Posts Tagged ‘CA’

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Angelo De Augustine writes and records music in Thousand Oaks, California — a suburb north of Los Angeles, where he grew up. His self-released debut album, “Spirals of Silence”, and 3-song EP follow-up, “How Past Begins”, earned praise from The FADER, Stereogum, Vogue, My Old Kentucky Blog, and more. His next project “Swim Inside The Moon” Written in the aftermath of a devastating breakup, Angelo De Augustine’s hushed journal of the stream-of-consciousness thoughts that fill the silence when a gaping hole opens up, revealing that there never really was anything else. De Augustine whispers intimately.

 

“Swim Inside the Moon” out now

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The music Cleo Tucker and Harmony Tividad release as Girlpool occupies a transient space. Their constant evolution makes it perfectly impossible to articulate exactly where their project falls within the contemporary musical canon; this is one of the many reasons Girlpool’s music is so captivating.
Never before has a group’s maturation been so transparently attached to the maturation of its members. This is due in large part to the fact that Girlpool came into existence exactly when Girlpool was supposed to come into existence: at the most prolific stage of the digital revolution. Both online and in the flesh, Tividad and Tucker practice radical openness to the point where it may even engender discomfort; this is exactly the point where it becomes clear why theirs’ is such a special project: they accept the possibility of discomfort—Chaos—and show you how to figure out why you might feel it. This is achieved through their ability to empathize as best friends and partners in creation, with the intention of making music that provokes.

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Our new album ‘What Chaos is Imaginary’ will be released 2.1.2019 on Anti Records

Release date:8th January 2019

 

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Valley Queen“My Man” It’s a band of distinguishable characters, and that is no exception when it comes to their main vocalist, Natalie Meadors. She seems to be the glue that holds the manic energy together, even though she is jumping on speakers and dancing around too. Her sultry vocals weave in and out of the pounding guitar lines, with an onstage confidence that is incredibly enrapturing. You can’t help but watch as the frantic chaos on the verge of total collapse manages to hold on, and you feel the catharsis of just letting go and getting swept away..Valley Queen invites you into their overwhelmingly sensory environment, where to dance and move will cure any temporal blues

Veteran and established artists dominated the music scene this year. Look at all the “Best Of” or “Favorites” lists, and newcomers barely occupy them. One band, however, was able to crack through this nearly impenetrable wall. It sure helps that Valley Queen‘s debut album, Supergiant, is a contemporary indie-rock classic.

The record is highlighted by a holy trinity that would rival any one-two-three combination in history. “Supergiant”is indie-rock perfection. It is anthemic yet gritty, rocking yet euphoric with front woman Natalie Carol’s siren-like vocals cutting through the blazing melody. Like Big Thief’s and Angel Olsen’s grandest anthems, “Chasing the Muse” commences delicately before slowly growing into a face-melting, titanic rocker. The emotional roller coaster “Ride” completes the trio, filling every space with searing guitar riffs and Carol’s bone-chilling delivery.

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Beyond these three are other stellar tracks. Autumn-like touches a la Fleetwood Mac filter through “Bedroom”while a calm, summertime atmosphere percolates on “Carolina”. Jubilation erupts on the short but blazing “Boiling Water”. On the other side of the spectrum, the tender and stripped-back “Gems and Rubies” is stunning at its floor and incredibly engrossing at its ceiling. This is also another way to describe Supergiant, which is flawless. It is a transcendent piece of emotional indie rock that reminds us music can be anthemic, beautiful, moving, and powerful.

Supergiant is out on Roll Call Records,

Band Members
Natalie Carol – Lead Vocals/Rhythm Guitar
Neil Wogensen – Bass/Vocals
Shawn Morones – Guitar/Vocals
Mike DeLuccia – Drums

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In writing Crush Crusher, Ian Sweet’s Jilian Medford committed herself to exploring her own issues with self-image, self-respect/worth, and the responsibility she has felt to others. Recorded at Rare Book Room studios with producer/engineer Gabe Wax (Deerhunter, The War on Drugs, Soccer Mommy), Crush Crusher is full of dissonant open chords and abnormal progressions, finding beauty in a level of conflict not seen on the trio’s 2016 Shapeshifter. By the end of the recording process, Ian Sweet wound up with an unconventional assortment of songs featuring disparate elements of psych-rock, trip-hop, and shoegaze that together forged a sound uniquely Medford’s own. “Spit” is the second single from Ian Sweet’s 2018 album Crush Crusher.

Sufjan Stevens and Angelo De Augustine performing “Time”

Angelo De Augustin burst onto the scene at the back end of last year with his excellent second album, Swim Inside The Moon, a charmingly lo-fi record that was quite literally recorded in a bathtub. This week Angelo has announced details of his upcoming third album, Tomb, released again on Sufjan Stevens’ Asthmatic Kitty Records, as well as sharing the first single from it, Time.

Tomb is the first time Angelo has worked in a proper studio, collaborating with renowned producer, Thomas Bartlett aka Doveman, and listening to Time, it seems to suit him. Time loses none of the gorgeous simplicity and minimalism of Angelo’s previous work, but in Thomas Bartlett’s hands this sounds lusher and more ambitious than ever before. Described by Angelo as, “a lovelorn examination of heartbreak and moving on”, the addition of muted piano, gentle electronics, and even whistling (!) all just work to highlight his enviable songwriting instinct.

Equally good as the recorded version is live version, where Sufjan Stevens joins Angelo on Grand Piano. An album about heartbreak that ends up as a prayer for love, Angelo might sound broken, but he’s still dreaming, still open, still ready for love. the live version of his new track “Time” with Sufjan Stevens on piano. Watch their performance live from Manhattan’s Reservoir Studios

Out January 18th via Asthmatic Kitty.  From the album “Tomb,”

Pre-Order: Lumerians - Call Of The Void,Vinyl,Fuzz Club - Fuzz Club

Lumerians long-overdue new LP, Call Of The Void, is officially unleashed into the world this Friday. Four years in the making it see’s the Oakland band return on top form, a face-melting combination of synth-heavy dancefloor grooves, oddball prog wig-outs and exploratory psych.

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Oakland, CA outfit Lumerians are a prodigious force in the extra-terrestrial realms of modern psychedelia. Since forming in San Francisco back in 2006, Lumerians have traversed their way through multiple different genres – offering mind-bending adventures into everything from space rock, kraut and noise to zamrock, free jazz, drone and dub. Drawing from a range of influences, both familiar and esoteric, past and present, Lumerians conjure up sounds from far into the future. In their twelve years as a band they’ve toured with everyone from My Bloody Valentine to Killing Joke and Black Moth Super Rainbow, putting out a number of critically-acclaimed releases including two ‘official’ albums and two collections of improvised compositions called Transmission from Tellos III & IV. On June 22nd the band will be returning with their third album, Call of the Void, on London-label Fuzz Club after four years under the radar. The album is dedicated to the memory of Barrett Clark, Lumerians’ long-time friend, sound engineer and collaborator who passed away in the tragic Ghost Ship warehouse fire in Oakland 2016.

It may have taken the band four long years to put their latest album together but it was definitely worth the wait, their mystical exploratory soundscapes at their finest. Eclectic and vastly multifaceted, the album is further proof – if you needed it – that Lumerians are a singular force in contemporary psychedelia. Talking about Call of the Void, vocalist Jason Miller explains: “If ‘Transmalinnia’ represented the exploration of an alien world and ‘The High Frontier’ a voyage through space, ‘Call of the Void’ is a penetrative exploration of Earth through an alien gaze gone native – the weight of gravity, the build-up of pollution and sediment, experiences of ecstatic revelry and tragedy.”

Los Angeles band The Feels, are desribed as  “Psych punk future rock+roll post-everything melody music,” goes the effusive run-on sentence, “from LA.” it closes. Even as someone paid to write about how music sounds, feels, and fits into the grand scheme of things, I can’t think of any better way to describe Feels, so I’m going to go with that.

Fronted by Laena Geronimo previously of the band Raw Geronimo  Feels’ self-titled debut came out in 2016 on Castle Face Records and was produced by Ty Segall. The rest of the band is made up of Shannon Lay (backup vocals, guitar), Amy Allen (bass), and Michael Rudes (drums), to compose a formidable four-piece who play the kind of garage rock that makes talk of rock being “dead” sound downright ridiculous. The record is just nine songs and twenty-nine minutes long, but it’s still impressive enough to cement them as one of LA’s best new bands. Given their last record came out two years ago, the band is ripe to release some new music.

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Band Members
Laena Geronimo,
Shannon Lay,
Michael Rudes,
Amy Allen,

Later this month, The Feels are playing a free show in downtown Los Angeles on July 28, check out Feels’ debut album .

Valley Queen have been described as Neil Young meets Florence Welch. That’s fairly apt description as lead singer Natalie Carol has a powerful and beguiling voice. But as I’ve always said, having a great voice is one thing; lots of people have great voices. But give me a great writing and a ripping band as well, and then you’ll have my attention.

And that’s what we have here now. “Supergiant” came together as the band fractured at a point with two members being replaced. As the band grew, Carol attempted to persuade bassist Shawn Morones and drummer Gerry Doot to join her and Neil Wogensen to record the album. She wanted that chemistry back and while Morones came back, Mike DeLuccia grabbed the seat behind the kit.

Mission was accomplished. This album is where the whole is greater that the sum of its parts. Everybody knows their role and the band weaves Carol’s Americana-inspired vocals with some crunching, fuzzy indie influences. The band is constantly setting Carol up and her voice is almost chameleon-like throughout; always hitting the right note. She’s got a bit of Neko in her in that regard. The title track, Chasing The Muse and and the closing track Highway Pearls are among the highlights.

I was a fan of their EP but they have really upped their game here.

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Band Members
Natalie Carol – Lead Vocals/Rhythm Guitar
Neil Wogensen – Bass/Vocals
Shawn Morones – Guitar/Vocals
Mike DeLuccia – Drums

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“Stock Image” is wholehearted pop song, co-produced by Folick, Yves Rothman, and Justin Raisen (Sky Ferreira’s Night Time, My Time, Angel Olsen’s My Woman). Opening with lilting chimes and vocal coos, it quickly floors the gas to reveal an exuberant 1980s pop heart and a bassline with the same propulsive thrill of Robyn’s “Dancing on My Own.” Briefly, Folick dwells on sticky feelings of malaise—“Bathe myself in the afternoon/Won’t get out until the water’s cold and I am blue”—but she makes the decision to shake them off and “open up the door.” As drums boom, the song ramps into a driving synth chorus, with a swirling constellation of zippy electronic sounds, and Folick’s piercing voice scales giddy heights. In an excellent accompanying video, Folick dances through New York streets, showing familiar locales like Central Park and Brooklyn Bridge with an infectious, bright-eyed wonder, “Stock Image” is an alluring, catchy as hell invitation to join Folick in her heady worldview, and a reminder that everything can look better when seen through fresh eyes. It might even make you want to dance in the streets, too.

Stock Image is the conversation you have with yourself when you’re feeling lost and your color has faded. When you’re too focused on inhabiting a certain image and then suddenly you realize your insides are empty! I wrote it from a place of feeling shallow and gray and wanting to feel Full! Vibrant! I hope it makes you feel lush and colored in

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In a hotel room near midnight, Phoebe Bridgers shares a lullaby for the lost. You can’t help but hang on for dear life. Phoebe Bridgers was one of our top discoveries going into Austin’s SXSW, a quiet and powerful voice in the loud din of the festival. After she performed at Central Presbyterian Church, a favorite venue,  Bridgers and percussionist Marshall Vore came to NPR host Bob Boilen’s hotel room just before midnight to play the striking song “Smoke Signals.” Stripped of the strings on the studio version, there is still a sweeping quality to this acoustic performance, something like Low’s elegiac waltzes blurred into open chords, suitcase percussion, children’s toy bells and vocal harmony. You can’t help but hang on for dear life.