Tag: women who kick ass

Video by William Ruben Helms

New Video: Up-and-Coming New York Duo Death by Piano Releases Futuristic Visuals for “The Countdown”

Death by Piano is an up-and-coming New York-based dark wave duo comprised of Kalen Lister (vocals, keys) and Greywolf, a multi-instrumentalist and producer. With the release of their latest EP, The Countdown, the duo have established themselves with an atmospheric sound that’s centered around sleek and minimalist electronic production, including skittering beats, chopped up samples, soulful blasts of guitar, moody strings and synths, and Lister’s pop star belter vocals. Interestingly, EP title track “Countdown” is a perfect example of the sound that has begun to win the duo attention, complete with an infectious, radio-friendly hook that reminds me a bit of the classic 4AD Records sound mixed with JOVM mainstay Holy War. However, as the duo explain “‘Countdown’ is the first song we wrote together. It’s about leaving behind what you thought life might be and embracing the now. It’s about embracing change. External and internal. Facing what you fear to find more freedom.”  

Directed by Robert Lester, the recently released video is a decidedly retro-futuristic and New Age-y treatment that features Lister dressed as a cyborg/alien along with her bandmate, performing the song in front of a screen, playing psychedelic imagery. It’s interspersed with a humanoid character, wandering the woods. It’s trippy yet futuristic take on the familiar, much like the duo’s sound. 

Video by William Ruben Helms

New Video: Moving Panoramas Release a Mischievous Crime Caper-Like Visuals

Led by founding member and creative mastermind Leslie Sisson (vocals, guitar), who has had stints in The Wooden Birds, Matt Pond PA, Western Keys, Black Lipstick, Black Forest Fire, Tanworth-in-Arden, and Aero Wave, collaborated with The American Analog Set, Windsor for the Derby, Rhythm of Black Lines, RIDE’s Mark Gardener, Dan Mangan, John Wesley Coleman, Snowden, and Broken Social Scene, and has developed a reputation as a solo artist in her own right, the Austin, TX-based dream pop act Moving Panoramas can trace their origins to when its founding member and creative mastermind returned home to Texas to be closer to the members of her previous full-time band The Wooden Birds and her to her family. Sisson took a job teaching music at School of Rock where she met Rozie Castoe (bass),  who was in an 80s-themed show that Sisson directed. Interestingly, at the same time, Sisson took up a gig subbing in Black Forest Fire with Karen Skloss (drums), who was a long-time friend. When each of their various creative projects broke up, the trio started Moving Panoramas, rooted in their mutual love of shoegaze; however, since the band’s formation and release of their debut effort One, the band has gone through a series off lineup changes that has result in Sisson collaborating with a rotating cast of previous bandmates, as well as current bandmates Cara Tillman, Jordan Rivell, Jody Suarez and Phil McJunkins.

Moving Panoramas’ sophomore album In Two was delayed by a series of unexpected roadblocks during its production — i.e., health and timing issues — that delayed its release until February 22, 2019 through Modern Outsider Records. Recorded with engineer Louie Lino at Resonate Studio in Austin, the band’s sophomore effort reportedly finds the band expanding upon their sound and songwriting approach, as there’s a concerted effort for diversity in rhythm, volume and instrumentation, including the incorporation of pedal steel. Along with that the album features guest spots fromNada Surf‘s Matthew Caws, A Giant Dog‘s and Sweet Spirit‘s Sabrina Ellis and former bandmates Karen Skloss, Jolie Flink and Laura Colwell.

The album’s latest single “Baby Blues” is a decidedly anthemic track, centered around shimmering power chords, a propulsive rhythm section, ethereal vocals and a soaring hook that recalls Sunflower Bean’s Twentytwo in Blue as the song seems to draw from psych rock, shoegaze and 70s arena rock performed with the easygoing self-assuredness of old pros; but underneath the self-assured performance, there’s the recognition of time rushing by, of people moving in and out of your life — sometimes without even knowing why or how. As the song seems to say, “Remember friends, life is confusing and when you think you may have handle on it, life will throw a monkey wrench or two your way — and you’ll get through it somehow, some way.”

Directed by the band’s Leslie Sisson, the recently released video is part mischievous, Miami Vice-like crime caper with the members of the band smuggling a substance dubbed “Baby Blue,” and part performance video — with the band playing in a studio and on the beach. It’s goofy and yet it still manages to capture (and evoke) the song’s anthemic nature. 

Video by William Ruben Helms

Live Session: Bells Atlas on Audiotree Live

Now, over the past couple of years, I’ve written quite a bit about the Oakland, CA-based futuristic soul act Bells Atlas. And as you may recall, the act which is comprised of Derek Barber (guitar) Geneva Harrison (drums, percussion, keys) Sandra Lawson-Ndu (vocals, percussion, keys) and Doug Stuart (bass, vocals, keys) of Derek Barber (guitar) Geneva Harrison (drums, percussion, keys) Sandra Lawson-Ndu (vocals, percussion, keys) and Doug Stuart (bass, vocals, keys)  have received attention for a forward-thinking, kaleidoscopic and lush sound that draws from indie rock, 90s R&B, Afro pop, Afro-futurism, jazz, electro pop and experimental pop. Adding to a rapidly growing profile, the members of the Oakland-based act has opened for the likes of Hiatus Kaiyote, Badbadnotgood, Bilal, Meshell Ndegeocello, W. Kamau Bell, Angelique Kidjo and others, as well as Bermuda Triangle, the side project of Alabama Shakes‘ Brittany Howard. Along with that, they spent 2016 as the touring band for NPR’s Snap Judgement.

Released earlier this year, the acclaimed futuristic soul act’s latest EP SALT AND SOAP is inspired by cleansing rituals and preservation methods, with the understanding that when you’re not accustomed to releasing your most personal stories, the idea is then to take a moment to prepare for a shift — for a new way of being open. Interestingly, during the creative process for their latest EP, the band stumbled upon a new songwriting process that incorporated the use of sampling grainy phone memo recordings of Geneva Harrison drumming as the bedrock of each song of the EP — and in turn, their full-length album The Mystic, which is slated for a March 2019 release. Focusing on spontaneity and sometimes even humor, the aim developed into writing music that was cinematic yet personal while highlighting each member’s individual skills and talent within the larger whole.

A few weeks ago the members of Bells Atlas were invited to Audiotree Live to do a live session centered around the material of the SALT AND SOAP EP including “Downpour,” a paradoxically slick yet lo-fi, lush and lysergic groove-driven track that recalled Drakkar Nowhere, Pavo Pavo and Erykah Badu; “Be Brave,” a sinuous and fluidic track centered around an incredibly dexterous and percolating bass line, driving percussion and rapidly morphing tone and time changes; the incredibly sultry “NCAT,” centered around shimmering and bubbling arpeggiated synths, stuttering drumming and a rolling bass, as well as two other tracks I haven’t written about — “Overshare” and “Find Where You Rise.” Throughout the live session, the material proves to be a perfect foil for Lawson-Ndu’s vocals, which manage to express a visceral vulnerability and human need, awe, strength and resiliency within a turn of a phrase.

Interestingly, during the session the band’s Lawson-Ndu speaks about her own deep, personal experience and love of sci-fi and fantasy and how they’ve influenced her to consider those genres through the experiences of being a woman of color.

Video by William Ruben Helms

New Video: Chicago’s Lightfoils Release a Lyrical and Meditative Video for “Summer Nights”

Over the past few weeks I’ve written quite a bit about the Chicago, IL-based shoegazer act Lightfoils. And as you may recall, the band, which is comprised of Jane Zabeth Nicholson (vocals), Neil Yodname (guitar), Zeeshan Abbasi (guitar), Cory Osborne (bass) and John Rungger (drums) has developed a reputation for pushing the boundaries of shoegaze with a unique and sophisticated take on the genre, as heard of 2014’s critically applauded Hierarchy.

The band’s long-awaited, forthcoming album Chambers will be self-released by the band, both for the autonomy and the ability to be intimately involved in all aspects of the album’s production and promotion — and with the album’s first single “Summer Nights, ” the first bit of new material since the release of Hierarchy finds the Chicago-based shoegazers fully commanded the sound they’ve developed with a swaggering self-assuredness, as the band pairs layers of lushly shimmering and chiming guitars with a propulsive, hip-hop like rhythm section and soaring hooks while Zabeth Nicholson’s ethereal vocals float over the mix, expressing deep longing. And while anthemic, the gorgeous track manages to possess the wistful feel of a summer night, complete with the knowledge that a bitterly cold winter is coming.

Co-directed by the members of the band and Brian Cook, the recently released video for “Summer Nights” meant to evoke the nostalgia for summer, the longing many of us feel once it passes — and in a subtle way, the recognition that the years and the time are flying by. Featuring footage shot by each member of the band, the video is partially an exploration of Chicago and the surrounding wilderness. As the band explains in press notes, the juxtaposition between the urban and wilderness scenes are meant to capture the paradoxical nature of city life — and the desire to both embrace and escape. Jane Zabeth Nicholson’s superimposed and spectral figure gives it all a film noir-ish like vibe. 

Single Review by William Ruben Helms

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.

 

 

 

 

Video by William Ruben Helms

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. 

Video by William Ruben Helms

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. 

Single Review by William Ruben Helms

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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Single Review by William Ruben Helms

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. 

Single Review by William Ruben Helms

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. 

Single Review by William Ruben Helms

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!”

Video by William Ruben Helms

New Video: JOVM Mainstays WINDHAND Release a Roger Corman-Influenced Video for Pummeling Dirge “Red Cloud”

Throughout the past few years of the site’s eight-plus year history, I’ve written quite a bit about the  Richmond, Virginia-based doom metal band WINDHAND, and as you may recall, the band which is currently comprised of Dorthia Cottrell (vocals), Garrett Morris (guitar), Parker Chandler (bass) and Ryan Wolfe (drums) can trace their origins back to 2009. Within a year of their formation, they released a two-track self-recorded CD that quickly garnered comparisons to Electric Wizard, The Devil’s Blood and Black Sabbath. Building upon a growing profile, their 2012 self-titled debut became an underground hit and sold out multiple vinyl pressings within a few months. 

Released in 2013 through Relapse Records, the Northern Virginia-based band’s critically applauded sophomore album Soma received praise from Stereogum, Spin, LA Weekly, Revolver, Invisible Oranges, MetalSucks, Metal Injection, Rolling Stone and NPR — with Pitchfork naming the album as one of the third best metal releases of the year. Adding to a breakthrough year, the band spend the bulk of 2013 and 2014 touring North American, the European Union and Australia supporting Soma with Sleep, High on Fire, Dead Meadow and Kvelertak — and they made stops on the international festival circuit with sets at Roadburn, SXSW, Scion Rock Fest, Day of the Shred and Maryland Deathfest. 
2015’s Jack Endino-produced, third full-length album, Grief’s Infernal Flower managed to further cement their reputation for crafting sludgy, murky, punishing power chord-based dirges. Released earlier this month, WINDHAND’s fourth, full-length album Eternal Return finds the band continuing their collaboration with renowned producer Jack Endino — and the album thematically is centered around observations and reflections on life’s ups and downs, joys and sorrows, beginnings and ends. Between Grief’s Infernal Flower and their recently released album, the members of the band welcomed the births of children, experienced a number of lineup changes and mourned an unexpected and tragic death. And unsurprisingly, as a result, the album’s material and the sequential order of its song are the direct result of those experiences — while sonically, the band crafts material that balances heavy and brooding dirges with psychedelic and meditative passages.  Album single “Grey Gardens” was part of an early batch of album singles that were among the heaviest batches of material they recorded — and while being a thunderous and slow-burning dirge, the single finds the band’s sound and approach subtly moving towards Screaming Life/Foppand Badmotorfinger-era Soundgarden, complete with a lysergic bridge. “Red Cloud,” Eternal Return’s latest single continues in a similar vein as its predecessor as it’s a heavy and psychedelic dirge, centered by some explosive guitar work, rumbling low end, thundering drumming, Dorthia Cottrell’s smoky vocals and an anthemic hook; but unlike it’s predecessor there’s a sense of foreboding doom at its core. 

Directed and animated by Zev Deans, the recently released video  features a seamless blend of live-action and animated scenery, as it follows a washed-up and hopelessly incompetent warlock and imbecilic and hunch-backed henchman as they try to kidnap The Scarlet Woman. Visually, the video is reportedly a homage to the horror films of the early 1960s, specifically Roger Corman’s Edgar Allan Poe series — and naturally, it’s perfect for the Halloween season.