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Jonny Polonsky unveils ‘Sign In The Window’ from new ‘Kingdom of Sleep’ album

NYC-based singer-songwriter, multi-instrumentalist and producer Jonny Polonsky presents ‘Sign in The Window’, an upbeat and sanguine offering from his new ‘Kingdom of Sleep’ LP with video directed by photographylegend Paul Elledge (Rolling Stone, Forbes) and edited by Neal Ostrovsky. This follows Polonsky’s earlier-released singles ‘The Weeping Souls’ and ‘Ghost Like Soul’ featuring Cedric Bixler-Zavala (The Mars Volta/ At The Drive-In).


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With a rich history collaborating with the likes of Johnny Cash, Neil Diamond, Tom Morello (Rage Against The Machine) and Donovan, he is back with new original material as a solo artist. Self-produced by Polonsky, this LP was mixed and mastered by Mike Tholen (Chris Connelly, Revolting Cocks).

“The song itself was originally written several years ago when I was living in LA. It’s a nocturnal number, a small, moody epic in the vein of Arcade Fire or the Pixies. It reminds me of what it felt like to be going down Mulholland Drive late at night in the summer with the windows rolled down, smelling the jasmine,” says Polonsky.

“Some songs take a lot of coaxing and utilization of craft, even some (gasp!) planning or forethought. For this one though, I was playing guitar in bed one night and it just appeared. The song is a kind of yearning for transcendence, that feeling of knowing you’re on the threshold of new beginnings or a new way of being. It’s a thrilling and terrifying place to be. The world you were familiar with is no longer and the new one has yet to appear. You’re floating in space, feeling rootless and vulnerable, but you know deep in your core that everything will be okay if you can just relax and surrender to what’s happening.”

Originally hailing from Chicago, Polonsky writes interstellar anthems for a new generation of mindfreaks. Songs of sex and death and love…hymns of despair and transcendence. A celebration of what it feels like to be human; from the exalted, grandest moments of euphoria and bliss, to the universal pain of loss and letting go. Beauty at every turn.

photo by Jason Robinette

Over his storied and dynamic career, Jonny Polonsky has released six full-length records over 23 years. His early DIY demos led to support from many music luminaries, including Reeves Gabrels (David Bowie, Tin Machine), Marc Ribot (Tom Waits, Elvis Costello), Zander Schloss (Joe Strummer, Circle Jerks) and John Zorn, who invited him to play CBGB’s Gallery with his band with Marc Ribot on guitar, Sebastian Steinberg (Soul Coughing) on bass, and Sim Cain (Rollins Band) on drums.

Reeves Gabrels’ introduction led to Frank Black support, representation by Pixies manager Ken Goes, and Frank Black producing a demo recording, which led iconic record producer Rick Rubin to sign Polonsky to American Recordings.

The instrumentation on ‘Kingdom of Sleep’ ranges beyond the standard guitar, bass and drums: 1980’s Blade Runner-like synthesizer soundscapes, Middle Eastern finger cymbals, gongs, bass clarinets, piccolos, harmonica, bass fiddles, and a children’s choir.

“The video for ‘Sign In The Window’ was directed by my old friend Paul Elledge. He’s done videos, album art and photos for Smashing Pumpkins, Ministry, and countless other bands. He also directed the video for my song Ghost Like Soul, as well as other videos of mine, plus lots of my album covers. We made the video last November in Chicago, back when you could go anywhere. It was 35 degrees and the heater in the car didn’t work. It was brutal in a first world kinda way, and we had fun regardless of the weather,” says Polonsky.

“This album came together as most of my records – gradually. I’m always writing and recording, and after awhile, I notice a unifying theme or atmosphere kind of pokes its head up. The songs that want to be grouped together raise their hands and volunteer for service, nothing is very consciously calculated on my end. I was listening to a lot of Cocteau Twins, I got heavily into them while writing and recording these songs.”

The ‘Kingdom of Sleep’ LP follows ‘Fresh Flesh’ (2018), which was recorded at Rick Rubin’s studio and features guest performances by Mark Lanegan (Screaming Trees, Queens of the Stone Age) and drummer Kevin Haskins of Bauhaus, Love and Rockets, and Tones on Tail. ‘UNRELEASHED: Demos and Rarities 1996-2018’was also issued as a limited-edition colored-vinyl Record Store Day gatefold edition (also available digitally and on CD).

Polonsky’s 1996 debut album ‘Hi My Name is Jonny’ was met with great critical reception from The New York Times, MTV and internationally. After touring with Frank Black for several months and the Lollapalooza summer tour, Polonsky took a hiatus.He resurfaced in 2004 with ‘The Power of Sound’ LPand  supported Audioslave on their 2005 American tour. In 2006, Polonsky formed the short-lived Big Nose with Brad Wilk and Tim Commerford (Rage Against the Machine, Audioslave), and collaborated with Maynard James Keenan (Tool, A Perfect Circle) for Puscifer, with whom Polonsky wrote, recorded and toured in 2007-2010.

Polonsky’s 2012 album ‘Intergalactic Messenger of Divine Light and Love’ was recorded at Rick Rubin’s recording studio in Malibu and Akademie Mathematique of Philosophical Sound Research, and mixed by Jim Scott (Tom Petty, Slayer). The 2015 album ‘The Other Side of Midnight’ followed, mixed by Dean Hurley at David Lynch’s Asymmetrical Studios.

The ‘Kingdom of Sleep’ LP is out now, available everywhere digitally, as well as on CD and clear vinyl with gatefold sleeve. It can be ordered at https://www.jonnypolonsky.com/music

ALBUM CREDITS
Produced, engineered, arranged and composed by Jonny Polonsky
‘Sign in the Window’ recorded by Josiah Mazzaschi at Cave Studios, Los Angeles
Everything else recorded by Jonny Polonsky at Ground Round Sound, Brooklyn
Mixed and mastered by Mike Tholen
Performed by Jonny Polonsky
Additional musicians:
‘Sign In the Window’ features Katie Burden on bass and Matt Hankle on drums
‘You Turn Me On’ features Matt Walker (Smashing Pumpkins, Garbage, Filter, Morrissey) on drums
‘Ghost Like Soul’ features Cedric Bixler-Zavala (At the Drive-In, The Mars Volta) on spoken word
Cover artwork by Jorge Castillo

Keep up with Jonny Polonsky
Website | Facebook | Bandcamp | Twitter | Instagram | Soundcloud | YouTube | Spotify | Press contact | Booking contact

 
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Posted by on May 12, 2020 in Alternative, Rock

 

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Jasmine Dreame Wagner – Switchblade Moon EP (National Gold Music Publishing 26 June 2020)

Jasmine Dreame Wagner’s Switchblade Moon EP is the first installment of a song cycle that explores the sprawling American landscape. Wagner’s meditations on climate change, economic recessions, and dystopian narratives pay tribute to the great American songbooks of Joni Mitchell and Nina Simone, the arrangements of Scott Walker and Annette Peacock, the novels of Don DeLillo and Rachel Kushner, and the poetry, multidisciplinary works and operas of Anne Carson, while traversing America’s cultural echolalia of nostalgia, reference and homage.

Recorded over several years at The Bunker Studio in Brooklyn, NY, 4th Street Recording in Santa Monica, CA, Old Soul Studios in Catskill, NY, and at various apartments and homes in Brooklyn and upstate New York, the tracks feature performances by Wagner (vocals, grand piano, acoustic guitar, synthesizer), Joe Magar (double bass), Oscar Albis Rodriguez (guitar), Charlie Rauh (guitar), Charlie Dye (percussion), Chris Barrick (vibraphone), John Panza (percussion), Lauren Hilary Clune (guitar), C. Ryder Cooley (saw), and Meghan Maguire Dahn (backing vocals).

As an artist working across music and film, poetry and lyric essay, Wagner’s lyrics are foremost in her arrangements. Her compositions are inspired by twentieth-century songwriters captured on analog tape machines, chamber works performed in open halls and carpeted living rooms, and political protest songs and pop music from the 1960s and 70s.

Wagner has toured across the United States, self-releasing music and booking her own tours over the course of her career. She collaborated on the video for “Switchblade Moon” (the EP’s title song) with Director of Photography Jonathan Schwarz and Editor Maisie Weissman and shot and edited the album art photography, a series of documentary photographs of American car and consumer culture. She considers directors Wim Wenders and David Lynch, producers Berry Gordy and Brian Wilson, with their holistic visions and saturated visuals, as major influences on her work.

Wagner is also a poet. She is the author of On a Clear Day (Ahsahta Press), a collection of poems and lyric essays deemed “a capacious book of traveller’s observations, cultural criticism, and quarter-life-crisis notes” by Stephanie Burt at The New Yorker and “a radical cultural anthropology of the wild time we’re living in” by Iris Cushing at Hyperallergic. Her debut poetry collection, Rings (Kelsey Street Press), was hailed as “powerfully exercised, technically masterful, and encyclopedic in its scope” in a starred review in Publisher’s Weekly.

The Switchblade Moon EP vinyl 12″ ships with a limited edition zine and full color postcard. Limited orders will also receive a signed original artwork by Jasmine Dreame Wagner.

 
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Posted by on May 8, 2020 in Alternative

 

Greek Scene Special

I decided to do a special show this week, about the bands of the Greek rock scene that use English lyrics.

I started with some bands that released material after 2008, thinking that 2 hours would be enough and then I had the idea of returning to the late 60s and the 70s in order to show where it all started.

But on the second hour of the show when the 80s came up, the bands were so many that maybe I need to do a few more shows to give a general picture of the scene.

I am sure you will find this episode interesting as the Greek rock scene is unfortunately a well kept secret…

01 Sleepin Pillow-Amplifier in my Heart
02 Electro Vampires – Sadistic Secret Love
03 Frequency On – Suck My Dictatorship
04 Radio Sect – State Of Emergency
05 Mechanimal – Easy Dead
06 RSN – Black Sky (Feat. Thaliah)
07 Marva Von Theo – What Is It About Me
08 Aphrodite’s Child – The Four Horsemen
09 Socrates – Starvation
10 Vavoura Band – Dead End
11 Pete & Royce – It’s so Unreal
12 Apocalypsis – My Death at a Rugby Game
13 Birth Ward 82 – The Greatest War
14 Deux Ex Machina– Execute
15 Anti Troppau Council – I Believe
16 Captain Nefos – Cadillac Dreams
17 Last Drive – Misirlou
18 Noise Promotion Company – I Wanna Be Nothing
19 The Noise Figures – Stay Forever Young
20 No Man’s Land – Down by the Riverside
21 Flowers of Romance – Autumn Kids
22 Villa 21 – Future Survivors
23 Forward Music Quintet – Make Sure
24 Psycho – Psycho Killer
25 Film Noir – Excuse
26 Yell-O-Yell– Ex
27 Sharp Ties – Get That Beat

 

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Lazaris Pit – You Don’t Tag Me in Memes Anymore (24 April 2020, Full ‘Subtle’ EP out 22 May 2020)

Lazaris Pit presents ‘You Don’t Tag Me In Memes Anymore’, the first single from the new ‘Coniphers’ album

Raleigh-based rock outfit Lazaris Pit have announced they will release their new ‘Coniphers’ album. Ahead of that, they present the lead single ‘You Don’t Tag Me In Memes Anymore’, a modern-day break-up song, often detached from the moments that make life worth living and musing on the deeper workings of it all with the grim reality that someone important has moved on. They also present a video rendition of this single, live in Athens, Georgia.

The B-side ‘Cloudsculpting’ showcases another facet of this album, evoking the image of spending a dreamy tranquil day, gazing up at the clouds and imagining what it might be like to live peacefully high up in the fluff and blue sky.

Formed in June 2017, this self-named “pack of cosmic dogs” consists of Ely “Salted Sweet Cream” Yarbrough (guitar and lead vocals), Cameron “Sugarfoot” Preston (bass) and Jon “Dok Tok” Castro (drums and backing vocals).

‘Our album ‘Coniphers’ is named after a brother of ours lost along the way. Included are 8 tracks of the good stuff, heady grooves and sweet pop tunes, funk breakdowns to zero gravity ambience…. 42 minutes of rock n roll,” says Cameron Preston.

“Lead track ‘You Don’t Tag Me In Memes Anymore’ is a microcosm of the album as a whole, embodying our familiar Lazaris Pit sound. Is ‘Memes’ a pop song with a punk twist or is it a shoegaze song with some pep in its step? We aren’t quite sure what to call it, but we know it has been lighting up faces whenever mentioned and burning down dance floors when played live,” says Ely Yarbrough.

‘Coniphers’ was recorded live in studio from November 2019 to January 2020, showcasing a band playing like a pack of hungry dogs, sinking their teeth into a meaty T-bone for the first time in ages. Recorded and mixed by Artem Smirnov at Common Thread Studios in Raleigh with additional engineering and creative input from Michael Graziano and Matt Graham, this album was mastered by Alexander Kretov at Ummagma Studio.

Lazaris Pit freely improvises a dreamy blend of punk, funk, soul, psychedelia, reggae, jazz, noise, and ambience into a one-of-a-kind dance party. The result: a mind meld of musical tapestries that take the listener on an emotional journey through time and space, and ourselves in the process.

They’ve brought their unique brand of rock-n-roll far and wide, having played shows up and down the east coast and southeast from Philly to Atlanta and New York to New Orleans, their sound filling large festival fields, historic college campuses, and the most intimate of dive bars and clubs.

Noting music aesthetic and sound inspirations in the sense of a launch pad rather than as blueprints, Lazaris Pit’ counts Fugazi and Grateful Dead among their inspirations, as well as classic R&B, Phish, Curtis Mayfield, Cream, Pink Floyd, Ween, George Clinton and Parliament Funkadelic, Primus, Flaming Lips, Talking Heads, Sonic Youth and Yo La Tengo.

As of April 24, ‘You Don’t Tag Me In Memes Anymore’ will be available everywhere digitally, including Spotify and Apple Music. The full ‘Coniphers’ album will be released on May 22.

TRACK LIST
1. One Too Many Mornings
2. Conipher’s Song
3. You Don’t Tag Me In Memes Anymore  – (first single)
4. The First Schism of Porchlessnessism
5. Cloudsculpting
6. Landfall
7. Flow
8. Our Trip to NYC (Late Nights with Jim Donovan)

CREDITS
Recorded and mixed by Artem Smirnov at Common Thread Studios, Raleigh NC
Additional engineering and creative input from Michael Graziano and Matt Graham
Mastered by Alex Kretov at Ummagma Studio
Album artwork by Nicole “Henry Gozoozu” Boyle
All lyrics and music by Lazaris Pit (Yarbrough, Preston, Castro)

Keep up with Lazaris Pit
Website | Bandcamp | Facebook | Twitter | Instagram | YouTube | Spotify | Apple Music | Press contact

 
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Posted by on April 10, 2020 in Alternative

 

The Mystery Plan – Zsa Zsa (Ten Millimeter Omega Recordings 3 April 2020)

The Mystery Plan has released their single ‘Ballad of JC Quinn’ with accompanying video filmed by Jason Herring and edited by Jay Thomas. This beautifully foreshadows their fifth album ‘Zsa Zsa’, which will be released in early April via boutique label Ten Millimeter Omega Recordings.

Ahead of this, they presented the lead single following up their recently-released infectious Massive Attack-esque single Al Gore Rhythms’.

Produced by the legendary John Fryer and Jason Herring, this record also features such notable guests as Micah Gaugh (The Veldt / Apollo Heights), Ian Masters, That Guy Smitty and Snap Nation. This is not the first time The Mystery Plan has worked with Fryer, having previously collaborated on their fourth full-length release ‘Queensland Ballroom’, released in late 2017, and the ‘Electric Love’ single.

Based in Charlotte, NC, the band is comprised of Jason Herring, Amy Herring, Jeff Chester, Otis Hughes and Patty McLaughlin. Since forming in 2010, they’ve managed to release 10 EPs and LPs combined.

JC Quinn was an actor from NYC with many film and television credits, including “Barfly”, “the Abyss”, “Visionquest” and countless others. He moved to Charlotte in the late 1990s to be closer to his grandchildren. We met at a downtown watering hole called Cafe 521, owned and operated by his good friend from New York, Peter Herrero. That’s where I met JC, along with many other actors, such as Leonardo DiCaprio, Bernadette Peters, etc.. They would always stop at the café when in town to visit their good friend Peter,” says Jason Herring.

“JC and I struck up a nice friendship. He was a fan of ours and would come to shows and stand right up front so we could see him. A very lovely man indeed. Sadly, JC died in Mexico while shooting a film a few years ago. I’ve always wanted to pay tribute to him, and we have finally done so with this song. The lyrics are a blend of what we would do with him now if he were still here, and iconic lines from some of his films.”

‘Zsa Zsa’ was recorded at Catalyst Recording and various local studios over a 2+ year stretch following a number of Southeast U.S. tours in promotion of the band’s ‘Queensland Ballroom’ album. This new record touches of several different styles – everything from deep mellow shoegaze and folky ambient to upbeat dancable trip-hop and electronica.

‘Zsa Zsa’ finds the quintet moving further afield of its earlier psych-folk leaning to land on something more akin to the down-tempo approach of Portishead and Zero 7, mixed with early 4AD action. That later is in no small part due to the return of band collaborator, producer John Fryer (too many A-list credits to list here), and new Mystery Plan friend Ian    Masters, former bassist-vocalist of influential British shoegazers Pale Saints.

As of March 6, ‘Ballad of JC Quinn’ is available digitally across streaming platforms, including Spotify. The full ‘Zsa Za’ album will be released on April 3, both on CD and digitally. It can be ordered directly from the band via Bandcamp.

SINGLE CREDITS
Written by Jason Herring and Amy Herring
Produced and mixed by Jason Herring and Rob Tavaglione at Catalyst Recording, Charlotte.
Vocals by Amy Herring and Patty McLaughlin
Bass by Otis Hughes
Drums/percussion by Jefferson Chester
Guitars/keyboards/programming by Jason Herring
Lap-steel guitars by Peter McCranie
Cover art by Clear Design
Band photography by Daniel Coston

TRACK LIST
1.  Those Stars
2.  We All Get Down
3.  Al Gore Rhythms
4.  Ballad of JC Quinn
5.  Lolaphone
6.  Bonny
7.  Long Way To Heaven
8.  Sweet Tart
9.  Electric Love
10 We All Get Down (Rob Tavaglione mix)
11 Distant Sirens

Keep up with The Mystery Plan
Facebook | Label FB | Twitter | Soundcloud | Spotify | YouTube | Reverbnation | Press contact

 
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Posted by on April 2, 2020 in Alternative

 

Martin Bisi – Let It Fall (Bronson Recordings, 3 April 2020)

NYC legendary producer Martin Bisi presents the ‘Let It Fall’ single from ‘Solstice’, his first solo record in five years. His sixth full-length album, this is also his ninth release overall.


A renowned producer, sound engineer and musician, Bisi has been a central figure in NYC’s musical history for the past four decades. Founding BC Studio in Brooklyn in 1981 with the help of Brian Eno and Bill Laswell, Bisi recorded groundbreaking music here by these artists, as well as Sonic Youth, Swans, John Zorn, Herbie Hancock, Helmet, Africa Bambaataa, Dresden Dolls, Unsane, Cop Shoot Cop, Human Impact, JG Thirlwell, US Maple, White HillsFab Five Freddy, and countless others.

Bisi has made his mark on an impressive collection of crucial albums, from hip-hop to noise-rock and beyond. An underground luminary in his own right, Bisi has also been recording and releasing music of his own since 1988. Noisey says “Bisi has presided over recordings that defined seminal scenes, counting downtown NYC’s avant-garde jazz scene, ’80s art-rock and ’90s Bowery scum-rock. A glance at his stunning, across-the-genre-board discography results in minds blown”.

Ultimately, his role as producer has shaped him as a musician. “I draw influence in large measure from what comes through the studio. It’s like a giant sieve of this NYC stuff. I don’t advertise, so I record people who are drawn to me for various reasons. I think engineering/ producing has been an essential part of my path as a musician.”

As far from trends as any of his work, this psychedelic opus through light and dark sees Bisi team up with video director Scott Kiernan of the mobile TV studio E.S.P.TV, famed for his video and sound multimedia installations around NYC.

“I’ve always felt music was a pathway to something primal, not completely knowable, and connected to our essence personally and collectively -an essence connected to all life, and the planet. I wanted to do an album that reflected on our planetary cycles, hence ‘Solstice’ has Winter and Summer solstice sides – each with different energies,” says Martin Bisi.

“With the opening track (and video), I wanted to go to the beginning of human society. ‘Let It Fall’ itself is a call to the cosmos for rain. The song also speaks of seeking control of nature, so i wanted the video to have a futurist look, to bridge our beginnings to an unknown future”.

Mostly born out of improvisation, ‘Solstice’ presents dense layers of sound that combine in cacophonous and electrifying ways. Think early Sonic Youth crossed with Bitches Brew. A stomping post-punk vibe churns beneath a wild array of tones and rhythms – operatic vocals, effects-driven guitars, keyboards, electric viola, drums, and more. Rapturous melodies and anthemic lyrics emerge from the din.

To record this album, Bisi traveled to California, New Jersey and the UK so that he could track in person with his various collaborators. He subsequently assembled and mixed the album in his BC Studio in Brooklyn, which he then presented to Fred Kevorkian (Iggy Pop, Debbie Harry, Peter Murphy) for mastering.

Last year, Bisi also issued the compilation ‘BC35 Volume Two’, the second installment of two to mark the 35-year anniversary of BC Studio, featuring new music from people who have been part of that history, including members of Sonic Youth, Swans, White Hills, JG Thirlwell, Cop Shoot Cop, Live Skull reunion, Pop 1280, The Dresden Dolls and many more. Bisi released a music video for ‘Save Sludgie The Whale Of Gowanus’ from this album.

Earlier, Bisi’s work and studio were the subject of the film ‘Sound & Chaos: The Story Of BC Studio’, squeezed in by the approaching gentrification of his neighborhood, with commentary by Lee Ranaldo (Sonic Youth), Bill Laswell, Michael Gira (Swans), Bob Bert (Sonic Youth), Jim Thirlwell (a.k.a. Foetus) and Brian Viglione (Dresden Dolls), among others.

Martin Bisi’s ‘Solstice’ LP is out now, available digitally across key online stores and online streaming platforms, including Spotify and Apple Music.

CREDITS
Martin Bisi – vocals, guitar
Amanda White – soprano vocals
Diego Ferri – baritone guitar
Genevieve Fernworthy – electric viola
Oliver Rivera-Drew – drums
Recorded at The Laundry Rooms, Sheffield UK by Dave Hadley and at BC Studio, Brooklyn by Martin Bisi
Produced and mixed at BC Studio by Martin Bisi
Mastered by Fred Kevorkian

Keep up with Martin Bisi
Website | Facebook | Instagram | Twitter | Spotify | Soundcloud | Apple Music | Booking | Press contact

 
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Posted by on April 2, 2020 in Alternative

 

Pine the Pilcrow release ‘If It’s True’ April 2nd

Pine the Pilcrow are releasing their new single ‘If It’s True‘ and it’s their most accomplished song to date. It’s the first of a trio of songs to be released produced by Alex Borwick (Lankum, The Young Folk, Catfish & The Bottlemen).

Marked down as haunting ambient folk with their previous 2 EP’s the band have now grown in sound as well as a band, enlisting percussionist Shay Sweeney to help bring a more dynamic, fuller and epic sound to this release.

The Monaghan, Clare and Dublin quartet of Kevin Murray, Hannah Ryan, Shay Sweeney and Robert Campbell create original and imaginative music by combining folk, classical and traditional influences with gruff and angelic vocal harmonies.

The release of their self-titled debut E.P. in March 2016 saw them nominated for Best Newcomer at the 2016 Pure M awards, winning The Last Mixed Tape’s ‘Readers EP of the Year‘ award and nominated for Best Song at the IMRO Christie Hennessy Song Competition for their ambient and emotive ballad ‘Don’t Need Me’.

The rest of an exciting year for the band featured performances at the main stage in the Body & Soul area at Electric Picnic, Body and Soul Festival, Arcadian Fields and Vantastival. The band sold out their first headline performance at the Civic Theatre in Tallaght and added support slots with Joe Chester at the Unitarian Church and John Spillane, to the growing list of impressive live shows.

With 2018, Pine the Pilcrow released their second E.P. (Only Ghosts) and continued to build upon their incredible debut year with a performance at the acclaimed Other voices festival to top it off.

In 2020 Pine the Pilcrow are back with a bigger and more epic sound than before. With 3 singles planned over the next 12 months and a tour across the island it will be hard to avoid the ambient heart felt songs of Pine the Pilcrow.

Keep up with Pine the Pilcrow

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Posted by on April 1, 2020 in Alternative

 

VIOLENT SOHO – New Video for ‘Pick It Up Again

Australian rock band, Violent Soho, are exclusively premiering their new single and video, “Pick It Up Again,” via Brooklyn Vegan.

On the video, vocalist/guitarist Luke Boerdam shares, “We came up with the idea joking around –  at some point every band member has actually “door-knocked,” so we thought it’d be funny to take our record door to door.  It feels like there’s such a big disconnect with how we interact with music these days so it was pretty rad to actually play in some people’s houses. I was surprised we didn’t get more slammed doors in our face!  Probably the most fun film clip we’ve ever made.

This follows the releases of singles “A-OK,” “Vacation Forever,” and “Lying On The Floor,” all four of which come off of the band’s forthcoming fifth studio album, Everything Is A-OK due out 3rd April, 2020 via their new label, Pure Noise Records. The album is available for physical pre-order here.

Additionally, Violent Soho will be playing four shows in late-April in support of the Everything Is A-OK. The tour will be hitting Amsterdam, London, New York, and Los Angeles. For a full list of tour dates, please see below.

After years of being the kids who didn’t fit in anywhere with their first two records (2008’s We Don’t Belong Here; 2010’s self-titled), Violent Soho crashed back into the public’s consciousness with 2013’s Hungry Ghost in a hail of riffs and “HELL F*CK YEAH”s scrawled on arms, desks, and bathroom walls the world over. 2016’s WACO, meanwhile — despite a No.1 chart debut, ARIA awards, festival headlining spots and sold-out tours to the biggest crowds of their careers — came amid personal upheaval for drummer Michael Richards, bassist Luke Henery and guitarist James Tidswell.

But with Everything Is A-OK, Mansfield’s favorite sons drew a metaphorical line in the sand: five albums into their career they didn’t want to follow a rulebook written by other people. That’s what Everything Is A-OK is: a declaration that THIS is who Violent Soho are as a band. As musicians. As mates.

It’s honest,” explains Boerdam. “It’s doesn’t claim to be anything it’s not: it’s apolitical, slacker, cynical, and trying to connect with people over a shared experience in pointing out society’s failures and the personal shit that follows.”

Everything Is A-OK seethes with harsh reflection on the way the world has become obsessed with creating social media simulacra where everyone is repping their own ‘brand,’ and how connection is fleeting and shallow. It ponders the ideas of agency, emotion and how they’re being sold to advertise who we want people to think we are, not who we actually are. Producer Greg Wales (You Am I, Sandpit, triple J’s Like A Version) captured the essence of such at New South Wales studio, The Grove Studios.

Everything Is A-Ok is out 3rd April, 2020 via Pure Noise Records.

Upcoming Tour Dates:

Apr 21 – Amsterdam, NL @ Paradiso

Apr 22 – London, UK @ Electric Brixton

Sat 25 April – Rough Trade, New York NY

Mon 27 April – The Troubadour, Los Angeles LA

 
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Posted by on March 23, 2020 in Alternative

 

‘Maybe Someday’ το νέο single των Tombstones In Their Eyes

Το indie psych rock συγκρότημα Tombstones in Their Eyes απο το Λος Άντζελες παρουσιάζει το νέο του single ‘Maybe Someday‘ με b-side το ‘I Can not Feel It Anymore (Junkie Version)‘. Η κυκλοφορία αυτή έρχεται λίγο μετά απο αυτήν του single Open Skies (επίσης δύο κομμάτια με μια εναλλακτική έκδοση των ‘Dreams‘), και δίνουν μια πρώτη γεύση του νέου άλμπουμ της μπάντας, ‘Maybe Someday’.

Ο ήχος των Tombstones in Their Eyes είναι ταυτόχρονα θορυβώδης και θολός. Σπηλαιώδη τραγούδια, stoner νανουρίσματα, όλα με ενα σκοτεινό shoegaze περιτύλιγμα που καταλήγουν σε post-rock ατμόσφαιρες.

Το άλμπουμ ηχογραφήθηκε στο Studio Kitten Robot του Λος Άντζελες με τον Paul Roessler (Nina Hagen, The Deadbeats, The Screamers, 45 Grave). Το artwork του εξωφύλλου είναι δουλειά των LazebraArt.

Το ‘Maybe Someday’ είναι το πρώτο LP των Tombstones in Their Eyes μετά το ντεμπούτο τους ‘Sleep Forever‘ του 2015. Το άλμπουμ ακολουθεί τις επιτυχημένες κυκλοφορίες του EP ‘Nothing New‘, του single ‘Shutting Down’ και του EP ‘Fear’. Το 2016 είχαν κυκλοφορήσει επίσης το EP ‘Bad Clouds‘.

«Το ‘Maybe Someday’ είναι ενα μαγικό τραγούδι! Το συνθέσαμε γρήγορα και το ερωτεύτηκα απο τότε που ήταν ακόμα demo. Φοβόμουν να το ξαναηχογραφήσουμε στο στούντιο, γι ‘αυτό ήμασταν πολύ προσεκτικοί για να μην χαθεί η μαγεία του. Το “Maybe Someday” τα λέει όλα, όσον αφορά στο θέμα του τραγουδιού. Είναι η λαχτάρα σου να σπάσεις τις αλυσίδες, γνωρίζοντας πως πιθανότατα αυτό δεν θα συμβεί ποτέ. Πραγματικά, τόσο λυπηρό.”, λέει ο John Treanor.

«Διαθέτει μια υπέροχη κιθαριστική μελωδία που παίζει ο Josh ενώ ο Στίβεν έπαιξε έχοντας στο μυαλό του το τέμπο να είναι υπνωτικό και να μοιάζει με ρολόι. Ο Mike παίζει μια απλή μπασογραμμή για να τονίσει περισσότερο την πορεία προς το τελευταίο ρεφρέν. Είναι ένα από τα αγαπημένα μου τραγούδια και το έχω ακούσει εκατοντάδες φορές».

Το single “Maybe Someday” κυκλοφόρησε στις 5 Νοεμβρίου, και το άλμπουμ θα το ακολουθήσει στις 15 Νοεμβρίου. Θα κυκλοφορήσει σε περιορισμένη έκδοση CD μέσω της Somewherecold Records. Ψηφιακά, θα είναι διαθέσιμο σε πλατφόρμες όπως το iTunes και το Spotify, αλλά μπορεί ήδη να προ-παραγγελθεί μέσω του Bandcamp.

 
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Posted by on November 8, 2019 in Shoegaze

 

“Scarred for Life” η επιστροφή των Medicine

Μετά από μια παύση αρκετών ετών, οι Medicine επέστρεψαν στις 4 Οκτωβρίου, στο προσκήνιο της alternative μουσικής σκηνής με το νέο τους LP “Scarred for Life”. Είναι ενα άλμπουμ με 11 τραγούδια το οποίο κυκλοφόρησε σε περιορισμένα αντίτυπα σε βινύλιο αλλά και  ψηφιακά, μέσω της Νεοϋορκέζικης εταιρίας Drawing Room Records.

Με εγκέφαλο τον κιθαρίστα Brad Laner, αυτή η κολλεκτίβα απο το Λος Άντζελες, ήταν από τους πρωτοπόρους του shoegaze και σήμερα είναι μια από εναν μικρό αριθμό συγκροτημάτων που έχουν επανενωθεί και συνεχίζουν, οπως οι Slowdive, Ride, Swervedriver και My Bloody Valentine.  Σε αυτό εδω το άλμπουμ συμμετέχει και η  πρώτη τραγουδίστρια της μπάντας Annette Zilinskas.

Με το “Scarred for Life” συνεχίζεται μια πλούσια παράδοση noise-pop πειραματισμών που χρονολογείται από το 1991, όταν ο Brad Laner και η Zilinskas δημιούργησαν τους Medicine με τον drummer Jim Goodall, τον κιθαρίστα Jim Putnam και τον μπασσίστα Eddie Ruscha. Αφού συν-συνέθεσαν τα τραγούδια “Aruca” και ”Miss Drugstore”, η Zilinskas αποχώρησε απο το συγκρότημα επειδή και το προσωπικό της μουσικό όχημα, οι Ringing Sisters υπέγραψαν με την A & M Records. Τα φωνητικά στη συνέχεια ανέλαβε η Beth Thompson.

Στην σημερινή σύνθεση των Medicine βρίσκονται ξανά οι Laner, Goodall και Zilinskas με τον κιθαρίστα Matt Devine, ο οποίος έπαιξε με το συγκρότημα στην τελευταία τους Αμερικάνικη το 1995 και ξανά το 2014 που έκαναν την εμφάνισή τους στο Austin Psych Fest.

Το “Scarred For Life” είναι μια εξαιρετικά φιλόδοξη έκδοση – ένα άλμπουμ του οποία όλα τα τραγούδια «σκοτώνουν» και δεν γράφτηκαν απλά για να γεμίσουν τον χώρο. Έχουν διασκευάσει τραγούδια των Neil Young, Judee Sill, Miles Davis, Monkees ακόμη και του Bob Welch. Ο Laner με την μπάντα του δίνουν σε κάθε τραγούδι μια ισχυρή δόση των Medicine, και το θεραπεύουν με το wall of sound τους.

Το mastering έγινε απο τον Adam Gonsalves, και το LP διατίθεται σε βινύλιο 180 γραμμαρίων. Εχει γυαλιστερό εξώφυλλο και μια αφίσα 22×22″. Πρόκειται για τραγούδια επιλεγμένα προσεκτικά όπου ο Laner και οι συμπαίχτες του επιχειρούν να ξαναζήσουν τις μέρες δόξας (αλλά κανένα από τα φιάσκο) παλιών σχολικών συλλογών, όπως εκείνες του του K-Tel. Κάποτε, στη δεκαετία του ’70 και στις αρχές της δεκαετίας του ’80, αυτές οι συλλογές έδιναν την ευκαιρία να ακούσεις τραγούδια που έπαιζαν οι ραδιοφωνικοί σταθμοί στα AM / FM, που ήταν πολύ διαφορετικά μεταξύ τους οταν το top 40 ήταν στην ακμή του.

Ελάτε ακούσετε και γιατί οχι, ακόμα και να αγοράσετε αυτό το άλμπουμ με τις διασκευές. Πάνω απ όλα, αυτός ο δίσκος ηταν η προσπάθεια κάποιων ατόμων να κρατήσουν τα λογικά τους οταν ενας φασίστας ανέλαβε την εξουσία το 2016. Προσέξτε, τα αγαπάμε αλλά τα τραγούδια που επιλέξαμε δεν συνδέονται και τα κάναμε θορυβώδη γιατί δεν προσπαθούμε να προσποιηθούμε.Σας απασχολεί, αλλά οι επιλογές του τραγουδιού δεν έχουν συνεκτικό θέμα και αν και είναι λίγο θορυβώδες, δεν προσπαθούμε να είμαστε όλοι ή οτιδήποτε άλλο” λέει ο Brad Laner.

photo by Jeff Jacquin

Χάριν στο πρώτο του demo οι Medicine έγιναν η πρώτη Αμερικάνικη μπάντα που υπέγραψε με την Creation Records. Το 1992 είχαν υπογράψει συμβόλαιο με την American Recordings του Rick Rubin. Παρόλο που το Pitchfork χαρακτήρισε τους Medicine ως την αμερικάνικη απάντηση στους My Bloody Valentine, ο χαρακτηριστικός ήχος της κιθάρας της Medicine κατάφερε να κάνει ευδιάκριτη την ταυτότητά τους ανάμεσα στις υπόλοιπες shoegaze μπάντες.

Η πιό γνωστή ισως εμφάνιση των Medicine είναι αυτή στην ταινία The Crow (Το Κοράκι) του 1994 με το τραγούδι τους ‘Time Baby 3‘ να βρίσκεται στο soundtrack και την Elizabeth Fraser των Cocteau Twins να συμμετέχει στα φωνητικά. Το πρώτο άλμπουμ των Medicine “Shot Forth Self Living” κυκλοφόρησε το 1992, ακολουθούμενο την επόμενη χρονιά από το “The Buried Life”. Το συγκρότημα διαλύθηκε λίγο μετά την κυκλοφορία του τρίτου τους άλμπουμ “Highness” το 1995. Επανασυνδέθηκαν για λίγο το 2003 ως ντουέτο με τους Laner και Shannon Lee (την κόρη του Bruce Lee), για να κυκλοφορήσουν το άλμπουμ “The Mechanical Forces of Love”.

Θα περνούσε άλλη μια δεκαετία μέχρι ο Laner να επανενωθεί με τους Thompson και Goodall και να κυκλοφορήσουν το επόμενο στούντιο άλμπουμ “To The Happy Few” μέσω της Captured Tracks, ακολουθούμενο από το έκτο album τους “Home Everywhere”. Το 2012, η Captured Tracks επανακυκλοφόρησε τα δύο πρώτα άλμπουμ των Medicine με επιπλέον bonus υλικό και σπάνιες ηχογραφήσεις. Το 2017 ήρθε η κυκλοφορία του 2.0 Extraneous, μιας συλλογής απο B Sides και ακυκλοφόρητου υλικού απο το 2003.

Ο Brad Laner είναι ένας από τους παραγωγικότερους καλλιτέχνες του underground. Στις διάφορες δουλειές του συμπεριλαμβάνεται το πειραματικό σόλο project του Electric Company καθώς και το ψυχεδελικό supergroup Lusk (με μέλη των Tool και των Failure), που κέρδισαν ένα βραβείο Grammy με το μοναδικό άλμπουμ τους. Έχει παίξει σε πάνω από 300 άλμπουμ, κάνοντας φωνητικά και συν-συνθέτοντας στο άλμπουμ του 2011 ‘Hurry Up, We’re Dreaming‘ των M83 και παίζοντας τύμπανα για τους Savage Republic. Samples απο τραγούδια του Laner εχουν χρησιμοποιήσει ο Brian Eno και ο Caribou.

Η Annette Zilinskas εκτός από συν-ιδρύτρια των Medicine,  ηταν αρχικά η μπασσίστρια των The Bangles, καθώς και τραγουδίστρια του επιδραστικού σχήματος Blood on the Saddle, των οποίων τα τραγούδια ενέπνευσαν το cowpunk, ανοίγοντας το δρόμο για το κίνημα No Depression και τα σχετικά alt country/Americana ιδιώματα. Αργότερα ηγήθηκε του dream-pop σχήματος Weatherbell και του αποκλειστικά γυναικείου πανκ τρίο 3 Hole Punch. Το 2016, ο Zilinskas επανενώθηκε με τις Bangles για ζωντανές εμφανίσεις.

Αυτό το LP είναι σαν να επιστρέφω σπίτι μου με τον Brad κι εμένα να παίζουμε μαζί ξανά“, λέει ο Zilinskas.

Από τις 4 Οκτωβρίου, το “Scarred for Life” είναι διαθέσιμο σε ολα τα ηλεκτρονικά καταστήματα και τις πλατφόρμες streaming όπως το Spotify. Το βινύλιο διατίθεται αποκλειστικά μέσω του Bandcamp της Drawing Room Records.

 

 
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Posted by on October 30, 2019 in Shoegaze

 

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