Brewing Co. (Northport, New York)

Springdale (Framingham, MA)
Stanley Park Brewing (Canada)

Sunday Beer Co. (Brooklyn, NY)
The Bronx Brewery (Bronx, NY)
Veza Sur Brewing Co. (Miami, FL)
Wicked Weed Brewing (Asheville, NC)
Zero Gravity Craft Brewery (Burlington, VT)
Europe
Aktien Brewery of Kaufbeuren (Germany)
Birra del Borgo (Italy)
Brasserie La Binchoise (Belgium)
Brouwerij Bosteels (Belgium)
Brouwerij DeKroon (Belgium)
Camden Town Brewery (UK)
Ginette (Belgium)
Hertog Jan (Netherlands)
Jopen (Netherlands)
La Virgen (Spain)
Laugar Brewery (Spain)
Radeberger (Germany)
Wild Beer Co (UK)
Latin America
Barfuss (Argentina)
Bocanegra (Mexico)
Bogota Beer Co (Colombia)
Cervecería Urbana (Mexico)
Cervecería Wendlandt (Mexico)
Cerveza Patagonia (Argentina)
Colorado (Brazil)
Cucapá (Mexico)
Lohn Bier (Brazil)
Melas Beer (Colombia)
Nicaragua Craft Beer Co. (Nicaragua)
Pratinha (Brazil)
Wals (Brazil)
Asia, Africa, Oceania
Bira 91 (India)
4 Pines Brewing Company (Australia)
Balter Brewing Co (Australia)
Boxing Cat Brewery (China)
Cape Brewing Co. (South Africa)
Good George (New Zealand)
Newlands Spring Brewing Company (South Africa)
Pirate Life Brewing (Australia)
Playground Brewery (South Korea)
Taihu Brewery (Taiwan)
The Hand & Malt Brewery (South Korea)

Music

 While I’ll definitely have interest in the food and beer, my primary interest is the music and I’m looking most forward to catching sets from the following:

Saturday, September 8

 Vince Staples: Staples is a 25 year-old, North Long Beach, CA-born and-based emcee and actor, who first rose to prominence as member of hip-hop collective Odd Future, which also featured Mike G, Earl Sweatshirt and Tyler The Creator – and the collaborative Mac Miller-produced Stolen Youth mixtape. October 2014 saw the release of his solo debut EP, Hell Can Wait, which included attention grabbing singles “Hands Up” and “Blue Suede.”

Building upon a growing profile, Staples’ full-length debut 2015’s Summertime ’06 was released to critical applause – with Staples being featured as part of XXL’s 2015 Freshman Class. Staples’ critically acclaimed sophomore album, 2017’s Big Fish Theory found the acclaimed, young emcee expanding upon his sound as the album’s production incorporated avant-garde, dance and electronic influences. Additionally, Staples’ made a guest appearance on Gorillaz’s latest effort Humanz.

Staples is headlining Saturday night and I’m looking forward to hearing material off both Summertime ’06 and Big Fish Theory live.

BADBADNOTGOOD: Currently comprised of founding members Matthew Tavares (keys), Chester Hansen (bass), and Alexander Sowinski (drums) with newest member Leland Whitty (saxophone), the Toronto, Ontario, Canada instrumental act BADBADNOTGOOD derive their name from an abandoned comedy TV project that Tavares was working on before the band formed – and whether as trio or a quartet, the band has developed a reputation for a sound and compositional approach that draws from hip-hop, electronica, jazz, prog rock; but they’re perhaps best known for their jazz-based interpretation of hip-hop tracks, which have allowed them to collaborate with Kendrick Lamar, Tyler The Creator, Earl Sweatshirt, Denzel Curry, Danny Brown, Mick Jenkins, Ghostface Killah and others. Interestingly, the band can trace its origins to when the band’s founding trio bonding over a mutual love of hip-hop – in particular MF Doom and Odd Future.

As the story goes, the then-trio played a piece based on Odd Future’s music for a panel of their jazz performance instructors, who didn’t believe it had much musical value – but interestingly enough, after they released the track as “The Odd Future Sessions, Part 1,” the track caught the attention of Tyler The Creator, who helped the video go viral. The Canadian act followed that up with the 2011 release of their full-length debut BBNG, which featured interpretations of A Tribe Called Quest, Waka Flocka Flame and Odd Future. Building upon a growing profile, the members of BADBADNOTGOOD recorded a live jam session with Tyler The Creator in Sowinski’s basement, with videos from the session amassing more than a million views each.

2012’s sophomore effort BBNG2 was recorded over the course of a ten-hour studio session and featured Leland Whitty (saxophone) and Luan Phung (electric guitar) and featured their own original material, as well as renditions of sons by Kanye West, My Bloody Valentine, James Blake, Earl Sweatshirt and Feist. That year, the band was the official Coachella Festival house band, backing Frank Ocean and Odd Future over the course of its two weekends.

2013 saw the release of III, which featured “Hedron,” a track that was also featured on the compilation album Late Night Tales: Bonobo; “CS60” and “Can’t Leave the Night,” which was released with the B-side “Sustain,” and they were involved on the soundtrack for The Man with the Iron Fists, assisting with the production and composition.

2015 saw the release of the band’s fourth, full-length album Sour Soul, and the album found them collaborating with Ghostface Killah – and interestingly, the album is more of a hip-hop album that nods at jazz. They ended the year with covers of a handful of holiday standards, including “Christmas Time Is Here” with Choir! Choir! Choir!

Leland Whitty joined the band as a full-time member in early 2016, and followed that up with producing “Hoarse” off Earl Sweatshirt’s full-length debut Doris and “GUV’NOR,” a remix, which appeared on JJ DOOM’s Keys to the Kuffs (Butter Edition). By the middle of that year, BADBADNOTGOOD released their fifth full-length album IV, an album that featured guest spots from Future Islands’ Sam Herring, Colin Stetson, Kaytranada, Mick Jenkins and Charlotte Day Wilson, and was named BBC Radio 6’s #1 album of the year.

Live the act, which also includes keyboardist James Hill can easily shift between jazz, acid jazz, jazz fusion, hip-hop, prog rock, advant-garde jazz, funk and rock with an effortless and seamless fashion – and seemingly at will. I saw them earlier this summer at BRIC Celebrate Brooklyn! Festival at the Prospect Park Bandshell  and they are a must see.

Preoccupations: Now throughout the past handful of years of this site’s history, I’ve written quite a bit about Canadian post-punk act and JOVM mainstays Preoccupations, and as you may recall, the band which is comprised of Matt Flegel (bass, vocals), Mike Wallace (drums), Scott Munro (guitar) and Daniel Christiansen (guitar) initially formed under the highly controversial name Viet Cong – and as a result of their original name, the members of the band found themselves in the middle of a furious and frenzied debate around cultural appropriation and the usage of terms, names and symbols closely associated with historical groups and actions that evoke the horrors and brutality of despotism, fascism, war, genocide and so on. Ultimately, the band decided it was best to change their name before the release of their sophomore album, an effort that found each of the individual members of the band in unsteady and uncertain positions – at the time, each of the individual members of the band had relocated to different cities across North America, which forced the band to change their long-established creative process.

Unlike their previously recoded material, the band went into the writing sessions without having a central idea or theme to consider or help guide them along, essentially making the recording sessions a collective, blind leap of faith. Interestingly, the band’s sophomore, self-titled album wound up drawing from that mix of anxiety, despair and regret that creates sleepless nights. New Material, the band’s third full-length album was released earlier this year, and the album builds upon the Canadian post-punk act’s growing reputation for crafting dark and moody post-punk centered around themes of anxiety, uncertainty, futility, frustration, creation and destruction but as the band’s Matt Flegel says of the self-recorded album, the album is “an ode to depression. To depression and self-sabotage, and looking inward at yourself with extreme hatred.”  And while the material is dark, murky and deeply introspective, the members of Preoccupations have developed a reputation for having an intense and energetic live show, which reveals the material’s anthemic nature.

Sunday, September 9

 

The Flaming Lips: Currently comprised of founding members Wayne Coyne (guitar, vocals) and Michael Ivins (bass), with Steven Drozd, Derek Brown, Jake Ingalls, Matt Duckworth and Nicholas Ley, the Norman, OK-based psych rock/psych pop/indie rock act The Flaming Lips formed back in 1983 with Coyne (guitar), Coyne’s brother Mark (vocals), Ivins (bass) and Dave Kotska (drums). Interestingly, after Kotska joined the band, Richard English joined the band – and that year, they recorded the only full-length album with Mark Coyne, the band’s self-titled effort.

After Mark Coyne left the band, Wayne assumed vocal duties and the and released their 1986 full-length debut Hear It Is on Pink Dust Records, a psych rock imprint of Engima Records. With that initial lineup, the band released two more albums, 1987’s Oh My Gawd!!! and 1989’s Telepathic Surgery, which was originally planned to be a 30-minute sound collage. From that point on, the band has gone through a series of lineup changes – 1989’s Dave Fridmann-produced In a Priest Driven Ambulance featured Nathan Roberts (drums) and Mercury Rev’s Johnathan Donahue (guitar), and saw the band expanding upon their sound with further experimentation with tape loops and effects, as well as Coyne making a transition to vocal style inspired by Neil Young.

Back in 1990, the members of The Flaming Lips caught the attention of Warner Brothers Records and were promptly signed when an AR rep witnessed a show in which the band almost burned down the American Legion Hall in their hometown with the use of pyrotechnics. In 1991, the members of the band started recording their major label debut Hit to Death in the Future Head, which was delayed for nearly a year because of their use of a sample from Michael Kamen’s score from the major motion picture Brazil, which had a lengthy clearance process. After the recoding of the album, Donahue left the band to focus on his work with Mercury Rev and Roberts leaving the band, citing creative differences.

Ronald Jones and Steven Drozd joined the band and with that lineup they released Transmissions from the Satellite Heart, their only full-length album in which their longtime producer and collaborator Fridmann wasn’t involved; however, because of the success of album single “She Don’t Use Jelly,” the band was featured on Beverly Hills 90210, Late Show with David Letterman, Charmed and Beavis and Butthead. Building upon a growing profile, the band went on a lengthy stint of touring opening for Red Hot Chili Peppers and Candlebox.

1995’s Clouds Taste Metallic was released to critical fanfare in 1995 although it didn’t achieve the same commercial success of its predecessor. In 1996, the band went through another lineup chance with the depature of Ronald Jones. The three remaining members of the band felt a growing dissatisfaction with stand rock music, led to the extremely experimental Zaireeka, a four CD album intended to be heard by playing all four CDs in four separate CD players simultaneously. Sonically, the material incorporated traditional musical elements, found sounds often manipulated by contemporary recording studio techniques and electronics.

And while their experimental efforts received, the band received mainstream success with 1999’s The Soft Bulletin, which meshed catchy melodies with synthetic strings, hypnotic and carefully manipulated beats, booming cymbals and weird but deeply philosophical lyrics. Critically, the album has been compared to The Beach Boys’ Pet Soundsas it featured the entire studio as an instrument to be manipulated. The Soft Bulletin’s critically applauded follow-up, 2002’s Yoshimi Battles the Pink Robots featured guest musician Yoshimi P-We and found the band incorporating the increasing use of electronics and computer manipulation – and the album is generally considered their first critical and commercially successful album after 20 years as a band; in fact, “Approaching Pavonis Mons by Balloon (Utopia Planitia)” won a Grammy for Best Rock Instrumental Performance, and the album was certified Gold in 2006. Since then the band has been considered one of those must-see acts, thanks in part to a show that has largely been described as a pure spectacle.  

Nile Rodgers & Chic: Nile Rodgers is a New York-born and-based songwriter, guitarist, composer, arranger and producer, who is best known as a co-founding member of smash-hit disco act Chic and for his work as a producer and collaborator with the likes of Sister Sledge, Diana Ross, Philip Bailey, Thompson Twins, Sheena Easton, David Bowie, Bryan Ferry, Duran Duran, Madonna, INXS, Britney Spears, Spoons, Daft Punk, Pharrell Williams, Avicii, Disclosure, Sam Smith, Pitbull, Lady Gaga, Kylie Minogue, Max Pezzali, Nervo, Laura Mvula, Sigala, Keith Urban, Christina Aguilera and George Michael among a growing list of artists.

Rodgers is arguably one of the more influential and important figures of pop music and dance music of the past 40+ years, and he’s had a role on some of the most beloved albums and singles, and I gotta admit I’m looking forward to hearing all of those old Chic songs live.

 Yo La Tengo: Yo La Tengo is Spanish for “I have it” — referring to a female-gendered object or person, in which it would be “I’ve got her,” but the Hoboken, NJ-based indie rock band actually derive their name from an old baseball anecdote. During the New York Mets‘ inaugural season in 1962, centerfielder Richie Ashbury and Venezuelan-born shortstop Elio Chacon found themselves colliding in the outfield. As the story goes, whenever Ashbury went for a catch, he wold scream “I’ve got it! I’ve got it!” but Chacon spoke Spanish and had a limited understanding of English. During a game later that year, Ashbury yelled “Yo la tengo! Yo la tengo!” instead and saw Chacon backing off on the play, avoiding further collisions; however, left fielder Frank Thomas, who didn’t understand Spanish and missed the team meeting that proposed using “Yo la tengo!” to avoid outfield collisions, collided into Ashburn. After getting up from their collision Thomas reportedly asked Ashburn, “What the hell is a Yellow Tango?”

As far as the band, the New Jersey-based indie rock band, which is currently comprised of founding members Ira Kaplan (guitar, piano, vocals), and Georgia Hubley (drums, piano, vocals), along with James McNew (bass, vocals) can trace their origins back to 1984. When Kaplan and Hubley formed the band, they played an advertisement to recruit other musicians, who shared their mutual love of The Soft BoysMission of Burma and Arthur Lee and his band Love, and as a result, the band’s first lineup featured Kaplan, Hubley, Dave Schramm (lead guitar) and Dave Rick (bass) with whom they released their debut 7 inch “The River of Water,” which featured a cover of Arthur Lee’s “A House Is Not a Motel.” After the band recorded “Private Doberman” for the Coyote Records compilation Luxury Condos Coming to Your Neighborhood Soon, the band went through a number of lineup changes before settling on their current lineup in 1992 — although the band’s original guitarist Dave Schramm joined the band during the sessions for their 14th record, Stuff Like That There.

Despite achieving limited mainstream success, Yo La Tengo have developed a reputation for being a critically applauded act while maintaining a devoted cult following, thanks in part to their live shows, which reveal an almost encyclopedic repertoire of covers — their SummerStage set last year began with a cover of Ace Frehely‘s “Back in the New York Groove“– and for their annual Hanukkah residency at Maxwell’s that featured a shit ton of covers and special guests, including their parents. Live, they manage to walk a tightrope between power and lush beauty, irony and sincerity within the turn of a phrase.

 

No Age: Comprised of Randy Randall (guitar) and Dean Allen Spunt (vocals, drums), the Los Angeles, CA-based noise rock duo No Age can trace their origins to the breakup of their previous band Wives, in which Spunt played bass and sang while Randall played guitar. The duo’s first official release was an extremely limited release collection of 5 vinyl singles  and Eps that they released on 5 different labels on or around the same day – March 26, 2007. Designed by Brian Roettinger and the members of No Age, the back of each record’s sleeve was a different color and had a different letter that when put together spelled out the band’s name. Half of the songs on the singles and EPs wound up comprising their full-length debut Weirdo Rippers.

Since the release of Weirdo Rippers, Randall and Spunt have developed a reptaution for relentless touring, frequently playing shows at unusual locations – they once played a show at the Los Angeles River and they famously accompanied video artist Doug Aitken and Chloe Sevigny to Athens, Greece and Hydra Island, Greece to perform a multimedia piece “Black Mirror.” The performances took place on an old Greek barge at the Port of Piraeus, off the Island of Hydra and a final performance with the barge driven to the middle of the ocean. Additionally, they’ve found new and interesting ways to pair art around the release of their music – 2009’s Losing Feeling EP was released with a limited edition “Losing Feeling” companion zine; 2012’s “Collage Culture” 12 inch was a soundtrack to readings of excerpts of Aaron Rose, Mandy Kahn and Brian Roettinger’s Collage Culture, split in two channels – one side with readings from the book, the other side with No Age music written specifically for the release.

The acclaimed noise rock act is currently touring to support their latest effort Snares Like a Haircut, which was released earlier this year through Drag City Records.

 

Check out the full musical lineup below.

MUSICAL LINEUP

Saturday, September 8

Vince Staples

BADBADNOTGOOD

NAO

Saba

Preoccupations

Vagabon

Standing on the Corner

Hatchie

Flasher

Madison McFerrin

 

Sunday, September 9

The Flaming Lips

Nile Rodgers & CHIC

Yo La Tengo

Girlpool

Hop Along

No Age

Kamaiyah

Shopping

Julie Byrne

The Courtneys

Tickets are still available, please check out OctFest.co for information.

You can check out information and updates on the festival at Oct.co, and on Twitter by following @Pitchfork and @ReadOctober.

 

I’ll be covering the festival through my various social accounts, so feel free to check me out through the following:

Twitter: @yankee32879

Twitter: @williamhelms3rd

Instagram: @william_ruben_helms

 

Now, throughout this site’s 8 year history, I’ve written quite a bit about JOVM mainstay David Alexander, an internationally renowned Swedish-born singer/songwriter, multi-instrumentalist and producer, best known for his solo electro pop/dream pop recording project Summer Heart. And as you may recall, Alexander has received attention both nationally and internationally for being among the first wave of Sweden’s contemporary electro pop and dream pop movement along with the likes of MoonbabiesThe Land BelowHey ElbowBlind Lake and Emerald Park, as well as for a sound that has been compared to CaribouWashed OutIn Ghost Colours-era Cut CopyPainted Palms and others.

With 12 Songs of Summer, Alexander adds his name to an increasing number of artists, who have adopted a single of the month series over the past couple of years. In the blogosphere age, single of the month series manage to make much quite a bit of sense creatively, financially and marketing-wise. Creatively, the artist isn’t constrained by the pressure of writing material within a cohesive style or theme in mind, as they (potentially) would have to do if they were working on an EP or a full-length album. Financially speaking, independent artists, who are most likely struggling to find ways to fund their efforts to record, tour and promote their work can put out material quickly, ensuring that the artist can receive some sort of attention outside of the album cycle. As Alexander explained in press notes, “The idea behind this project is to show people what I am currently working on instead of what I was doing two years ago, which can be the case when you release an album. It’s definitely a way of challenging myself, thinking less and having more fun creating music!”

“Subside,” the 7th and latest single in the 12 Songs of Summer series finds Alexander collaborating with Toronto-based artist KYLO, who contributes ethereal yet soulful vocals drenched in copious reverb to a lush and shimmering production centered around finger snap-led percussion, stuttering synth arpeggios, shuffling beats and an infectious hook to create a radio friendly, club banger that evokes balmy summer nights, of evening faces, dance floors and strobe lights — and interestingly enough the song brings Within and Without and Paracosm-era Washed Out.

As Alexander recalls, I met K¥LO in Toronto a couple of years ago. We played a show together and since then we’ve stayed in touch and also vaguely talked about making something together at some point.

Back in April, I was sitting on the floor in my friend Alex’s apartment in the East Village playing around with Logic X on my laptop. I was feeling super inspired; I got this song going and quickly decided I wanted to collaborate with someone on it. K¥LO was the first person I had in mind and so I sent the roughest demo ever to her.

To me this song is about someone’s bad habits, and about not being able to concentrate and focus and taking the easy way out.”

KYLO adds, “The lyrics to ‘Subside’ were inspired by a time in my life when I was going through a lot of changes. I was getting used to living without someone I had been with for a long time and battling the loneliness that came with that change. Summer Heart is someone I’ve wanted to collaborate with for a long time; I think that as a producer he’s managed to reflect the message within the lyrics on the track.”

Comprised of Nick Rose and Dan Griffin, the Toronto-based pop duo Teen Ravine can trace their origins to a series of apartment-based studio collaborations begun back in the spring of 2016. Since then, the duo has specialized in work that they describe as thematically focusing on  Gen Y’s struggle between the desire for and the fear of intimacy that ironically has explored through material they wrote and recorded in their bedrooms. We all want to get close to another — but not too close, out of a fear of getting hurt, an inability to discern our true desires or for some other more dysfunctional reason. And while the duo claim that it’s a particular struggle for their generation, I can tell you from experience that unfortunately, it’s not; it’s frustratingly part of the human condition.

Rose and Griffin’s full-length debut  is slate, and for release at the end of this month, and the album’s latest single “Bad Dream” sonically draws from 70s AM Rock and late 70s and early 80s singer/songwriter pop centered around a hook-laden, breezy yet soulful arrangement of Rhodes piano, fuzzy synths, a sinuous bass line, propulsive drumming and as a result the song recalls Billy Joel’s heyday — think “Movin’ Out,”  and “Captain Jack,Carole King and list of others.  And much like those songs, the duo’s latest single focuses a bit on seeking comfort and pleasure in sadness, because — well, it’s yours; but underneath that is the sense that the song’s narrator has spent his time obsessively picking at emotional scabs until they’re left raw and oozing, instead of taking time to let them heal in any significant way.