Posts Tagged ‘Loma Vista Recordings’

Local Natives have returned with a brand new single entitled “Statues In The Garden (Arras)” with release via an animated music video by Jamie K Wolfe. The Los Angeles indie-rock quintet Local Natives have returned with their first piece of new music since 2019 today, sharing the dreamy “Statues in The Garden (Arras)”. 

Released today, the single is an eclectic showcase of the group’s varied talents, featuring shimmering guitars and dreamy melodies, with its swirling, intricate arrangement helping to frame the depiction of someone reconciling changes in themselves with a world that is also constantly changing. A powerful example of stellar the slick indie-rock produced by Local Natives, the track’s “Arras” subtitle refers to the French town where the group first laid down a demo of the song.

Alongside the track, Local Natives have also released a mesmerisingly-psychedelic music video for the single. Teaming up with renowned artist and animator Jamie K Wolfe (King Krule, The Rolling Stones), the accompanying video is a masterclass of bold visuals and surreal imagery, pushing Wolfe’s vividly mind-bending aesthetic to its limits.

The track feels like an expansion of the sound formed on last year’s Violet Street with an expansive guitar solo playing it out. “Arras” is a reference to the town in France where the song was first demoed.

Enjoy the video for “Statues In The Garden (Arras)” below.

Local Natives released their fourth studio album, Violet Street, in April of 2019. Not content to take it easy, the group have shared a handful of new tunes since, including “Nova”, taken from the recording sessions of their last record, and “Dark Days”, a reimagined version of their 2016 track featuring the talents of Sylvan Esso vocalist Amelia Meath.

While it remains to be seen when Local Natives will be annoucing the details of album number five, “Statues in The Garden (Arras)” serves as the first taste of new music from the group, and provides listeners with a sneak peek as to what the band’s new era just might sound like.

Local Natives’ “Statues in The Garden (Arras)” is out now via Loma Vista Recordings.

Marilyn Manson returns with his eleventh studio album We Are Chaos via Loma Vista Recordings. Co-produced by Manson and Grammy Award winner Shooter Jennings [Brandi Carlile, Tanya Tucker], the ten-track opus was written, recorded, and finished before the global pandemic.

Manson’s painting, Infinite Darkness, which can be seen on the album cover, was specifically created to accompany the music. His fine art paintings continue to be shown all over the world, including gallery and museum exhibitions from Miami to Vienna to Moscow.

Manson says of the album, “When I listen to We Are Chaos now, it seems like just yesterday or as if the world repeated itself, as it always does, making the title track and the stories seem as if we wrote them today. This was recorded to its completion without anyone hearing it until it was finished. There is most definitely a side A and side B in the traditional sense. But just like an LP, it is a flat circle and it’s up to the listener to put the last piece of the puzzle into the picture of songs.

“This concept album is the mirror Shooter and I built for the listener – it’s the one we won’t stare into. There are so many rooms, closets, safes and drawers. But in the soul or your museum of memories, the worst are always the mirrors. Shards and slivers of ghosts haunted my hands when I wrote most of these lyrics.

“Making this record, I had to think to myself: ‘Tame your crazy, stitch your suit. And try to pretend that you are not an animal’ but I knew that mankind is the worst of them all. Making mercy is like making murder. Tears are the human body’s largest export.”

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Releases September 11th, 2020

Nick Sanborn and Amelia Meath

Sylvan Esso  Nick Sanborn and Amelia Meath have shared a new single from their forthcoming album Free Love. “Frequency” arrives with an accompanying music video directed and styled by the group’s friend and collaborator Moses Sumney. Free Love marks Sylvan Esso’s third studio album, following the duo’s 2014 self-titled debut and 2017’s What Now. The new LP is out September 25 via Loma Vista, and it includes previously-shared tracks “Ferris Wheel” and “Rooftop Dancing.”

The video for “Frequency” was choreographed by North Carolina-based Stewart/Owen Dance. Of the visual, Sylvan Esso said in a press release:

We had a fantastic and rewarding time collaborating with our friend and fellow North Carolinian, Moses Sumney, on building a visual world for “Frequency.” He had such a beautiful vision for the project, one that ran parallel to the song’s initial source in a way that showed us new spaces it could inhabit. It’s a beautiful exploration of being together and apart at the same time—we feel it rings clearly in this moment.

New album Free Love out on September 25th

Grabbing guitars this time around, although “The Fight” sees The Overcoats with a slightly rockier and grittier sound, its anchor is still the amazing harmonies that Hana Elion and JJ Mitchell produce. The album is a battle cry; a rallying call as the band forged a new identity. Released at the start of March, it’s almost like they released the perfect album to get us through this pandemic without even knowing it.

Tempering punk energy with vulnerable vitality and irresistible catchiness, The Fight is a ten-song battle-cry. It’s the kind of record that might inspire you to quit your job, run a marathon, divorce your husband, change your life in the way you always wanted to, but needed an extra push for. The Fight is the push. “The idea you have to fight for who you are, what you want, and what you hope to see in the world became poignant for us,” says Overcoats. “We realized the thing to do is not to wait for life to get easier, but to start fighting harder.”

Case in point – the soaring Fire & Fury thanks to its ascending refrain, “We’ll get through it.” If that doesn’t give you the motivation to get through whatever it may be, you’re ice cold. New album The Fight, released March 6th, 2020 Loma Vista Recordings

Band Members: Hana Elion, JJ Mitchell

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The new album, produced by Sturgill Simpson, commits her sky-high and scorching rock-and-roll show to record for the very first time. Whether she’s singing of motherhood or the mythologies of stardom, Nashville gentrification or the national healthcare crisis, relationships or growing pains, she’s crafted a collection of music that invites people to listen closer than ever before.

Margo Price’s take on classic sounds is at once familiar and daring, an infectious blend of Nashville country, Memphis soul, and Texas twang.
On May 8th, Margo Price will release “That’s How Rumours Get Started”, an album of ten new, original songs that commit her sky-high and scorching rock-and-roll show to record for the very first time. Produced by longtime friend Sturgill Simpson (co-produced by Margo and David Ferguson), the LP marks Price’s debut for Loma Vista Recordings, and whether she’s singing of motherhood or the mythologies of stardom, Nashville gentrification or the national healthcare crisis, relationships or growing pains, she’s crafted a collection of music that invites people to listen closer than ever before.

Margo primarily cut That’s How Rumors Get Started at Los Angeles’ EastWest Studios (Pet Sounds, “9 to 5”). Tracking occurred over several days while she was pregnant with daughter Ramona. “They’re both a creation process,” she says. “And I was being really good to my body and my mind during that time. I had a lot of clarity from sobriety.”

While Margo Price continued to collaborate on most of the song writing with her husband Jeremy Ivey, she recorded with an historic band assembled by Sturgill, and including guitarist Matt Sweeney (Adele, Iggy Pop), bassist Pino Palladino (D’Angelo, John Mayer), drummer James Gadson (Aretha Franklin, Marvin Gaye), and keyboardist Benmont Tench (Tom Petty & The Heartbreakers). Background vocals were added by Simpson on “Letting Me Down,” and the Nashville Friends Gospel Choir, who raise the arrangements of “Hey Child” and “What Happened To Our Love?” to some of the album’s most soaring heights.

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Margo Price and her steady touring band – Kevin Black (bass), Jamie Davis (guitar), Micah Hulsher (keys), and Dillon Napier (drums) – will perform songs from That’s How Rumors Get Started at dozens of shows with Chris Stapleton and The Head & The Heart this spring and summer, in addition to festival appearances and more to be announced soon. Find all dates here and below.

That’s How Rumors Get Started follows Margo’s 2017 album All American Made, which was named the #1 Country/Americana album of the year by Rolling Stone, and one of the top albums of the decade by Esquire, Pitchfork and Billboard, among others. In its wake, Margo sold out three nights at The Ryman Auditorium, earned her first Grammy nomination for Best New Artist, and much more.

Releases July 10th, 2020

 

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I’m so excited to announce my third full length album ‘That’s How Rumors Get Started’ will be out May 8th. It was produced by my friend Sturgill Simpson and recorded in Los Angeles. I feel like it’s been a long time coming… I had a baby and felt like I fell off the face of the earth for a while. We live in strange times but I hope this brings a little light to the dark corners of the world. Watch the new music video for my new single “Twinkle Twinkle”. That’s How Rumors Get Started sees Nashville icon and 2019 Best New Artist Grammy nominee Margo Price commit her genre-bending rock-and-roll show to record for the first time, stretching out her emotive twang over sky-high soft-rock, burning psychedelic rock ballads, stomping road songs, and sprinkles of pop. With production from her friend and longtime collaborator Sturgill Simpson, it shows both of them pushing into unexpected directions.

Music video by Margo Price performing Twinkle Twinkle. © 2020 Margo Price., Under exclusive license to Loma Vista Recordings.

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Hana Elion and JJ Mitchell of Overcoats have always made songs with a decidedly sororal harmony; theirs is music of empowerment through thick and thin. But where the folksy electro of 2017’s “Young” proved to be deft art-pop, The Fight looks to be the moment where the New York born and bred duo unfurls into a full-blown pop sensation. With the help of producers Justin Raisen (Angel Olsen, Kim Gordon) and Yves Rothman (Miya Folick, Freya Ridings), Overcoats have crafted singles like the layered, decadent and choral “The Fool” and the absolutely explosive, guitar-heavy “Keep The Faith.” “We realized the thing to do is not to wait for life to get easier, but to start fighting harder,” the pair said in a release, and I’ll be damned if this maxim isn’t bursting through all of Overcoats’ new material.

Our new album draws on the concept of fighting – whether it’s a fight with a significant other, a fight for rights & representation in politics, or a fight against inner demons. with this album, we want people to feel like things they thought were futile are possible, to feel excited for the future. even in these apocalyptic times, we have to keep trying. in trying, we want people to feel powerful in who they are and what they can achieve.

We have a very special dynamic. It’s give and take – when one of us is feeling stressed, the other acts as the calming force. If one of us is nervous before a show, the other brings the excitement. We switch off roles, but we always try to work as a team. We also get to be good cop, bad cop – which is helpful in sticky situations. The best thing about Overcoats’ partnership is the thing that got us started on this journey – the feeling of singing together. That magic feeling, of feeling like everything is perfect just for a moment, that is what keeps us going. It feels like the world isn’t broken, just for a second.

Band Members
Hana Elion
JJ Mitchell

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Soccer Mommy is announcing her sophomore album and follow-up to 2018’s groundbreaking “Clean”. “Color Theory” will arrive February 28th via Loma Vista Recordings, and along with the previously shared “Yellow Is The Color Of Her Eyes,” we’re getting a sunny new track today called “Circle The Drain.” 

Where “Yellow” was defined by overcast reverb, the sound of longing on “Circle The Drain.” feels more playfully nostalgic. “I wanted the experience of listening to Color Theory to feel like finding a dusty old cassette tape that has become messed up over time, because that’s what this album is: an expression of all the things that have slowly degraded me personally,” Allison shared in a press release. “The production warps, the guitar solos occasionally glitch, the melodies can be poppy and deceptively cheerful. To me, it sounds like the music of my childhood distressed and, in some instances, decaying.”

“Circle the Drain” arrives with a video brandishing a dusty-old-cassette aesthetic courtesy of director Atiba Jefferson (you may know him as a character in the Tony Hawk’s Pro Skater universe—or, you know, as a professional photographer).

“Color Theory” is out February 28 on Loma Vista.

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Back in September Soccer Mommy returned with new single “Lucy,” her first song since her 2018 breakout album Clean as well as the first release on her new label Loma Vista Recordings.

She’s since returned with her new song “Yellow Is The Color Of Her Eyes,” a devastatingly beautiful 7-minute plus epic that features Mary Lattimore on harp that got an equally lush music video that was directed by acclaimed director Alex Ross Perry (Her Smell). There’s not a wasted second on the track and not one moment that isn’t pulling some well-earned heartstrings. It’s great to see her continued evolution as an artist and based on these last two releases, her next album should be something special indeed.

Sophie Allison gave a little bit of background on the track, which you can find posted below along with the music video and her newly announced 2020 tour dates.

The song was inspired by a time when I was on the road constantly and I felt like I was losing time – specifically with my mother. It’s also a song that I feel really showcases my writing when it comes to instrumentation, so it’s one that makes me really proud.

“There are no problems in the studio—there are only a million solutions,” says Local Natives’ Taylor Rice. The singer-songwriter is recounting crucial words of wisdom from producer/ engineer Shawn Everett, the acclaimed sonic guru who shepherded the indie-rock band through the left-field experiments that spawned their fourth LP, Violet Street.

The album, with its lush arrangements and signature three-part vocal harmonies, isn’t exactly a departure: The seductive, Fleetwood Mac-like grooves of “Café Amarillo” and heart-crushing, string-heavy balladry of “Vogue” could have fit snugly on 2013’s Hummingbird. But intimate listens reveal sparks of madness: the bizarre radio sample and ghostly vocal loops that haunt “Tap Dancer” the creaky percussion tracks and abrupt burst of noise in “Shy” and how the drums on “Megaton Mile” gradually decelerate to form the main groove of the atmospheric “Someday Now”.

“As musicians, sometimes you get into this logic puzzle, and you feel like you need to put everything together in this beautiful and wonderful way,” Rice says. “But our energy throughout [Violet Street] was staying connected to the idea that music is this magical thing that emerges more or less spontaneously. There are really no rules at all—and there’s a million ways a song can come together and finish.”

Local Natives planted the first seeds of Violet Street, shortly after their tour supporting Sunlit Youth. Exhausted from the road and ready to unwind at home, the quintet—Rice, fellow singer-songwriters Kelcey Ayer and Ryan Hahn, bassist Nik Ewing and drummer Matt Frazier received an offer to play a wedding in Mexico.

“It was a really intriguing offer, but it was like, ‘No, we have to focus. We’re really excited to be home and writing,’” Rice says. “Then they were like, ‘What if we give you a free month at our compound for a writing session?’ It was such a crazy offer, and we were like, ‘OK, that would make it make sense.’ We played the wedding and came back later and were there for a month. We were in this hut on the beach on the West Coast of Mexico. We were set up in the jungle on the edge of the ocean.”

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They formulated most of their new songs in that month-long retreat, accumulating a collective pile of iPhone recordings. “That’s where we started the writing and got the vibe going for the record,” Rice says. “The biggest difference from before is that we didn’t do any generic pre-production. We can be methodical going into the studio [The National’s] Aaron Dessner was the first to help us crack out of it a bit [when he produced] Hummingbird. Yet, we took it to its most extreme for this album.

That’s also where the madness began. Everett briefly worked with Local Natives as an engineer on Sunlit Youth, leading the band to experiment by recording outside and on the studio roof. And in December, during a test run to lay down some initial ideas at his LA warehouse-studio, he proved just how weird he was willing to get in search of an original idea.

“We had these voice memos from Mexico, and we went in and were like, ‘Here’s ‘Megaton Mile,’ which is this song about the apocalypse, but it has this upbeat vibe like Talking Heads meets The Clash,” Rice says. Picking up on that thread, Everett decided to channel the Talking Heads’ approach on their 1980 track “Once in a Lifetime,” recording eight-bar loops that the band would then “perform” by pushing up the faders in real-time. Rice admits they were a bit skeptical.  But the warped ideas kept producing quality results.

High on the thrill of the tape-loop madness, the band decided to trick out “Megaton Mile” even further by recording the percussive clank of glass Coke bottles, each filled up to achieve the appropriate pitch. “Then Shawn was like, ‘We should just use these drums for the next song [the much slower ‘Someday Now’],’” Ayer says. “And we were like, ‘What are you talking about?’” The producer then calculated how the percussion should be pitched to account for the difference in BPM and key between the two songs, splitting the difference between a music theory test and science project.

At this point, after being blown away by the results of their tinkering, Local Natives knew they’d found the perfect studio shaman to join them down Violet Street. “We all huddled together as a band and went, ‘OK, we have to lock him in as an engineer/ mixer/producer,’” Rice says. “He was game and wanted to do the whole record.”

From there, every day in the studio was built on that sense of childlike exploration. Everett’s bag of tricks included using the randomness of Brian Eno’s “Oblique Strategies” (cards labeled with cryptic suggestions aimed to guide musicians in a new direction), messing around with tape machines and samplers, and performing songs in dozens of styles to see which fit best. (The twitchy, anthemic “Gulf Shores” also existed in a more meditative, piano-heavy version, along with what Ayer calls a “jungle-y, insane, Animal Collective-y version.”)

In this special presentation of The Ringer Room, beloved L.A. band Local Natives perform three tracks from their latest record, ‘Violet Street’ and an old fan favorite from their debut album, ‘Gorilla Manor.’ In this stripped-down setup, these songs take on a new feel, highlighting the band’s signature vocal harmonies and heartfelt songwriting.

Set List: “When Am I Gonna Lose You” 0:07 “Café Amarillo” 4:02 “Megaton Mile” 7:45 “Wide Eyes” 11:17

Rice likes to playfully brag that he was the first band member onboard for that wild ride, with Ayer straggling behind. “I was the first in the band to jump on the Shawn rollercoaster,” he says. “I like razzing Kelcey about it now because he was the one dragging his feet, like, ‘I don’t know—we should just record it in a normal way.

“He’s right,” Ayer admits, fake-threatening his bandmate with a fight. “Shawn is so brilliant, but he has all these tangential ideas, . There were a bunch of times early on where I was like, ‘This is awesome,’ but he wanted to go further. I’d be like, ‘I don’t want to fuck with this thing we just did that’s so rad.’ I’d just want to work on a song in a normal way, and he never wanted to do that.  Earlier on, we were pitching the songs, and he’s like, ‘We should record everyone’s instruments into the sampler, and everyone will play different samplers into the tape machine.’ I’m like, ‘Ugh, let us just play it!’ But whenever I’d get frustrated, everyone would be like, ‘No, no, let’s just try it.’ It ended up taking me a little longer but, after like four or five instances of doing that—and the end product being undeniably amazing.

Everett’s exploratory approach befitted a band desperate to record as a unit, to veer away from the fractured process that birthed Sunlit Youth.

“There’s an interesting cause and effect constantly happening,” Ayer says. “After Hummingbird, everyone was ready to feel really happy and fun again, so we wanted to lean poppier and a bit brighter. There were a lot of people in different rooms, producing songs and bringing them to the band. But we did that, and we were ready to be more of a band again. There was some sort of pendulum swing back [with Violet Street]. First and foremost, we just wanted to play together again.”

“There was a pendulum swing,” Rice confirms. “And we did have all these conversations before, even when starting to write the record, of, ‘Guys, let’s return to something that’s all five of us in a room performing off of each other, all the musicians in one space.’ That’s a big opposite of Sunlit Youth, where we wanted to be completely free of that. The other part of it was just pure luck that we were working with an absolute mastermind, genius producer.”

Both Rice and Ayer estimate that over 90 percent of their far-out experiments wound up on the album, but one notable exception is “Munich I,” a sprawling, eight-minute instrumental jam that was too unwieldy to crack the LP’s compact tracklist. In order to facilitate new ideas for the song, Everett pulled up the Radiooooo app, which generates random music after users select a country, decade and mood.

“We set up live in the room, playing off each other,” Rice says.  We’d listen to the song for like 30 seconds to get the vibe then play for five minutes. We had the sweetest jam ever we couldn’t even believe it was us. It’s this incredibly ambitious project we were so in love with, but we just couldn’t make it work. It’s still alive somewhere in the back of our minds.”

“He’s a workaholic doing 14-hour days every day,” Rice says. “We forced him to go on vacation during the record. I booked his flight and accommodations in Greece. A lot of producers are like, ‘Here’s my huge bag of tricks,’ but Shawn always wants to try something he’s never done—possibly something nobody’s ever done.” Crucially, Local Natives weren’t just screwing around without a plan. They were armed with the hookiest, most poignant songs in their catalouge including “When Am I Gonna Lose You,” a number Rice wrote for his future wife in the early stages of their relationship.

“It’s probably the one I was most lost in the deep, epic journey of,” Rice says. “I think I drove the other bandmates a little nuts, but Shawn went with me. We explored 40 versions of the song before we hit the final one. Originally it was a slow, sad, very weepy acoustic song. A dark LA Fleetwood Mac vibe was one of the guideposts we had aesthetically. I thought it would be this slow ballad, and it turned into a driving groover on day one.

“Lyrically, it [came from the idea of ] having this incredible thing in your life that feels too good to be true,” he adds. “It’s a pretty sad name and idea for a love song, but it’s the idea that fate is going to intervene or I’m gonna mess it up. The whole thing takes place in Big Sur, and I heard the final mix of it driving up the 1 on [the Pacific Coast Highway] to Big Sur with my wife, whom I married in August of 2018. We heard it together for the first time, and that’s where the story in the song had begun. That was a really surreal, insane moment.”

Violet Streetis the polar opposite of Sunlit Youth’s gleaming, stadium-friendly tunes it’s grimier, darker and, like the recording process itself, full of fascinating detours. As Ayer reflects, it’s closer to the type of music they’ve always envisioned making.