Posts Tagged ‘California’

The Californian trio pack up their reverb and garage-psych and pile it all into this debut album that drips with reverbed guitars and sultry vocals of Sade Sanchez.

Opener ‘Kill My Baby Tonight’ is the perfect introduction to the band’s 60s girls-in-the-garage style and David Lynch’s surreal exposés of Southern California’s underbelly. ‘Brian’ reveals similar slow-mo psych leanings, while the motorik beat and fuzzed-out licks of ‘Drive Your Car’ and step-on-the-gas speed of ‘Feel Alright’ sit equally well with the dreamier delight of the langorous ‘Baby In Blue Jeans’ providing a seductive, haunting, and engaging sound that encompasses garage rock, dreampop, psych, and beyond.

L.A. WITCH — ‘HEART OF DARKNESS
from the debut L.A. WITCH EP [March 18, 2014/MANIMAL]

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Eric Pollard has an interesting musical career. played keyboards for Low, drumming for Retribution Gospel Choir and Sun Kil Moon and body and soul devoted to Actual Wolf, his country project. With an enviable back catalogue that covers the spectrum from home made demos to fully produced, crisp tracks, the music of Actual Wolf mixes classics like Merle Haggard, Johnny Paycheck, The Band and Red House Painters.

His music conveys that open country landscape with massive overcast skies, straight from America’s heart. Fading emotions, like freight trains howling away during the night, are spread all over Faded Days, his latest album. As the album gets a vinyl release on September 15th.

Kicking it off (like they won the toss) is Wand, whose Next Album has been eagerly anticipated probably since right after their last one came out. Remember, when 1000 Days hit way back in the summer of 2015, it was the third Wand record to appear in a calendar year! Back then, if you didn’t like what Wand was doing, just wait a month and they’d announce another one.

A length of two “whole” years later (with, sure, time carved out for Cory Hanson‘s stellar solo set, The Unborn Capitalist From Limbo), Wand are back and with songs like “Plum” and “Bee Karma”, this new-phase sounds right promising! Since we of course have heard even more than those two (yes, awesome) songs, we can confirm .

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The new quintet version of Wand seems to have even more up their sleeves than the former crew – but really, it’s just different stuff up those sleeves and probably different sleeves too. With the addition of a designated keyboard player and a second guitarist, the core Wand members now find themselves in an ever-expanding palette – just the way Wand likes to fly! Plum is rich and sumptuous, spun with dense webs of sound and stasis, mélange and melody, as Wand push farther into the strangeness of uncharted territory while also locking it down as a class-act modern pop outfit! To frost the cake most excellently, the September 22nd release date also acts as the opening flag for a mammoth run of tour dates: a month in the US, followed by the holidays and then more in the UK and the EU and the rest of this world, provided it’s all still there! Plum around, with Wand this fall.

 

Hand Habits is the project of Meg Duffy, an upstate New York-raised, LA-based musician who has collaborated with the likes of Kevin Morby, Mega Bog, and Weyes Blood.

Duffy’s musical talents have made her an in-demand studio and tour musician, but after several years of working with others on their projects, she stepped out on her own in February, 2017 with the release of Hand Habits debut album, Wildly Idle (Humble Before the Void) via Woodsist Records .

The record’s layered guitars and hushed, lightly-psychedelic atmospheres quickly captured attention throughout the indie music world including that of Robb Nansel at Saddle Creek Records. This summer, he invited Hand Habits to participate in the label’s Document Series , a celebration of music communities around the country that features unreleased singles from independent artists along with a curated zine about their local music scene.

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This is the 2nd album by Black Needle Noise with our friends Zialand, Kendra Frost, Andrea Kerr, Jennie Vee, Mahsa Zargaran (Omniflux), Mimi Page, Ana Breton, Bill Leeb, Sivert Høyem and Dr Strangefryer

The brillant music of legendary artist-producer John Fryer is released under the moniker of BLACK NEEDLE NOISE with the album ‘Lost in Reflections’.

He is best known for producing and shaping the sound of Cocteau Twins, Depeche Mode, and numerous other artists from Mute Records, 4AD and Beggar’s Banquet and later on Nine Inch Nails, Love and Rockets, Cradle of Filth, and many more. But he is also known as 1 of 2 founders of 4AD legacy-group This Mortal Coil, together with Ivo Watts-Russell. This new album continues that legacy, with John Fryer teaming up with a series of brilliant vocalists for this collosal project.

This album arrives on the tail of news of John Fryer’s release with legendary David Lynch muse Chrysta Bell (also starring as Special Agent Tammy Preston in the new Twin Peaks series). They have paid “homage to the infinitely haunting and enduring music of Twin Peaks” in the form of a cover of ‘Falling’ by Julee Cruise, Angelo Badalamenti and David Lynch.

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There’s an interesting mix going on with Los Angeles quartet The Black Watch. On the one hand their new single ‘Way Strange World’ starts out with a indie rock  sound . On the other hand, their vocalist John Andrew Fredrick brings a gravity and intensity to thier sound.

As bouncy as the track gets, it never loses an essential depth that keeps the track on the earnest straight and narrow. This is mirrored in the music video, which with its sepia tone and faux Super 8 appearance creates a nostalgic and emotional counterpoint to the song.

Leading the band is the multi faceted and talented John Andrew Fredrick. Spending his time making music, writing books, working as a university English lecturer, playing tennis and painting, Fredrick is a real paragon of creativity. When I saw he writes books I don’t just mean for the laugh either. His new novel Your Caius Aquilla was released on April 11th and his first non-fiction title Fucking Innocent: The Early Films of Wes Anderson is set to be released on July 11th.

“The response to the new LP has been overwhelming, to say the least, especially considering we had quite modest expectations going in to the studio and a very casual approach to recording it,” notes John Andrew Fredrick. “I imagine its significance has to do with the astonishing guitar work of new lead guitarist Andy Creighton, and my incapability of stopping writing indie pop songs, despite the fact that all last year all I did was listen to classical!”

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With Untouchable, Kelly has raised the stakes even more than his previous album “Goes Missing”, now fully embracing some of the more outwardly power-pop sensibilities he’d hinted at in previous records.

Kelly has become synonymous with L.A. fuzz-punk contemporaries like Ty Segall and Mikal Cronin, and has played in projects with both men. What’s remarkable about Kelly, though, is his confidence in his voice, and it’s a primary focal point throughout Untouchable. Kelly’s vocals are amped up to the forefront, a move that makes for more memorable, hummable moments, as is evident right out of the gate on LP opener “Broken Record.” The song’s slow-burn guitar progression is just monotonous enough to invite Kelly’s meandering melodies to enchant the vibe, as he sings “I took to making circles round the world/every time I run through/I take to making circles round some girl/Like a broken record I hear myself put it in a tune.”

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Continuing onto the fantastic “Real Enough to Believe,” Kelly homes in on a perfectly proportioned ‘60s pop format, fully welcoming the dreaded “derivative” song. Rather than being careful to avoid direct aural influences from his favorite styles of music, Kelly embraces the nuances of decades of rock ‘n’ roll and reinvents it in his own smorgasbord of cool. “Real Enough to Believe,” against all odds, rivals the brilliant standout track “Be What You Are” from Goes Missing, a feat that once seemed near-impossible.

Untouchable revels in a generally lo-fi mix that sits well with the record’s found-sound ambiance, in another nod to Kelly’s nomadic muses. “That’s When It’s Over” writhes in a mid-song homage to “Hey Joe,” with Kelly’s scintillating guitar solos saluting both Hendrix and the wormy noodling of the Dead. Perched in the thick of the album’s more thoughtful tunes, “That’s When It’s Over” is a juggernaut of energy that perfectly splits the record into two parts. The song’s breakneck riffing explodes with a full head of steam, chugging along atop motorik drums and Kelly crooning, hooting and hollering to a repeated refrain of “In the heart of her heart, she don’t care.”

In its more tender moments, Untouchable unloads heavier pseudo-ballads like the titletrack. With little more than a reverb-y acoustic guitar and a plunky bass backing, Kelly lets his gorgeous voice take even more of a central role, stripped of the blistering leads that permeate most of the album. “Will It To Be” follows suit near the end of the record, a twisted ballad that finds Kelly cooing “I’m holding back now/but I’m getting closer/I am pretending I don’t need to know or even care at all.” The song’s moody, Velvet Undergroundian darkness comes through despite its Fleetwood Mac facade, with rhythmic instruments set deep and foreboding under Kelly’s fluttering melodies.

The magic moments found on Untouchable speak to Kelly’s swaggering confidence—as if that weren’t perhaps alluded to enough in the album’s very title. As a result, the ambitiousness of his work seems increasingly more destined to join the canon of timeless pop from which The Cairo Gang’s songs find their roots.

The spiny tingle of excitement, the building anticipation of ritual! Chord progressions in the key of the heart! Star-crossed breakthroughs and guitars cross-talking with a bejeweled ennui throughout interrelationships .

 

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It’s been a minute since we last heard from the Los Angeles-based Miya Folick, whose slow but steady stream of folk- and punk-infused releases have amounted to some well-deserved buzz and anticipation towards a full-length debut. You’ll have to keep being patient for that one, but in the meantime, Folick has put together the “Give it to Me” EP, its a follow up to the  2015 “Strange Darling” EP.

The new project Miya Folick’s first release on Terrible Records also takes a page from that decade, though here it’s a decidedly louder, more ruthless one, a la last year’s standalone releases like “Pet Body” and “God Is a Woman”—to say nothing of her and her band’s shredded-up live shows.

You know a song is great when you want to hear it again straight after your first listen, Miya Folick’s “Trouble Adjusting,” , is one of those songs, and that recall might have as much to do with its unhinged grunge hooks as with its subject matter .

“No underwear / I went to the laundromat / I just stood and stared / I’m sorry Mom / I’ve lived alone for so long / but I’m still having trouble adjusting,” she sings, her quiet anxiety unraveling into screams. “How am I to do it again / If I can’t recall how I was in the beginning?”

 

Here’s what Folick says about the new song and EP, due out later this summer:

“I was writing an album and realized there were a group of songs that didn’t seem to fit, but were also songs that I had been playing live with my band for a while,” she says. “I wanted a proper documentation of the particular sound and energy of our live show, to share but also for myself. My life has changed a lot in the last couple years and that has so much to do with these songs and the people who have been playing them with me. I didn’t even consider myself a musician two years ago. This song is probably a bit of a reaction to that—new people, new environments, new experiences all flooding into my life at top speed, and me trying to navigate them without losing myself. I’m very grateful for the life I have, but sometimes I’m not very good at living it.”

Listen to the Miya Folick’s “Trouble Adjusting” below.

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Newly signed to the Anti- label, Los Angeles-based Ryan Pollie – better known under his moniker of Los Angeles Police Department – sets out his second, self-titled album on April 28th.

The follow-up to his 2014 debut (also a self-titled effort), was produced by Foxygen’s Jonathan Rado (Whitney, The Lemon Twigs) and mixed by Rob Schnapf (Beck, Elliott Smith, Foo Fighters), Pollie describes the album – which addresses suicide and addiction, anxiety and bereavement – as “a coming-of-age story.”:

“You always think of coming-of-age stories as something that happens to kids, something like Stand By Me or Catcher in the Rye, but in my twenties I realized that I was always going to face this vulnerability and this anxiety. I’m never going to be that wise old person who’s cold-hearted and knows everything. So this record is about learning to face up to those fears and be emotionally responsible.”

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Music & Lyrics by: Ryan Pollie
Produced by: Jonathan Rado