Posts Tagged ‘Heaven’

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In the short time since they released their acclaimed debut record, ‘Sore,’ Dilly Dally toured the world and took the press by storm, only to nearly collapse under the weight of their own success and call it quits forever. Rising from the ashes with more power and conviction than ever before, the Toronto rockers’ new album is, appropriately enough, titled ‘Heaven,’ and it’s a fierce, fiery ode to optimism, a distortion-soaked battle cry for hope and beauty in a world of darkness and doubt. Frontwoman Katie Monks describes the songs as coping mechanisms, and the collection does indeed form something of a survival kit for hard times, but even more than that, it’s a declaration of faith in the power of music and a burning reminder that we need not wait until the afterlife for things to get better.

 Recorded with producer Rob Schnapf (Elliott Smith, Beck), ‘Heaven’ highlights Dilly Dally’s rough edges in all their ragged glory, drawing every potent ounce of energy from the foursome’s swampy tones, raspy vocals, and volatile rhythm section. While the music is undeniably ferocious, there’s uplift woven into the fabric of every track. ‘Heaven’ opens with the dreamy “I Feel Free,” which begins as a floating, untethered soundscape before transforming into a soaring anthem for a world that’s ready to finally turn the page on all the darkness and disillusion the last few years have wrought.

The inexorable “Believe” insists on self-confidence, while the driving “Sober Motel” celebrates the lucidity a clear mind, and the lilting “Sorry Ur Mad” makes a case for releasing yourself from the prisons of anger and resentment. Escape is a frequent goal—from the bruising “Marijuana” to the epic queer tragedy of “Bad Biology”—but it ultimately solves very little, at least in any permanent way, and so the album carves out its own atheistic religion to get through the day, a faith that validates our pain as real but responds with a beaming light of hope (and maybe a little bit of weed).

Monks and guitarist Liz Ball originally formed the band in high school after bonding over a shared love for explosive, grungy rock and roll. By the time they recorded their debut, the pair had fleshed out the lineup with bassist Jimmy Tony and drummer Benjamin Reinhartz and hit a blistering stride that floored critics on both sides of the Atlantic. Rolling Stone hailed ‘Sore’ as a “blazing” breakout that “sounds like an unleashed id with a sick distortion pedal,” while Fader said it “hits that ever-elusive sweetspot between total recklessness and sly control,” and Pitchfork raved that the record “oozes with female desire” and offers up “a heavy swagger redolent of some of the best ever alt-rock.” In the UK, The Guardian praised the band’s “bludgeoning bass, gnarly guitars and red-raw vocals,” and The Line Of Best Fit dubbed it “a seminal first album.” The music earned Dilly Dally dates with Grouplove, METZ, and Fat White Family in addition to their first-ever international headline tour and festival appearances from Osheaga to Field Day.

“Doom” from Dilly Dally’s new album ‘Heaven’ out now!

It’s been a tempestuous times for Dilly Dally since the release of their critically acclaimed debut album ‘Sore.’ It appears that the pressure environment of life on the road, the cycle of relentless promo and touring took a toll on the band’s mental well being to such an extent that they almost called it quits.

They took time out to deal with their own individual needs, find some much-needed headspace and when they the felt ready regrouped and made a decision – ‘fuck this, let’s do our thing.’ The result is their second album, the appropriately named ‘Heaven’ which guitarist and singer Katie Monks has described as “the album we’d make if the band died and went to heaven,”. The lead track ‘I Feel Free’ demonstrates that Monks’ trademark razorwire nettle sting roar remains as impassioned and potent as ever whilst her bandmates have reignited that raging fire that made their debut such a thrilling listen.

The wonderfully poignant cinematic accompanying video, written and directed by Monks herself, sees her literally digging her bandmates (and a rather sexy flying V) from the grave in an attempt to bring them back to life. It acts as a curiously moving metaphor for the recent turbulent times the band have endured as Monks desperately tries to revive them, pleading with them as if to say – let’s not kill this, let’s fight for each, the band, and what we’ve created between us.  It’s a stunning return from Dilly Dally who have always managed to mix rage with vulnerability to produce some wonderfully real visceral music and ‘I Feel Free’ just might be the Toronto four piece’s most succinctly powerful moment yet.

“I Feel Free” from Dilly Dally’s new album ‘Heaven’ out September 14th, 2018.

Little Cloud Records was founded in October 2016 by Mike Nesbitt, Josiah Webb and Mike’s twin brother, Joe. What started as a way to release Magic Shoppe records has become a vehicle for releasing vinyl for other bands we dig. This includes releases from Pete International Airport (Pete Holmström of Dandy Warhols), New Candys (dark psych rockers from Venice, Italy), The Orange Kyte (tripped-out Irish transplants living in Vancouver, BC), Firefriend (São Paulo psych warlords) , Heaven (Brooklyn based psych rock) and Arizona’s Wiccan Godesses, Burning Palms. 
We’re partnering with a Portland, OR vinyl based plant and Joe runs a Chicago based printing facility. This allows us to produce all records, printing jacket design / printing and vinyl pressing in-house. We have been established by Cobraside in the United States and Fuzz Club Records in the UK. For digital distribution we use our own department to plaster your bit Across the usual suspects … like Spotify, iTunes, Google Play Music, Amazon Music, YouTube Music and many more.

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Brooklyn-based psych-rock band, Heaven, announce their sophomore album, All Love is Blue, due out on March 2nd, 2018 via Little Cloud Records. The 9-track LP is produced by the band, engineered by Albert DiFiore (Caveman, Sinkane, Beck) mixed by Al Carlson (Zola Jesus, Widowspeak).

Heaven is Matt Sumrow (vocals and guitar), Mikey Jones (drums) and Liz Lohse (keyboards and vocals). Sumrow and Jones created the band in the wake of touring and recording with artists such as Dean and Britta, Swervedriver, Ambulance LTD, The Comas, Snowden, The Big Sleep and others.

A romantic clash between your Dad’s long-lost favorite psych record and the soundtrack to a John Hughes film, Heaven ride a massive sonic wave in delivering their dear and dreamy tracks. In July of 2013, Heaven released their debut LP Telepathic Love on Goodnight Records. The live lineup came together on the touring of Telepathic Love with the addition of keyboardist Liz Lohse (X-Ray Eyeballs) and guitarist Eric Altesleben (Desert Stars), who have since become permanent members. 


As 2018 sees the release of All Love Is Blue on Little Cloud Records, out of Portland, Oregon, subsequent tour dates for Heaven in support of the album will follow. Their new work is a quantum leap forward for the band, both artistically and sonically, making the protracted wait between albums a huge payoff.

Released March 2, 2018


Describing music of great power and great expanse as “cinematic” can be fitting, if perhaps overused. When it comes to the music of Tokyo’s Sundays and Cybele, it’s incredibly appropriate.

“Sundays and Cybele” is the title of a 1962 French film directed by Serge Bourguignon, and the winner of an Oscar that year for “Best Foreign Language Film.” Conversely, “Heaven” is the title of the 2015 album from Sundays and Cybele, a Japanese band speaking the universal language of explosive, kaleidoscopic sound, for a result easily translated as both heavy and heavenly.

“Heaven” announces its intentions immediately; opening track “Black Rainbows” takes to the skies in an initially unhinged manner, sounding as much like an ending as a beginning, before a gate-crashing bass line drops us firmly into the overdriven world of Sundays and Cybele. If you’ve ever yearned to hear an Orange amp threaten to explode in a transcendent array of colors, “Heaven” is the album for you. “Almost Heaven” follows, providing evidence that Sundays and Cybele seem always to be reaching for peak experience, here demonstrated by a lead guitar break that seems to merge the differences between Ash Ra Tempel and The Dead Boys into a single, illuminating whole.

Since 2004, Sundays and Cybele has functioned as essentially the brainchild of multi-instrumentalist Kazuo Tsubouchi. On “Heaven,” Tsubouchi’s reach seems to aim even higher than ever before. At just over eight minutes, “Night Predator” is the longest song on the album, one that begins with a jaunty, upbeat melody that would seem to slightly betray the song’s title. Yet there’s something in the brittle, bruised stabs of guitar that punctuate the song that makes it clear the intent here is to draw blood – or at least bare its teeth. The same could be said of following track “Empty Seas” or, indeed, of the full album “Heaven” in and of itself. Sundays and Cybele possess a preternatural ability to infuse the straightforward with a strong shot of weirdness, which in turn allows their weirder moments to feel incredibly straightforward and easily translated.

“Hinagiku” and “Time Mirror” end the album on what, out of context, could easily be heard as a melancholy note. Given the extraordinary fuzz pedal abuse of the album’s previous twenty-six minutes, however, these two songs sound like Sundays and Cybele having reached their unreachable goal of “Heaven,” before floating away on another boundless, burning excursion. Heaven only knows where they’ll take us next. Thanks to Ryan Revolt of the Apes.




PURE X – ” Heaven “

Posted: April 20, 2014 in MUSIC
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Austin’s PURE X are back with a new song ahead of the new album “Angel” the band return with more Psych Pop,