Monthly Archives: July 2020

Death Valley Girls – Under the Spell of Joy (Suicide Squeeze 2 October 2020)

While studies have been conducted aiming to understand the science behind music, our inexplicable ability to tap into the emotions of another human being by way of arrangements of sonic frequencies still seems a bit like magic. LA’s Death Valley Girls have always sought to wield that magic like ancient mystics, creating psychic bonds with willing ears through the medium of their fiery rock n’ roll.

On the surface, previous albums like Glow in the Dark and Darkness Rains were rowdy mash-ups of early American punk, sun-baked psych rock, and proto-metal fire-and-brimstone guitar worship, yet there was always an undercurrent of some kind of strange, celebratory communal ritual in their music. With their latest album Under the Spell of Joy, the band dives even deeper into that magical cosmic energy.

The album title Under the Spell of Joy comes from the text on a t-shirt from San Diego heavy psych rockers Joy that was handed off to Death Valley Girls’ vocalist/guitarist Bonnie Bloomgarden, who wore the shirt for five years straight, treating it like a talisman. “I read it as being about manifesting your biggest dreams and responding thoughtfully and mindfully to everything that comes in your path with joy and compassion first,” Bloomgarden explains. “There is a lot to be really angry about in the world but joy is just as powerful if used correctly!” The band sought to create a spiritual record—what Bloomgarden describes as a “space gospel”—with the intention of bringing people together and creating the kind of participatory musical experience people have in places of worship. It’s a record loaded with chants, choirs, and rousing choruses, all for the purpose of encouraging people to sing along. Where the band had once sought to connect people through more esoteric means, they now tap into the age-old tradition of uniting people by inviting them to be an active part of the music.

While Bloomgarden and guitarist Larry Schemel knew their intention for the album before a single note was written, the actual nature and direction of the music was a mystery. The initial inspiration for the record came from the jubilant spirit of Ethiopian funk records the band had been listening to on tour, but once they began to channel the songs it seemed like the music came from somewhere not in the past but in the future. In the weeks leading up to recording, Death Valley Girls relied on their subconscious and effortlessly conjured Under the Spell of Joy’s eleven tracks as if they’d tapped into the Akashic Chronicle and pulled the music from the ether.

The album opens with “Hypnagogia,” an ode to the space between sleep and wakefulness where we are open to other realms of consciousness. The song slowly builds along a steady pulse provided by bassist Pickle (Nicole Smith) and drummer Rikki Styxx. Tripped out saxophone bleats from guest player Gabe Flores swirl on top of the organ drones laid out by guest keyboardist Gregg Foreman. The band’s choral objectives for Under the Spell of Joy are established right off the bat, with Bloomgarden’s melodic invocations bolstered by a choir, giving the album a rich and vibrant wall-of-sound aesthetic. The song ominously builds on its hypnotic foundation until it opens up into a raucous revelry at the four-minute mark. The portentous simmer of the opening track yields to the ecstatic rocker “Hold My Hand,” where verses reminiscent of Velvet Underground’s “I’m Waiting For The Man” explode into big triumphant choruses. From there the band launches into the title track, which marries the griminess of The Stooges with an innocence provided by a children’s choir chanting the album’s primary mantra “under the spell of joy / under the spell of love.”

Death Valley Girls have always vacillated between lightness and darkness, and on “Bliss Out” they demonstrate their current exuberant focus with a patina-hued pop song driven by an irrepressibly buoyant organ line laid down by keyboardist The Kid (Laura Kelsey). A similar cosmic euphoria is obtained on “The Universe,” where alternating chords on the organ help elevate soaring saxophone and keyboard lines out beyond the stratosphere. If you’re looking for transcendental rock music, look no further.

The world is crazy right now and it feels like we should be doing more than just trying to perpetuate joy,” Bloomgarden says. “I think music becomes a part of you. Like Black Sabbath’s first record is as much a part of me as my own music. I think you can listen to music or song to get lost in it, or you can listen to music to find something in your self or the world that either you never had or just went missing. I want people to sing to this record, make it their own, and focus on manifesting their dreams as much as they can!

Suicide Squeeze Records is proud to offer up Death Valley Girls’ Under the Spell of Joy to the world on October 2, 2020 on CD/LP/CS and digital formats. First vinyl pressing is limited to 1500 copies (1200 on gold, 300 on label-exclusive silver).


Schizo Fun Addict – The Last Wave (Friends of the Fish 40/Flicknife Records, August 8th)

Schizo Fun Addict were formed in Manchester by Jet Winter and Jayne Gabriel on January 1st, 2000.

Two months later, their ‘lo-fi Mary Chain meets Pet Sounds’ sound got the band a great review in UNCUT and feature in MOJO.

In 2008, they became the first band to appear on the Fruits de Mer label – in fact, FdM would never have happened without them – and in 2018 they gave a lucky bunch of FdM club members and festival goers exclusive (AND FREE!) copies of ‘The Sun Yard‘ on vinyl; the relationship continues on this release which joins Fruits de Mer with the rather more legendary Flicknife Records.

In 2018, indie legend Rex John Shelverton (Tamaryn/VUE) joined on guitar and production for their album ‘El Shoegaze Bossa Nova‘ (released on Sugarbush Records) that got a 5/5 review in Shindig and was chosen by Goldmine’s Dave Thompson as one of his top 10 new music releases of 2018; Dave recently called the band, “the greatest musical secret of the 21st century“!

Now, their new album (also produced by Shelverton), ‘The Final Wave’ is released in a very limited edition clear/turquoise vinyl LP including various goodies, available in very limited numbers to FdM club members (Flicknife have produced the CD version, which sold out rather quickly).

Leave a comment

Posted by on July 30, 2020 in Psychedelic


God Module – The Unsound Remixes (Metropolis Records August 7)

God Module combines elements of harsh Techno, Darkwave, Goth and Industrial. Pounding beats mix with hypnotic synth hooks, deranged film samples and psychotically-effected vocals to make up a sound that is as disturbing as it is danceable.”

The Unsound Remixes‘ features 17 reimagined versions of songs from God Module’s 2019 album ‘The Unsound.’

Remixers include Iris, E.S.A, System Syn, Funker Vogt, Velvet Acid Christ, Ghostfeeder, Rodney Anonymous (Dead Milkmen), and more, all putting their unique touches to songs from ‘The Unsound.’

God Module is a standout artist in the genre, and ‘The Unsound Remixes’ offer an exceptional accompaniment to an extraordinary album.

God Mod founder and mastermind Jasyn Bangert has brought his childhood dreams to life as musical nightmares. Aided by band members Clint Carney and Courtney Bangert, God Module take all the common Electro – Gothic – Industrial clichés and systematically tear them apart. They are unnaturally stitched back together again to create a constantly mutating soundtrack to the most fucked up horror film you will never see…your life!

‘The Unsound Remixes’ will be released by Metropolis Records on August 7th through all digital and streaming formats as
well as on CD.


01. Hindsight (Iris mix)
02. Phenomenon (Amnestic mix)
03. Unsound (ESA mix)
04. Grey Forces (Baby Magick Stryker Roll Out mix)
05. Display (Ruined Conflict mix)
06. Cross My Heart (ES23 mix)
07. Unconscious (System Syn mix)
08. Deja Vu (Wolftron mix)
09. Hindsight (Reichsfeind mix)
10. Phenomenon (Absynthe of Faith mix)
11. Unsound (Finite Automata mix)
12. Grey Forces (Ghostfeeder mix)
13. Display (Inva//id mix)
14. Cross My Heart (Velvet Acid Christ mix)
15. Unconscious (Funker Vogt mix)
16. Deja Vu (Aircrash Bureau mix)
17. Hindsight (Rodnet Anonymous Fears of Children mix)

Click HERE for pre-orders


Leave a comment

Posted by on July 27, 2020 in Electronic


Short-Haired Domestic – A song in Spanish addressed to men who drive big cars (4 July 2020)

Tim Friese-Greene (Talk Talk) releases Short-Haired Domestic ‘A song in Spanish addressed to men who drive big cars’

Perhaps best known for his celebrated production work with Talk Talk and Catherine Wheel (often dubbed the silent member of the former group), legendary UK producer Tim Friese-Greene is also an impressive artist in his own right. His new music project Short-Haired Domestic features stunning vocals by wife Lee Friese-Greene of 90’s London Riot Grrl band Sidi Bou Said and currently lead vocalist and guitar player for Pavlova.

Their new single ‘A song in Spanish addressed to men who drive big cars’  is the second offering from their forthcoming self-titled debut album, slated for release in autumn.

“It’s bothered me for some time, this questions about why men think they will impress or pull women because they have a big, expensive car. I honestly don’t get it. To me it is about the least sexy or attractive thing a person could own. But yet it persists: the advertising may have become more nuanced but it’s still the same message. Anyway, that was mulling around my mind when the whole #metoo thing kicked off – the Harvey Weinsteins & the Trumps of this world who live under this assumption that money and power and big cars, will get you sex,” says Lee Friese-Greene.

“So this song is about that. Only women are in the driving seat now. And we will call them out. We know that their big cars are just thinly veiled substitutes for their inferior manhoods and complete lack of soul, empathy and humanity. We call time on that. It’s about karma; ‘Todos tenemos lo que merecemos’ – we only get what we deserve.”

The duo recently released their new video for ‘A song in Latin about the importance of comfortable shoes’ (produced by Dylan Friese-Greene and filmed by Jake Friese-Greene), the first song from their debut double A-side single ‘A song in Latin… A song in Hindi…’.

Apart from is work with Talk Talk and Catherine Wheel, Friese-Greene has also produced works by Lush, Thomas Dolby, Sidi Bou Said and Firefly BurningAllMusic describes him as “renowned for his unerring sense of atmosphere and nuance, Tim Friese-Greene was among the most innovative — albeit underrecognized — producers of his era”.

After 1995, he shifted his primary focus to creating music as a solo artist, issuing various releases under his own name and as Heligoland.  Short-Haired Domestic is the next step in a logical progression for this producer.

Each track on the new album features vocals in a different language. At their heart are a breakbeat loop, sampled fragments, scratching, insistent funk and Latin rhythms, surprising appearances of acoustic guitar and just about every sound that’s possible to wring from a WASP synthesizer.

The result is melancholic and driven with a pop edge and sensibility. Avoiding any whiff of ‘divaness’ in the vocals, these songs instead allow emotion to be largely generated by the music as a response to the lyric.

‘A song in Spanish addressed to men who drive big cars’ is out Friday, July 24 via Bandcamp, where ‘A song in Latin… A song in Hindi…’ is already available. Later this summer, the duo shall release their debut eponymous album on vinyl and CD, as well as digitally across digital platforms.

Written and performed by Tim Friese-Greene and Lee Friese-Greene
Recorded and mixed at The Hold, Totnes
Mastered by Caspar Sutton-Jones at Gearbox Records and
Steve Kitch at Audiomaster
Sleeve artwork by Left Bridge
Calcium Chloride CaCl 009

Keep up with Short-Haired Domestic
Website | Facebook | Bandcamp | Twitter | Instagram | Soundcloud | Press contact

Leave a comment

Posted by on July 25, 2020 in Dance


Nigel Lewis talks about his album “A Head Full of Ghosts & Memories”

After performing in various bands playing various genres of music from Pop/Rock to Punk/New Wave, Nigel Lewis released in June 2019 his debut album “A Head Full of Ghosts & Memories” containing 12 self-penned songs on the Audio Vendor record label through Tu-Kay records. You can find Nigel “out and about” with a 6 string acoustic performing at open mic nights, gigs, festivals & other musical events. Pete Dennis managed to meet him and do the following interview.

Peter Dennis: What are your earliest musical memories?
Nigel Lewis: Listening to the radio in our kitchen in the late 1960’s to music of that era.

Peter: What was the first music or artist that captured your imagination?
Nigel: David Bowie because his music and dress sense were totally different to other artists especially at the beginning of the 1970’s. One of the first albums I listened to was The Man Who Sold the World. It blew me away. Artists that inspired me to write and perform cut across all genres of music. Ray Davies, Lennon & McCartney,Gary Brooker, Paul Weller, Elvis Costello, Neil Finn, Kate Bush, Leonard Cohen, Suzanne Vega, Bob Dylan etc. So many more. I also have great respect for classical composers such as Elgar, Vaughan Williams, Tchaikovsky etc.

Peter: Can you tell me about your early forays into music. First bands and early gigs etc…
Nigel: I learnt a few chords from a mate on a cheap acoustic guitar and gigged a bit with his band as a favour in return. Just performing popular covers. I then started writing with another mate and joined his punk band in early 1980’s. We were called “Unsung Heroes” but again eventually we all went our own way as bands tend to do. After that I took a different direction covers from 1960’s & The Jam with a newly formed band named
The Network and after several changes in line up and names we became we became known as Initial Motion. This was the first time I started to take songwriting seriously and we ended up dropping all covers and performing only original material. It was also the first time I met bassist Simon Lockyer who I later worked with again when I joined Punk/New Wave covers band SO77 in 2011. After Initial Motion disbanded in late 1985 I continued to write but did not do much solo performing. Being a solo artist was harder in those days to get gigs and no open mics. I took a substantial break from music and performing for a number of years. I did continue to write on and off.

Peter: Your current incarnation as a singer/songwriter is markedly different than your previously singing in a punk covers band. Was it a big leap from raucous punk to acoustic songs? Or was it a smooth transition?
Nigel: I had started to attend a few open mics prior to finally leaving SO77 and I must admit as I was previously lead vocalist in the band it took some getting used to performing on my own and having to reaquante myself with the guitar for live performances.
I had also reignited the spark to write songs that are more personal to me. I ocassionally perform some covers in my set. My preference is to perform and record my own compositions.

Peter: From writing to release how long did it take for the album to come to fruition?
Nigel: Some of the songs were written in the late 1990’s, however the majority were recently written. I started recording the album at “Tu-kay records” in July 2018 and it was completed in June 2019.

Peter: The coast is a recurring theme in your lyrical writing. Do you find it inspiring? If so why? From where else do you draw lyrical ideas?
Nigel: I love my country, it’s rich history, coastline and countryside. The album is not only a reflection of true life events that have played a part in my life it hopefully captures places I have lived, visited and have left their imprint on my life.

Peter: I detect a little Ray Davies in your descriptive lyrics. Fair comment? What other artists influence your lyrics?
Nigel: Fair comment. There are too many artists to mention as previously mentioned.

Peter: What musical influences (if any) helped shape your album?
Nigel: I guess some of the artists I have already mentioned although as a songwriter you want the sound to be fresh and new I don’t think it matters if listeners believe it falls under a certain genre or category. If listeners like the album, and they engage with the songs then that’s a job well done.

Peter: Can you tell me about the recording process: where, when and how…
Nigel: We started recording the album in in late July 2018 and it was completed in June this year. The album was reccorded at Tu-kay records in Stoke Bruerne. Ash Tu-kay Woodward produced the album and he did a cracking job. He came highly recommended. A guide vocal and acoustic guitar were laid down first then other instruments and backing vocals were added.

Peter: How about the musicians you recorded with? Did you have good a chemistry in the studio? Rebecca Ryan appeared on several songs. Do you feel your voices work well together?

Nigel: Ash & myself played the instruments on the album. We had a fantastic time in the studio. Great atmosphere and we found time to mix work with banter & laughter. Working with Ash and Rebecca was a pleasure. It’s fair to say I have learnt a lot from the experience. I consider them good friends. Rebecca’s vocals work really well on the songs and she is an incredible vocalist.

Peter: Now the record has been released for a few months how do you feel? Is there anything you’d go back and change?
Nigel: I can honestly say I wouldn’t change anything. It would have been nice to include more songs, but you have to set a limit and budget.

Peter: What are your future musical plans?
Nigel: The next project for next year is a website, currently writing more songs for recording next year. More live performances. I really love what I do and I feel very privileged.

Peter: Where can people find you on social media?
Nigel: They can currently me on Instagram at nigelhatlewismusic and my music page on Facebook is nigellewissinger/songwriter. If people go to my Facebook page they can find alternative contact details.


Leave a comment

Posted by on July 23, 2020 in Folk, Rock


Folk Devils – “Forever” EP – first new music in 33 years!

Folk Devils, the London group that took their name from a well-known academic text on media scapegoating, have returned with their first new music in 33 years. The band blazed a trail across the UK’s independent music scene of the mid-80s with their unique brand of post-punk energy, known for their acclaimed indie-chart singles “Hank Turns Blue”, “Beautiful Monster”, three John Peel sessions, plus live dates opening for Nick Cave & The Bad Seeds, The Fall, The Gun Club, Screaming Blue Messiahs and others.

The 3-track “Forever” EP lands on 10” (Clear Red Vinyl)^ and Digital on September 18, 2020 via Optic Nerve Recordings and features two new compositions, the title track “Forever” and “My Slum Soul”, plus an incendiary new version of an old live favourite “Ink Runs Dry”.

Recorded at London’s famous Konk Studios in North London and mixed and co-produced by Grammy Award-winning engineer Rik Simpson, the re-born Folk Devils drew inspiration for new recordings from the release of their 2016 career retrospective “Beautiful Monsters (Singles & Demo Recordings 1984-86)” and the excellent reactions at subsequent live shows around the UK with kindred spirits Membranes, Inca Babies, The Wolfhounds and The Cravats.

Founder members, guitarist Kris Jozajtis and bassist Mark Whiteley, reformed the group by recruiting members of a short-lived 1987 version of Folk Devils; guitarist Nick Clift and drummer John Hamilton. Together with singer Dave Hodgson they soon discovered they had created a well-oiled twin-guitar juggernaut that brimmed with the same restless, twisted blues that characterized the first and second iterations of the band from 1983-87 when they were fronted by the highly underrated and now sadly-departed singer/songwriter Ian Lowery. Hodgson, a fellow transplant from the North-East, had known Lowery in the early 80s prior to Folk Devils, when the two were in their respective post-punk bands Ski Patrol and Parting Shots.

For vinyl and download pre-orders click HERE

Leave a comment

Posted by on July 22, 2020 in Post Punk


2Square / Mark Gardener – Chained (OX4 Sound 23 June 2020)

Reflections on retreating from drugs: RIDE’s Mark Gardener and Telepopmusik’s 2Square present ‘Chained’ single 

Now that shoegaze kingpins Ride are in touring limbo, frontman Mark Gardener has been busy with recording, production, mixing and mastering work at his OX4 Sound Studio. He has also released a new single, called ‘Chained’, for which he collaborated with 2Square, a.k.a. Stephan Haeri of France’s Telepopmusik.

This song comes from a deep space, as Gardener eluciates on a past attempt to face, beat and get away from some personal demons and unhealthy situations and temptations. The accompanying video, commissioned by Gardener, was produced and directed by Dariy Karyakin over the past month.

Recorded in Haeri’s small Parisian smoky apartment in the Strasbourg-Saint-Denis area, Gardener notes that this is “up there with my favourite collaborations ever”, saying this will “hopefully take our minds away from all current madness we’re living in”. Written by Stephan Haeri and Mark Gardener with Gardener’s lyrics, this single was mixed by Stephan Haeri and mastered by Mark Gardener.

Mark is best known as songwriter, lead vocalist and guitarist with shoegaze trailblazers Ride. He also owns and runs the OX4 Sound recording studio. Over the past 20 years, Mark has produced and mixed the work of many highly respected artists, producers and bands including The Brian Jonestown Massacre, Robin Guthrie, Telepopmusik, Dive Index, Rinocerose, Ulrich Schnauss, Man With No Name, Hopewell, Jam+Spoon, Mikel Erentxun, Dead Horse One, Cat Martino and Swervedriver, along with scoring the soundtrack for the Mojo award-winning film ‘Upside Down’ (The Creation Records Story). Mark now brings this knowledge and experience to his new purpose-built studio.

“I met Stephan through a mutual friend – Melanie Bauer, a well known DJ on Paris radio. I had known and become close lifelong friends with Melanie since meeting her to interview on her program during an early Ride promo tour in Paris. Our paths with Stephan had crossed a few times but Melanie basically set up this recording session, thinking it could be a great combination. Stephan had a small apartment, which he lived in and had turned into a studio. I always loved to visit Paris so I was happy to go and spend a week with Stephan at his apartment, where I also stayed for the best part of a week,” says Mark Gardener.

“Stephan had some loose instrumental ideas and I got to work with lyrics and vocal topline ideas in reaction to these instrumental sketches I was hearing and then Stephan would mess around with my vocal lines. I think I popped out for food now and again, but we basically didn’t stop for a week until the songs were written and recorded. Stephan mixed it as we were going and then finished the mixes when I had gone back to England. This and the other two tracks are among my life time favourite collaborations.

Earlier, Telepopmusik released the highly acclaimed single ‘Sound’, featuring vocals by Mark Gardener, for which they released an intriguing video by Japan’s Toshiaki Toyoda. The vocals for that particular track were recorded during the same Paris session that spawned this new single ‘Chained’.

“I wrote ‘Chained’, reflecting about my old home in Oxford, which had become a non-stop nightclub during a time post Ride breakup, when I was living alone. All got a bit out of control for a while and I had some great parties and friends, but one in particular would always show up late at my house when I was working in my attic studio.  He was a bit of a walking chemistry set, so would always show up with substances. I was not in the best head-space at that time and was trying to get away from substances, which was not so easy when it kept on coming through my front door,” explains Gardener.

“We’d always end up having big and good nights drinking, getting high and listening to records until dawn for a period; hence the line ‘Chained till dawn to find a new way’ lyric. I knew this was slowly dragging me down so, in the end, I packed up my car with a friend and we drove to the Medieaval Wilds of France in search of a new life. I ended up living in France for four years, experiencing a much needed break from that life. It was just what the doctor ordered! France and nature basically refuelled me and put back everything I felt I had lost after Ride and then a few lost party years in Oxford after that.”

‘Chained’ is available now via Mark Gardener’s own Bandcamp and will appear on other streaming and sales platform soon (date to be announced). Look forward to several more singles from this collaboration to be announced this summer.

Written and recorded in Paris
Music by Stephan Haeri and Mark Gardener
Words by Mark Gardener
Mixed by Stephan Haeri
Mastered by Mark Gardener at OX4 Sound

Keep up with Mark Gardener / OX4 Sound
Website | Facebook | Bandcamp | Soundcloud | OX4Sound Twitter | Mark Gardener Twitter | Instagram | YouTube | Press contact

Leave a comment

Posted by on July 18, 2020 in Alternative


Tags: ,

Soft Set – Never Die (OX4 Sound 17 July 2020)

Toronto’s Soft Set team up with Ride’s Mark Gardener on stellar debut single ‘Never Die’

Toronto-based dreampop melodic indie rock duo Soft Set present their debut single ‘Never Die’, mixed in Oxford, UK by Ride frontman and celebrated producer Mark Gardener in his recently-launched world-class OX4 Sound Studio.

The accompanying video was created and edited by Heidi Athay. This is the lead track from their forthcoming debut EP ‘Love and Dancing’.

Soft Set is a songwriting and music collaboration between James Gray and Nathan Athay, two life-long friends who became musical collaborators years after growing up together in Barrie and then Toronto, Ontario.

Laced with dayglo dream-inspired sonic glee of 90s indie rock royalty such as shoegaze icons Ride, Soft Set’s brand of melodic pop-rock is earnest and natural. Cloaked in the finest realm of nostalgic reverie, this debut single ‘Never Die’ is equally stunning and infectious.

“Before we started this project, we agreed to never intentionally try to sound like anyone but ourselves. We really wanted to take an honest approach in the process and never discounted any ideas that we presented to each other. We gave everything a chance to see what worked and what didn’t and took it from there,” says James Gray.

“I think what makes this album so special is that it’s very relatable. The lyrics are about feelings and settings that everyone experienced in one form, or another and we feel each song is consistent with that”.

Not long after meeting during high school, they quickly realized that they had much in common, especially when it came to their taste in music. Nathan started playing drums in a local shoegaze, space rock band and James wasn’t far behind, learning guitar and writing songs of his own. Soon after, James became the band’s backup guitar player, filling in whenever the main guitar player couldn’t make a show.

Although that band lasted only a few years, James and Nathan continued to work separately on other projects, as well as working together whenever they could. Things really amped up in 2006 when James and Nathan were part of a Toronto indie rock band, recording their debut album at E5 Studios Downtown. James and Nathan learned a lot about recording and production through this process, inspiring them to continue to push themselves musically, eventually creating what is now Soft Set.

Guided by Mark Gardener / OX4 Sound and drawing on influences from iconic artists that have inspired them on their musical path – The Stone Roses, Smiths, My Bloody Valentine, RIDE, Slowdive, Happy Mondays, Boo Radleys, Mercury Rev – it’s no surprise that Soft Set’s debut EP is a body of work that is sure to appeal to a broad audience.

“This debut is incredibly special for both of us as we’re showcasing everything we’ve learned from the other projects we’ve been in in the last 20 years. We’re extremely proud of this body of work and we hope people enjoy the music as much as we did making it,” says Nathan Athay.

As of July 17, ‘Never Die’ will be available via online stores and streaming platforms. Its limited edition 7″ vinyl run of 100 with b-side (out on August 14) and can be pre-ordered directly from the artist via Bandcamp. The full ‘Love and Dancing’ EP will be released on September 4.

Written by Nathan Athay and James Gray
Produced and performed by Soft Set at E5 Studios Downtown (Toronto)
Mixed at OX4 Sound Studios by Mark Gardener in Oxford, UK
Mastered by Harris Newman at Grey Market Mastering, Montreal QC
Viola on ‘Ours for Us’ by Madeleine Spence (recorded at E5 Downtown)

Keep up with Soft Set
Website | Facebook | Soundcloud | Twitter | YouTube | Instagram | Press contact

Keep up with Mark Gardener / OX4 Sound
Website | Facebook | Bandcamp | Soundcloud | OX4Sound Twitter | Mark Gardener Twitter | Instagram | YouTube | Press contact

Leave a comment

Posted by on July 17, 2020 in Alternative


The Sea at Midnight – We Share The Same Stars (21 August 2020)

LA postpunk artist The Sea At Midnight presents ‘We Share The Same Stars’ single

Postpunk artist The Sea At Midnight presents the new single ‘We Share The Same Stars’, produced and mixed by Chris King of Cold Showers and with Brandon Pierce of Glaare contributing drums.

This is the latest in a series of singles showcasing this artist’s 2020 offerings, which also include singles ‘Medicine’, ‘Melancholia’, ‘How Many Times’ and ‘Edge of The World’. This brings The Sea At Midnight closer to the release of the eponymous debut album, due out later this year.

Born and raised in Chicago, The Sea At Midnight is Chicago-raised Los Angeles-based songwriter Vince Grant. Inspired by classic postpunk bands like The Cure, Joy Division, the Psychedelic Furs, Siouxsie and the Banshees, New Order and Echo and the Bunnymen, he bought his first guitar at 23 and started playing in local Chicago bands before eventually moving to Los Angeles.

He then bounced back and forth between New York and LA for a number of years, playing and singing in numerous bands, working a series of dead end jobs and grappling with drug addiction and alcoholism. After getting sober and making a serious attempt at dealing with his lifelong depression, Vince now calls LA home.

What began as an acquaintance via Craigslist, internet file swapping of acoustic demos, and an initial single blossomed into plans for an EP and then full length album. The eight tracks.

With a sound habitually compared to The Cure, Joy Division, The Jesus and Mary Chain, Depeche Mode, the Mighty Lemon Drops, the Wild Swans, and Icicle Works, to name just a few.

“When working with Chris King, we approached every song asking “What is good for this song?” rather than “How can we make it sound like all the others or how can we make it sound like such and such band”. Each song has its own individual vibe and we didn’t want to rely on a sonic cookie cutter approach with the same musical template. That’s why I especially like bands such as The Cure and Depeche Mode. You know it’s them immediately, but each song has its own personality and style. If I strive for anything, it’s that – for The Sea At Midnight to be recognizable while, at the same time, each song has its own unique personality,” says Vince Grant.

“This release was never supposed to happen. I thought my days of playing in bands and recording were over. If it weren’t for fate, this record would have never been made. I had no intentions of recording ever again. For wont of a better word, the ‘dark’ scene is where I’m coming from. I also really feel a kinship to the cyberpunk esthetic. Lyrically many of the songs deal with my struggles with alcohol and drug addiction and coping with lifelong depression. I suppose there is a strong element of sadness to them, but I also feel they contain a glimmer of hope.”

‘We Share The Same Stars’ is out via iTunes, Spotify and other digital retailers on August 21, but can be pre-ordered via Bandcamp. The full album ‘The Sea At Midnight’ is due out in autumn in 2020.

All songs written and performed by Vince Grant
Produced, recorded and mixed by Chris King at Moon Palace Productions, Los Angeles
Drum programming by Brandon Pierce of Glaare
Mastering by Masterplus

Keep up with The Sea at Midnight
Facebook | Bandcamp | Twitter | Instagram | Soundcloud | YouTube | Spotify | Press contact

Leave a comment

Posted by on July 16, 2020 in Post Punk


The Asteroid No.4 – The After Glow (Little Cloud Records 19 June 2020)

U.S. psych-rock stalwarts The Asteroid No.4 announce new album, preview ‘The After Glow’ single

Psychedelic rock legends The Asteroid No.4 have announced their forthcoming album ‘Northern Songs’, to be released later this summer via a partnership with UK-based Cardinal Fuzz Records and Portland’s Little Cloud Records. Ahead of this, they present their new single ‘The After Glow’.

Here, the 12-string folk-rock jangle of the mid-60’s Byrds is overlaid with the washed-out vocal harmonies of Ride and topped off with psychedelic drones familiar to Spacemen 3. This is a hypnotic hybrid of several different genres filtered through the kaleidoscope of all things psychedelic.

Now based in the San Francisco Bay Area, The Asteroid No.4 originated in Philadelphia in the latter half of the 1990s and gradually began to relocate westwards in 2011. After several lineup changes, for the last decade, the band has been foundationally comprised of Scott Vitt (vocals, guitar), Eric Harms (guitar), Adam Weaver (drums, vocals) and Matty Rhodes (bass, vocals).

‘Northern Songs’ is the band’s tenth full length record, following up the ‘Collide’ LP in 2018. On this new album, they did all writing, playing, recording, mixing and mastering in their own studio. This is the first time they’ve gone fully DIY since their fourth album ‘An Amazing Dream’ (2006), where the band finally found their own trademark sound.

“This is a first for us as we’ve always had at least guest musicians or someone else mix or master. It was an experiment on what we could do ourselves and testing our new studio in San Rafael, CA for the first time. Our sound is primarily rooted in the British indie music from the 80s and 90s. This is the music we grew up on, we still listen to today, and what happens as a natural result of our songwriting,” says Scott Vitt.

Considered stalwarts of the modern ‘psych’ genre, they are known for their prolific discography of reverb-drenched recordings and liquid-projected live performances. With a sound all their own and neo-psychedelic / shoegaze learnings, they are often compared to acts like Spacemen 3 and Paisley Underground kingpins The Rain Parade.

“‘Northern Songs’ is a nod to us now being a Northern California band and finally settled in our new home and studio. Even with our past two albums, both released while we were CA residents, there was still a song or fragments that were carried from when we were still in Philadelphia. This is our first west coast record through and through,” says Scott Vitt.

“Lyrically there’s reference to what is happening both socially and politically in the world around us. We wanted to make an album that brought an air of calm or even nostalgia, to remind people that there was a time, not all that long ago, when things seemed way more normal compared to what we’re experiencing today.”

Known as a dynamic live act, The Asteroid No.4 integrate multi-textured guitars and reverb-drenched vocal harmonies over an unwavering rhythm section. Their prolific recording output has earned them a dedicated fan base within the flourishing underground psychedelic scene, with over a dozen compilation appearances, digital-only rarity releases, and multiple singles and EPs.

Named after Vesta, the brightest asteroid in our solar system, their moniker is an obvious nod to Spacemen 3, one of the band’s main influences. In fact, one of the group’s earliest recordings was a faithful cover of their ‘Losing Touch with My Mind‘. Released via UK label Rocket Girls tribute compilation to the 80’s legends, Pete ‘Sonic Boom’ Kember himself named the song as a stand-out track in an interview with Magnet Magazine.

As of June 19, ‘The After Glow’ will be available digitally online, including via Bandcamp and Spotify. The full album ‘Northern Songs’ will released later this summer. 

Keep up with The Asteroid No.4
Website | Facebook | Bandcamp | Instagram | Twitter | Spotify | Apple Music | Booking USA | Booking UK/Europe | Press contact

Keep up with Little Cloud Records
Website | Facebook | Bandcamp | Twitter | Instagram | YouTube

Keep up with Cardinal Fuzz Records
Store | Facebook | Twitter

Leave a comment

Posted by on July 15, 2020 in Psychedelic, Rock