Posts Tagged ‘California’

Deep Vally has announced a forthcoming album to be titled, “American Cockroach”, due out June 18th via Cooking Vinyl. The four-track EP announced by the Los Angeles-based rock duo on Friday will follow their recent Digital Dream EP which arrived back in February, and is set to feature guest appearances from Jennie Vee (Eagles Of Death Metal) and Ayse Hassan (Savages).

The ballad hears Deap Vally ditch their trademark distortion and high-adrenaline sound in exchange for stripped-down instrumentation and heart-wrenching melodies courtesy of a vulnerable vocal performance from guitarist/singer Lindsey Troy.

The band said of their forthcoming album in a press statement, ‘American Cockroach’ is a collection of songs we’ve been working on for a while, including collaborations with Jennie Vee and Ayse Hassan, that run the gamut from deeply personal, to outright satire and everything in between. These are songs for the underdog, the outlaw, the defeated, for days when you feel like no one understands you or you can’t do anything right.

Troy also said of their new single, “[This] is a deeply personal song. It will always mark a very specific time in my life. Sonically, it’s adventurous territory for us, unlike anything else we’ve ever put out before. Produced by long time friend and engineer Josiah Mazzaschi, who recorded our very first demo back in 2012, the use of unusual instrumentation like the Optigan elevates the sense of melancholy and anguish this song is so heavy with, and we love it very much.”

Listen to “Give Me A Sign” .

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Releases June 18th, 2021

 

Psych-punk psychic warrior, ear worm-farmer, and possessor of many stamped passport pages John Dwyer does not let up. His group Oh Sees (aka Thee Oh Sees, OCS, The Oh Sees, etc) have transmogrified to fit many a moment – from hushed druggy folk to groovy demonic pop chants to science fictional krautrock expanse and beyond – to suit his omnivorous whims.

Back in September, OSEES performed a blistering set out in the desert at Pappy & Harriet’s, which aired on the Levitation Sessions streaming series.  

The live album is now being pressed on 3 limited vinyl pressings via The Reverberation Appreciation Society record label. OSEES and the label are donating 100% of proceeds to independent music venues. Music venues have been hit particularly hard by the Covid-19 pandemic, with many in danger of closing their doors permanently. Unfortunately some have already.

 The NIVA Edition proceeds will be donated to the National Independent Venue Association’s Emergency Relief Fund. The fund has been launched to raise money for the most vulnerable venues, and keep them afloat during these unprecedented times for live music.

Special editions for two independent clubs have also been created: Zebulon Edition – benefitting Zebulon in Los Angeles, California, Hotel Vegas Edition – benefitting Hotel Vegas in Austin, Texas 

Both venues hold a special place in OSEES history, and have irreplaceable roles as incubators of their local indie music scene.  

“During this particularly hard year, it was a pleasure to work with our good friends over at Levitation and Pappy and Harriet’s to reach out to some of our fans, if only for a fleeting hour.  This is the proper plastic that came from that evening. We are trying to keep some of our favourite haunts, dives, glorious old venues and bars open through this triail, as it’s obvious the lizards that make up the current administration have no real interest in extending any realistic help to struggling businesses.  

Venues have been hit particularly hard by this and without them, there is no us….so this is a small token of appreciation and a grassroots effort to lend a helping hand in their time of need.  Take care, be well and keep your eyes on the horizon.”

 John Dwyer

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The live album from OSEES episode of Levitation Sessions.

“Lots of old favorites and 7 never before performed live hits from the crypt recorded dusk till dawn in Pioneertown, California
its raw and shreddy with a bit of elastic improvisation thrown in come hang out with us for a few crack a beer meant to be played loud” – JPD
Released October 9th, 2020
 
OSEES - LEVITATION Sessions Vinyl (PRE-ORDER)

OSEES on Levitation Sessions! Full set recorded out in the desert with the hits from the crypt! +7 tracks never performed live before + some old favourites and tracks off their new album:. The incredible live performance premiered on Saturday, September 26th, 2020. You can buy their music from the levitation sessions on: https://ohsees.bandcamp.com/album/lev…

Osees taped a full band show for Levitation fest’s virtual series that was streamed back in September. It was also released digitally as a live album, and now the Levitation Sessions are getting a vinyl release on March 5th with proceeds going to support independent venues.

There are three different coloured vinyl editions, and each one benefits something different: one pressing benefits NIVA, the National Independent Venue Association; another benefits Austin’s Hotel Vegas; and the third benefits Los Angeles’ Zebulon. Each one comes with a bonus 7″ featuring the last song of the set, “Block of Ice.” All three editions of Levitation Sessions 

OSEES have shared “Stinking Cloud” from their upcoming Levitation Sessions II streaming show and live album. It’s a deep cut from 2011’s ’60s-psych-pop influenced Castlemania and not the typical ripper you associate with the band but it sounds pretty great. It’s so deep that it’s the first time it’s ever been played in a live band setting. The ‘Levitation Sessions II’, which was shot in “a cavernous Los Angeles factory,” promises more where “Stinking Cloud” came from with a “handful of never-before-played-live tunes & some new surprises,.

Meanwhile John Dwyer is dipping a toe into the world of NFTs — and no, it doesn’t seem to be an April Fools joke. He has put two NFTs up for auction that are related to the Levitation Sessions II streaming show and album. 

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THE TEXT This piece uses a lenticular process to bring John Dwyer’s original mixed media painting to life. Sound tracked by a radioactive live version of “Opposition”. The tendrils of flowers and foliage grow and wilt while we gaze at our screens through empty eye sockets, taking in the vast glory of the information superhighway.

John Dwyer’s painting comes to life in a hypnotic infinite zoom loop. Sound tracked by a live cut of “Stinking Cloud”, taken from the band’s upcoming Levitation Sessions II live album.  “Vol 4” is being released an 1/1 NFT, while “THE TEXT” is in an edition of 13. Both NFTs also come with a stream ticket, signed screen print and the 2xLP shipped worldwide. 

Osees pine for our fans and friends out there in the world, so we have come together for another stream with the mighty Levitation.

I personally got stoned and stuck my face into the muck of our past catalog to bob for some dusty tumescent gems. There will be some oldies, and some mouldies and some surprises along the way. I’m quite happy with how this one turned out. Shot in an insane old factory warehouse in Los Angeles (it looks like a fight scene set from Point Blank or the John Wick trilogy 🙂

If you had told me a year ago we’d be doing these streams now i would have thought you were crazy, but, egg on my face, and here we are. I’m so glad to have this little thing to share a moment with y’all until we can meet face to face on the field of battle again.

Mastered this time in advance of the stream by the Guru JJ Golden, it will hopefully turn some frowns inside out and upside down….grossssss” – JPD Releases
 
April 23rd, 2021 The live album from OSEES Volume II of Levitation Sessions.

We are so excited to announce the official Record Store Day release of Frankie and the Witch Fingers’ fourth album “Brain Telephone !” For the first time via Greenway Records, the record is newly re-mastered and re-packaged with brand new art, the jacket features a UV-Gloss treatment like we’ve never seen before.  Totally re-imagined for Record Store Day 2021 and available on June 12th!, I have been waiting for this album to pop up and I was not disappointed. The groovy baselines mixed with funky smooth guitar riffs, sick organ/piano solo’s and harmonica will have you dancing wherever you hear this album. The fuzzy lyrics add to the 60’s vibe this album gives off and I highly recommend it!!

This heavy dose of ebb-and-flow rock ‘n roll now looks and sounds better than ever before! Run to your local record store and make sure they order a copy! Record Store Day exclusive “Brain Matter” Splatter will be available in the US, Canada, UK, EU and Australia while supplies last.

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originally released February 2nd, 2018.

“Wish Goes On” soundtracks the (re)birth of a band called Milly. It is something new emerging from something old; something old from something older, made new again. In 2019, Milly hit the road with labelmates and fellow fans of fuzz, Swervedriver. At the time, their line up was rotating consistently as Brendan Dyer, Milly’s principle songwriter, searched for permanence in the form of a live band. It was on this tour that something clicked for Dyer, who recalls the feeling as nothing short of cosmic. He remembers thinking one day, simply, “This is the band,” and so it was. Spencer Light on guitar, Yarden Erez on bass, and Zach CapittiFenton on drums, with Dyer playing guitar and singing the songs.

The dynamic that burst into existence on this tour only deepened in the following months. “So much of it for me are those in-between moments,” Dyer says about the band’s blossoming friendships, “driving in the car listening to music, or being on break from rehearsal getting something to eat from Lassens.” Dyer would bring sketches of songs to the group, most of which he’d already been developing for years. “This release marks the transition from Milly as a solo project to Milly as something more unified,” Dyer explains. CapittiFenton, Erez, and Light were invited to dissect and rework his demos  a process that continued right up until the time they found themselves in rural Colorado actively recording Wish Goes On with Gleemer’s Corey Coffman. Coffman, who engineered and produced, also became involved in the song writing process at this point, offering ideas the band would take home and play with before returning to the studio the next day.

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The result is five songs which complement one another artfully. By the time Dyer sings, “But it’s different now, feels like the same old town but I know it’s not” on the EP’s second track, “Denial,” it is not only a hometown that has disappeared in change, but also the sordid illusion of US supremacy as it is incessantly propagandized, especially to children — a notion which opener “Star Spangled Banner” openly unsettles. Dyer wrote “Denial” and the three songs that follow at around the same time in his life, with “Star Spangled Banner” coming significantly later, sometime after Milly’s formative tour in 2019. There is something to be said about these conversations across time, the album receding in a sense into the past even as one advances through it. Maybe it has something to do with the idea that longing, wishful thinking, and hope are always reaching both backwards and forwards. Maybe when Dyer sings that he “can’t get past denial,” he’s referring in a sense to the denial of anything but the present moment. Maybe, in the way of Alan Watts, Wish Goes On furthers the idea that “The only way to make sense out of change is to plug into it, move with it, and join the dance.” Dyer describes something to this effect when he says he’s been “trying to keep my head down and follow my path, knowing things will work out.” In the same conversation, he openly acknowledges that “even if that’s not true, it still feels helpful,” which is to say, of course, “Wish Goes On.”
 

Released April 9th, 2021

Written and performed by Milly

Frankie and the Witch Fingers Levitation Session

Frankie and the Witch Fingers live album for their “Levitation Session” is out now!, The “Levitation Sessions”: the Frankie and the Witch Fingers simulated reality prototype! Plug it into your brain and experience a deep fried, multi-coloured, sensory invasion featuring 11 of their latest jammers. A psychedelic rock meltdown in the 4th dimension. 

“We spent a full week in the desert shooting our session – it was really more of a space mission than anything else, a self-contained artistic ecosystem. Everyone had been so restless in quarantine that when we came back together again in a giant, hot, hangar in the desert, there was five months of pent-up adrenaline that ignited between the band and our team.

We were lucky enough to have our friend, Caster Black, break down his entire studio and set it back up for us to record. Shitshow Dave brought a spaceship’s worth of AV gear, and went vastly above and beyond engineering the lighting, projections, video-capture, and electrical for the show – he also photographed us, fed us, and tattooed us out there too! And, our good friend and visionary video artist, Railroad Bill, captured it all on tape and spent countless hours editing and making it into something I’ve never seen before: a video game where you get to be inside the show as a simulated guest. I hope all the love that went into it is apparent when you see it, and that you enjoy watching it as much as we did making it.” – Frankie and the Witch Fingers

The Live album from Frankie and the Witch Fingers’Levitation Session”, Our mission at Levitation is to be a platform where the art and music we love can thrive. Levitation Sessions are our way to support the bands and keep the music going. Just like a regular show, the majority of every dollar you spend goes to the artists we’re presenting. Thank you for supporting these artists!
Released December 18th, 2020

Steady Holiday is Dre Babinski and a large dog, “Take The Corners Gently” is the third LP from Steady Holiday, the musical project of Los Angeles songwriter Dre Babinski. Following up 2018’s Nobody’s Watching, Dre travelled to Nashville, Tennessee, to record the album with Blake Sennett, lead guitarist in the much loved Rilo Kiley, who helped bring these vibrant songs to life.

A document of complex, difficult times in her life, Corners is both buoyant and beautiful, a tight collection of smart, heartfelt pop songs that grow an inch taller thanks to the spiritedness with which Babinksi approaches them. Perhaps its key aspect is its vulnerability, however. There is real heart and soul in these songs, and the impulsiveness which always comes with such things is given centre stage, adding depth and warmth which radiates throughout the album’s eight songs.

Released into the world last week, you can stream the album at the bottom of this page, and be sure to listen along while reading this track by track guide written by Dre, for both us and for you.

Take The Corners Gently was written during a period of turmoil in my family. The details aren’t mine alone to share, but the lessons learned from the experience are threaded throughout these songs. It’s an album about embracing uncertainty, relinquishing what can’t be controlled, appreciating small moments as they happen. Humility.

I recorded with those things in mind too. At least… I tried to. I went to Nashville to work with Blake Sennett, an old friend who understood. Our best intentions weren’t always aligned. But we knew it. Embraced it. And in a way, that was the point. I also dragged my friend Chiffon Myst along. He makes everything better. 

So that’s how we got here. That’s the quick version, anyway. I’ll probably try to thesaurus my way out of words like “acceptance” and “humility”, but that’s what I’ll be dancing around. 

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“Living Life” by Steady Holiday. Courtesy of Steady Holiday, 2020.

Written by Dre Babinski

Released February 12th, 2021

Cool Ghouls, the San Francisco-based band that once lived on house gigs and barbeques in Golden Gate Park, is going on their tenth year together and in lieu of this decennial celebration, they are releasing their fourth album, “At George’s Zoo”. They shared “The Way I Made You Cry,” the second single off this album. At George’s Zoo is set to be released on March 12th via Empty Cellar (and Melodic in the UK). The song has a bit of a retro Foxygen and The Lemon Twigs vibe. 

The band shared the album’s first single, “Helpless Circumstance,” last month, which set the tone of the rest of their upcoming album. The group aims to capture the romantic essence of the city, as well as the historical psychedelia that once dominated the music scene in San Francisco. “At George’s Zoo” will be a reminder of the before times when gigs took place in a friend’s living room rather than on stage or now—through a screen.

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Their third and previous album, Gord’s House, was released in 2017.

Cool Ghouls are a band fledged in San Francisco on house shows, minimum wage jobs, BBQ’s in Golden Gate Park and the romance of a city’s psychedelic history turns 10 this year. What better a decennial celebration than the release of their fourth album, At George’s Zoo!

How did this San Francisco’s fab four arrive at George’s Zoo? The teenage friendship of complimentary spirits Pat McDonald (Guitar/Vox) and Pat Thomas (Bass/Vox) serves as square one. The Patricks were munching on Eggo-waffle-sandwiches and downing warm Taaka in suburban Benicia years before McDonald would hear George Clinton address his fans as “Cool Ghouls”. The boys played their debut gig as Cool Ghouls at San Francisco’s legendary The Stud in 2011, but there’s no doubt the musical moment cementing the band’s trajectory was much earlier at the 18th birthday party for boy-wonder Ryan Wong (Guitar/Vox) – at the Wong household.

You might remember the Ghouls’ earliest days… McDonald’s hair hung luxuriously past his waist, Thomas dreamt of no longer having to crash on friends’ couches to call SF home and Wong looked forward to turning 21. Cool Ghouls’ Pete Best, Cody Voorhees, thrashed wildly – but briefly – on the drums and Alex Fleshman (Drums), who still claims he’s not really “a drummer”, turned out to be a really good drummer.

It’s been 2 years since the last time Cool Ghouls have even played. The STUD is gone, The Eagle Tavern is for sale and The Hemlock has been demolished for condos. 

Fortunately for us, the ghouls got an album in before it all went to shit, and they made it count. At George’s Zoo includes 15 of the 27 tunes they managed to eke out while simultaneously working through major life moves. It was a 5-month, all out, final sprint down the homestretch (to Ryan’s moving day) with affable engineer Robby Joseph, at his makeshift garage studio in the Outer Sunset (pictured on the cover). Instead of recording the entire album over a few consecutive days – like they’d done with Tim Cohen, Sonny Smith and Kelley Stoltz for the first three LPs – the band took it slow by working through a few songs each weekend after rehearsing them the week before. 

These guys have a real commitment to elevating as songwriters, musicians and ensemble players. It’s always been for the music with Cool Ghouls and this long-awaited self-produced outing is a track by track display of the ground they’ve covered and heights they can achieve. Their vocals and trademark harmonies are front and center and out-of-control-good. Ryan’s guitar solos are incredible. The horns by Danny Brown (sax) and Andrew Stephens (trumpet) hit in all the right places. Maestro, Henry Baker (Pat Thomas Band / Tino Drima), plays keys throughout. 

The song writing, harmony and playing are nothing if not solid. The lyrics are keen. Robby’s recording and mixing sound great start to finish and even better after mastering by Mikey Young. It’s a triumphant addition to their catalogue. Recommended for Stooges and Beach Boys fans alike. Listen and see!

Empty Cellar Records and Melodic Records worldwide.
 
releases March 12, 2021

Jenny Owen Youngs grew up in the forests of northern New Jersey and now lives in coastal Maine, where she spends much of her time writing with and for other artists, making podcasts, and working on her next record. Her songs have appeared in Bojack Horseman, Weeds, Suburgatory, Switched at Birth, and elsewhere. If you need her, she’s probably in Skyrim right now. The indie singer-songwriter Jenny Owen Youngs last fall when she covered Katy Perry’s “Teenage Dream” in the lead-up to her Night Shift EP and Blink-182’s “Dammit” for a compilation featuring 27 covers of Blink-182’s “Dammit.” Since then she’s launched a new band called L.A. Exes, and today she’s back with a new solo EP.

Echo Mountain features a smattering of original singles plus a demo and a remix. It sets a mood throughout, soft and meditative and warm, suggesting Youngs is still going strong a decade and a half into her career. The only previously unreleased track on the EP is “Dungeons And Dragons,” which Youngs says “is about using a role playing game as an early escapism tool. It’s also about the fear of turning into the worst parts of the people who raise you.” Hear that one and the rest of Echo Mountain.

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Released March 10th, 2021

Jeremy Earl (Woods) & Glenn Donaldson (Skygreen Leopards, The Reds, Pinks & Purples) met sometime in the mid-oughts and bonded over a love of tambourines and DIY sounds. They shared many stages since, and their first serious collaboration was on the 2011 Woods album Sun & Shade. Around 2018, Earl was restless in upstate NY and accepted an invite to record in Donaldson’s studio in an undisclosed rural coastal town in Northern California. In a week they emerged with nearly an album’s worth of hazy folk-rock and psych-pop with touches of more outré lo-fi noise. Jeff Moller (The Papercuts) added bass, and they put the finishing touches on during quarantine. Heaven and Holy ebbs and flows like coastal fog between songs and dreamy instrumentals splitting the difference between The Clean’s Unknown Country and The Byrds Fifth Dimension.

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Jeremy Earl: Guitars, Vocals, Drums, Percussion, Mellotron, Casio
Glenn Donaldson: Guitars, Organ, Casio, Backing Vocals
Jeff Moller: Bass, Electric Piano on track 11

Released March 5th, 2021