Tag: women who kick ass

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.

 

 

 

 

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New Video: Gothic Tropic Releases Sci Fi Inspired Visuals for Swooning “Your Soul”

Los Angeles, CA-born and-based singer/songwriter and multi-instrumentalist Cecila Della Peruti is the creative mastermind behind the acclaimed indie rock project Gothic Tropic, and as you may recall, Peruti has also spent stints as member of the touring bands for Beck, Charli XCX, Børns, Poppy and others. With the release of last year’s full-length debut Fast or Feast, Peruti received attention for crafting hook-driven, New Wave-inspired tracks like  “Stronger,” and the lush and atmospheric “How Life Goes” which explored themes of empowerment, strength in vulnerability, moving forward from the breakup of romantic relationships and the difficulties of getting older and growing up. 

Interestingly, “Your Soul,” Fast or Feast’s fourth single manages to further cement Peruti’s growing reputation for crafting a hook driven songs, centered by punchy guitar chords, swirling synths and a propulsive rhythm section within an urgent and swooning song detailing a relationship that’s inching towards an awkward yet inevitable end that the song’s narrator doesn’t want to see happen. 

Directed and written by Peruti, the gorgeously cinematic and trippy visuals for “Your Soul” is set set during the impending death of the sun, just as it’s about to envelope the entire planet — and it follows a young boy, who discovers that his purpose is to be one of the “Children of the Sun,” the last of a supernatural lineage of gifted children, whose presence sedates morals for a more blissful end. As Peruti explains in press notes, “I’m a sci-fi/fantasy fanatic, so as I was putting this elaborate idea together knowing full well my budget and logistics, it was challenging to rely completely on Matisse and practical effects and circumstances to get the concept across. Everyone who worked on the video are my friends and collaborators, and I’m so lucky to have found young Matisse and his family. This VIP alien-angel character needed to be reverent without pride or ego, which I think Matisse completely owned. This was my first set, and I’m excited to keep going writing and directing, it’s been a fixation for a while.”
After working in the studio with Daniele Luppi, who has worked with Danger Mouse, Parquet Courts and Red Hot Chili Peppers; Alex Goose, who has worked with Weezer; and Carlos de la Garza, who has worked with Cherry Glazerr, Paramore and The Naked and the Famous, Peruti is expecting to release new material sometime next year. We’ll be on the lookout for it. 

Live Footage: Charlotte Lawrence Performs “Sleep Talking” on Vevo DSCVR

Charlotte Lawrence is an up-and-coming, 18 year-old, Los Angeles-based singer/songwriter and model who quickly rose to national prominence with the release of her debut single last year, which amassed over 16 million streams. Building upon a rapidly growing profile, Lawrence released her debut EP Young which she followed up with a tour with Lauv, viral hit collaborations with Nina Nesbitt and Sasha Sloan.

Now, as you may recall Vevo DSCVR is Vevo’s emerging artist platform that curates the best up-and-coming artists — acts that the site believes will have a significant impact on the future — to perform their best material. Vevo has a lengthy history of promoting emerging artists and helping them break through to new and wider audiences; in fact, past alumni of the Vevo DSCVR series has included Jack Garratt,James Bay, Years & Years, Wolf Alice, Sam Smith, Jorja Smith, Maggie Rogers, Alessia Cara and Ella Eyre among others. This past year has seen Vevo DSCVR inviting up-and-coming pop artists Billie Eilish, Bülow and Donna Missal — and continuing with a big year, they recently invited Charlotte Lawrence, who performed “Sleep Talking,” a mid-tempo pop song in which its narrator discovers that her lover has been messing around on her — by talking in his sleep. At the core of the song is a bitter sense of heartache and betrayal, wrapped around a slick and infectious hook. 

Splitting their time between Stockholm, Sweden and Olso, Norway, the acclaimed dream pop trio Postiljonen, featuring Norwegian-born Mia Brox Bøe and Swedish-born Daniel Sjörs and Joel Nostrum Holm quickly received national and international with the release of 2013’s full-length debut Skyer; in fact, the album was nominated for Best Pop album in the prestigious Swedish Award P3 Guld — and as a result, of the growing buzz surrounding the band, they wound up going on several tours across Sweden, the European Union, Asia and the US with stops on the festival circuit. 2016’s sophomore album Reverie, which was influneced by California winds, Chinese gardens, late Lost in Translation-like nights in Tokyo and Swedish forests received raputous praise with Cocteau Twins‘ and Bella Union Records‘ label head Simon Raymonde nominating “The Open Road” as one of the best songs of that year.

“Chasing Stars,” is the first bit of new material from the acclimed Scandinavian trio — and it’s the first taste from their highly-anticipated third, full-length album, which is currently slated for release sometime next year through Hybris Records. Much like their preceeding efforts, the members of Postilijonen holed themselves in an isolated cabin in the remote Swedish woods. As the members of the band explain in press notes, “When making music for Postiljonen, it has always just been us three locked away in a cabin in the middle of nowhere, really. The whole world of Postiljonen is so personal to us and it is a world that we created between the three of us.” The new single will further cement the Scandinavian trio’s growing reptuation for crafting a swooning and achingly nostalgic take on dream pop while expanding upon the sound that has won them national and international attention. Centered around a breezy yet cinematic, 80s-inspired production featuring arpeggiated and shimmering synths, a motorik-like groove, a jazzy but power chord-based guitar solo, soaring hooks and Brox Bøe’s soaring vocals, the song sonically manages to recall John Parr‘s “St. Elmo’s Fire,” as well as Yumi Zouma‘s and St. Lucia’s euphoric synth pop, complete with a lush studio sheen.

But underneath the studio sheen, the song is a buoyant and feverish day dream. As the band explains in press notes, ‘Chasing Stars’ is about the longing for that someone who you used to be very close to. While the lyrics might come across very heartbreaking – there’s still a sense of underlying hope that someday somewhere you’ll be together again, chasing stars. It’s nostalgic as always. It’s the chasing that is the magic and essence, forget about the reaching. We actually started writing this song three years ago but it couldn’t come at a better time for us.”

 

 

 

 

 

 

 

 

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New Audio: Introducing the Breezy Yet Restless Pop of Mad Hawkes

Mad Hawkes is a Los Angeles, CA-based singer/songwriter, who dubs her sound and aesthetic as “babe rock,” citing Karen O. and Amy Winehouse as influences on her and her work. Interestingly, Hawkes can trace the origins of her music career to an internship at Parts + Labor Records: As the story goes, label head and producer Jimmy Messer, who has worked with AWOLNATION, Kygo, Kelly Clarkson and others encouraged Hawkes to write with an emotional honesty — and as a result. the music she has written since then touches upon angst, heartache, confusion and so on while paired with breezy and upbeat melodies; in fact, Hawkes latest single “Face Pinch” sounds as though it were influenced by JOVM mainstays Rubblebucket, Sylvan Esso and Dirty Ghosts but with a restless energy and thumping beats. 

New Audio: Members of Modern English, Elastica, Lush, and Moose Release a Shimmering and Anxious New Single

Comprised of married couple Lush’s Miki Berenyi (vocals, guitar) and Moose’s KJ “Moose” McKillop (guitar), along with Modern English’s Mick Conroy and Elastica’s Justin Welch (drums), the indie rock all-star act Piroshka derives their name from the Hungarian version of Little Red Riding Hood — and while each member may be known for their highly acclaimed individual creative pursuits, they’ve long been connected within a complex and oft-knotted web: Berenyi and McKillop have long been considered shoegaze pioneers with their own bands before they got married and raised a family; Elastica were considered rising Brit Pop stars, and as a result Berenyi and McKillop were familiar with Welsh. After Modern English broke up for second time, Conroy joined McKillop’s band Moose. Welch joined the reformed Lush in 2015. Interestingly, when Lush needed a bassist for what turned out to be their final show in Manchester, Conroy filled in.

It was those Manchester show rehearsals that laid the foundations for their current project. But I need to backtrack a little bit, because even the most boring backstories are often confusing — and there are details you need to know:  After Chris Acland’s suicide in 1997, his devastated and grieving bandmates felt unable to continue. Berenyi in particular felt that she had to complete get away from music; in fact, Berenyi spent the next close to 20 years as a parent with a full time job — and as a result, she didn’t agree to reunite Lush until 2015. Of course, adding to the six degrees of musical and creative separation, Welch was a close friend of Acland’s, making it easy to recruit him to fill in. As the story goes, Welch was the one, who asked Berenyi if she’d be up to doing something else, after the Manchester show. As she mentions in press notes, she had never made music outside of Lush and never wanted to do anything solo. “I need someone else to motivate me, and in this case it was Justin,” Berenyi recalled. “He sent drum tracks with guitar parts and odd words, so I wrote some vocals and lyrics, which became ‘This Must Be Bedlam’ and ‘Never Enough.’ When Mick added bass, it sounded great. When Moose added guitar and keyboards — I’d never written like that before, it was such good fun.” 

“We sounded great!” Welch added in press notes. “Like a proper punk band. Mick brings a huge amount of enthusiasm and livens up the room, and I thought this is the kind of band I want to be in again.” Conroy agreed, adding “I’d seen Lush so many times, it was like playing with old friends. Miki agreed and it was good fun, too. And with Moose available, we thought, ‘let’s all have a bash, see what happens.'” 

Adding to the entangled web of personal, professional and creative connections, Bella Union’s label head Simon Raymonde was among the first people to hear the band’s demos for their forthcoming full-length debut Brickbat and after listening to them, he quickly signed the band — and as it turns out, his former Cocteau Twins bandmate Robin Guthrie produced Lush’s debut album. Raymonde’s current Lost Horizons bandmate Richie Thomas was a former member of Moose. Raymonde then introduced the members of Piroshka to Lanterns on the Lake’s Paul Gregory to mix the album — with the exception of “What’s Next,” which was mixed by Alan Moulder. Fiona Brice, who was once a Bella Union recording artist, wrote string arrangements while The Higsons and Blockhead’s Terry Edwards, who also played on Lush’s final album played brass. 

Slated for a February 15, 2015 release through the Bella Union, Piroshka’s debut album Brickbat is derived for a slang term for a missile and reportedly, the title hits on how the album is a marked departure from each individual members’ known work; in fact, the material is centered by blunt, forceful lyrics that tap into the fear, loathing, envy and spite at the heart of our sociopolitical moment. Understandably, much of the material was written through the anxious prism of parenthood in a world gone mad. Similarly to JOVM mainstays Atmosphere’s Mi Vida Loca, Brickbat’s first single “Everlastingly Yours” is rooted in a very real fear — that you can’t protect your loved ones from the constantly evolving dangers of our world. While the song is centered around a shimmering and anthemic shoegazer-like arrangement featuring soaring synths, a propulsive, angular bass line, four-on-the-floor-like drumming and Berenyi’s aching and ethereal vocals, the song thematically as McKillop explains is “about school shootings and our reaction to almost being almost unable to take our eyes off twenty-four hour news and internet feeds.” And as a result, the song points at the vacillating cycle of disgust, depression and powerlessness that we all feel on a daily basis. 

Now, over the past 12-18 months or so, I’ve written quite a bit about the up-and-coming, attention-grabbing Halifax, UK-based act The Orielles. The act which features founding members  Sidonie B. Hand-Halford (drums); her younger sister,  Esmé Dee Hand-Halford (bass, vocals); and their best friend, Henry Carlyle Wade (guitar, vocals) had a great deal of buzz surrounding them in their native UK when Heavenly Recordings‘ head Jeff Barrett signed the band after catching them open for labelmates The Parrots in late 2016 and immediately signed them to the renowned indie label.

Last year saw the members of The Orielles releasing a series of attention-grabbing singles, including The Mallard‘s Finding Meaning in Deference-like “Sugar Taste Like Salt,” the psych rock-like “I Only Bought It For The Bottle,” and the funky, almost dance floor friendly freakout of “Let Your Dogtooth Grow.” Building upon a growing national and international profile, the band released their highly-anticipated full-length debut Silver Dollar Moment earlier this year, and from the likes of album single “Blue Suitcase (Disco Wrist),” the album found the band continuing in a similar vein as it immediate predecessor as it found the band mischievously meshing elements of psych rock, pop and disco — in particular, as the band notes, Luther Davis Group’s “You Can Be A Star” and Rita Lee’s “Chega Mais,” while centered around an anecdote of someone spotting an unaccompanied blue suitcase on a train platform. Naturally, this was followed by allegorical discussions and theories about what was in the suitcase and why it was left behind.

Interestingly, since the release of Silver Dollar Moment the band’s founding trio recruited their newest member Alex Stephens on keyboards and with their newest member, they went into the studio to record two new tracks “Bobbi’s Second World” and a cover/rework of Peggy Gou’s “It Makes You Forget (itgehane)” — and both songs finds the band’s sounding leaning increasingly in the direction of dance floor-friendly New Wave, recalling early 80s Talking Heads, ESG and others while still being centered around rock-based instrumentation. With their releases, the members of The Orielles have revealed themselves to be restlessly expanding, playing with and experimenting with their sound and as a result, I’m excited to see which direction they wind up going next.

As the band writes in press notes, “‘Bobbi’s Second World’ written with the addition of a new member on keys, exhibits an explosion of new sounds and ideas that came to fruition after a long summer of playing festivals and taking inspiration from music that made us dance. It centres around the story of a cat named Bobbi who, in order to become a lady, has to experience the extremities of two complex and differing realities- situated in her front and back gardens respectively. The eccentric instrumentation, influenced by northern soul, post-punk and funk music, matches the quirkiness of the lyrics to create a song that concerns a young cats maturity whilst displaying a certain maturity in the music itself. After noticing a passion for songs that make us emotional; want to dance and quite literally ‘forget’, we decided to cover one of Peggy Gou‘s latest floor fillers, ‘Itgehane aka It Makes You Forget’ hoping that we could evoke the aforementioned qualities of music within other listeners!”