Posts Tagged ‘Los Angeles’

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There are five members in the pan-Californian band Spice who’ve contributions lay equally on the surface of their debut album’s crackling, rocky complexion. Formed in 2018 and based across California, each members’ roots are in the North Bay of San Francisco. Spice’s sound pulls from the sense of melody and drive inherent to Bay Area pedigree, peppered with modernity and awash with an anthemic haze. The hook is in the connection as much as melody, with each song building its inner narrative and exploration of affliction. At its epicenter of those fault line is most notably that of vocalist, Ceremony frontman Ross Farrar. Following Farrar’s career throughout his shape-shifting hardcore-punk band as well as projects like his shoegazing offshoot the Down House, he’s never shied away from applying varying degrees of pressure onto sound, and on “Spice”, we experience this in one of its most focused instances of aggression to date.

Alongside Spice bandmates in fellow Ceremony drummer Jake Casarotti, bassist Cody Sullivan (No Sir, Sabertooth Zombie), guitarist Ian Simpson (Creative Adult,) and violinist Victoria Skudlarek, the collective’s “deliberate isolation of pain” through fascias of hardcore and indie rock channel themselves through in non-stop urgency that makes for one of the year’s most rewardingly thrill rides in anxiety-riddled head charges and whirring melodies. The listen is pop-induced, billowing in the air, and heavy like a pile of bricks at once, and when all of these elements atomize onto one slab, we hear how pain even in isolated form comes in many forms.

The audacity for Spice to entitle a song called “I Don’t Wanna Die In New York City” and to have it bark back through the dark city mania of an early Walkmen track is a sticking point that echoes throughout the rest of the listen. It’s been almost two decades since the Aughts’ NYC underground sculpted a movement in rockism, after all. That’s enough passage to warrant revisioning metropolitan nightmares through a modern lens with windows dirtied and pushed out here on tracks like “BLACK CAR” and the “The Building Was Gone”.

With “First Feeling” and “All My Best Shit”, Spice punctuate post-hardcore and brainy pop-punk with tightly-wound exclamations and sharp brevity. There’s a separation from where they stand against sinking into familiarity, however, thanks to the searing heat radiating from Victoria Skudlarek’s violin strings, sparking instantaneously as they careen through the former. On “Murder”, she helps orchestrate a dark secret life lived, and on “Reward Trip” she guides an electric third rail down a lost highway. Later on “26 Days”, she and her Spice ‘mates stretch light with a towering wait.

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Honed over late nights at Panda Studios in Fremont, California with producer Sam Pura (Basement, The Story So Far, Self Defense Family), Spice spent hours tweaking it until it became a little world formed by what they refer to as “the power of groupthink.” Sprinkled with field recordings—audio snapshots from the member’s every-day-lives—the record offers an intimate twist that builds on its theme of a single thread that connects everything with continuity, making it a single organism with as many depths as questions.

The totality of Spice in its 30-minute listen, with its non-stop concentrate of pain succeeds as a group exercise in attempting to control that which consumes us. That it also happens to be knockout debut from a band whose makeup continues to reinvent themselves by leaving no corner of underground rock uncovered as a conduit to carry this out only helps it go down easier. The record diverts from a singular mood, tempo, or delivery, instead focusing on orchestrating emotional drain as single impulses—fast, slow, driving, simple, and layered—that coalesce in their machinations. At its core, Spice’s Self-Titled album is wired together by brawny and brittle guitars, lock-groove rhythms, and vocals announce each moment and mood.

Released July 17th, 2020

Julian Shah-Tayler a.k.a. ‘The Singularity’ presents ‘Devil Knows’, his new swagger-filled single with the A-single featuring the original version, the B-side involves three notable members of alternative rock royalty – David J, MGT (Mark Gemini Thwaite) and drummer Marc Slutsky.

Aptly named ‘Devil Knows Ruby Rock Version’ due to the fact that all three of these collaborators were involved in Peter Murphy’s extensive international Bauhaus Ruby celebration tour. Bassist David J needs no introduction, having founded Love and Rockets and Bauhaus. Mark Gemini Thwaite is best known for his prolific work and touring history with the likes of Tricky, The Mission UK, Peter Murphy, Ashton Nyte and The Wonder Stuff.

This new track follows hot on the trail of his single ‘Evolution’, which also involves contributions by MGT and Gene Micofsky (and the b-side remix by Mark Gemini Thwaite himself)

“This song is about losing people. The devil is always present when we lose the connection with people. The death of Love, a break in the heart. Communication breakdown. But we try and try,” explains Julian Shah-Tayler.

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Hailing from Leeds, England and now LA-based, singer, writer and producer Julian Shah-Tayler makes electro rock new wave ‘intellipop’ for the 30th century. He is currently working with the legendary Robert Margouleff (Stevie Wonder, Devo) on his next album, releasing a few tasters along the way.

Having spent much time as a touring musician, Julian has experienced the pain of meeting and “breaking up with” people every night.

After completing his degree at York University, Julian moved to London as a singer-songwriter with classical training on piano and self taught on guitar. After several abortive record deals with music industry legend Alan McGee, he joined the hip electro clash outfit Whitey as co-writer/ guitarist, recording many of those songs in his nascent home studio.

After parting ways with his bandmates, Julian moved to L.A. to launch his own project The Singularity. There, he has had considerable success with TV and film licenses, known for his work on ‘Plush’, ‘Riot on Redchurch Street’ and Disney’s ‘Maleficent’. He won a Golden Trailer award, along with Daisy O’Dell, for his work with Lana Del Ray on the trailer for the latter film.

In addition to scoring music with O’Dell for the two-time Emmy winning ‘Actors on Actors’ TV show, his music has been performed for Robert De Niro, Bill Clinton and Martin Scorsese via the Unite for Humanity charity at the Oscars.

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Julian also recorded a unreleased album with Joaquin Phoenix and Antony Langdon (Spacehog), as well as directing Island Def Jam artist Kerli 4 for songs he co-wrote with Siobhan Fahey (Bananarama, Shakespear’s Sister). His remix of Nico’s ‘These Days’ with Daisy O’Dell was featured as KCRW’s “one to watch”. He also cofounded the ‘Art Angeles’ charity, teaching underprivileged kids music in Watts.

When he is not writing and recording original material or producing other arists, Julian Shah-Tayler is selling out venues with his David Bowie tribute band ‘The Band That Fell To Earth’, his Depeche Mode tribute band ‘Strangelove’ and moonlighting as singer-keyboardist in The Cure tribute band ‘The Cured’

‘Devil Knows’ is now available released August 21st, 2020

another other place

To our minds at least, A.O. Gerber has been one of the break-out artists of 2020. The Los Angeles-based songwriter released her debut album, Another Place To Need, back in May on Hand In Hive, drawing acclaim from the likes of NPR, Gold Flake Paint and The Line Of Best Fit. The result of three years of recording, the album’s release should have brought with it a host of exciting tour dates, instead A.O. has found herself balancing a full-time job, while debating the importance of sharing music in a turbulent world. With that in mind, today marks the release of A.O’s new stripped back EP, Another Other Place, featuring three re-workings of tracks from her debut album, previewed earlier this week by the wonderful Bleeders (stripped).

While these recordings are new, the inspiration behind them actually dates back to when the tracks were first written, as A.O. explains, “there was a spooky quality to the original demo of “Strangers” that I loved and I almost released it that way initially“. Inspired by the sound of that demo, A.O. sought to capture the same quality in Bleeders, a track that, “came from very dark moments in my life“. While the album version of Bleeders stands out for it’s processed beat and wobbly synth bed, here A.O. seems to channel a different world. Her voice is raw and crackling, the only adornment coming from the reverberating piano, sounding like she’s alone in some cavernous hall, almost absent mindedly plucking out chords as her minds runs circles, trying to make sense of it all, “blue eyes tearing their way through my heart all your true lies I sentence myself, it’s the darkest part of your holy grip on me”. Peeling back the layers of the track seems to somehow get down it’s very core, the troubled tenderness, the quiet longing, the perfect escapism, it’s really rather magical.

Another Other Place is out today via Hand In Hive.

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.

Courtesy of Big Hassle PR

Dawes return to their roots-rock origins for their seventh album, recorded with Nashville superproducer Dave Cobb. “Good Luck With Whatever” comes two years after their previous effort, Passwords, which found the band exploring textured modern rock with long time collaborator Jonathan Wilson. But early offerings from the new LP suggest something closer to the sound of the band’s first two albums: “St. Augustine At Night” is an intricate novella-style song that conjures classic Taylor Goldsmith epics like “A Little Bit of Everything,” while upbeat rockers like “Who Do You Think You’re Talking To?” finds the band channeling Eighties Petty. “In the past, I’ve definitely been more precious about the way I wanted the songs to sound, but that’s never as fun,” Goldsmith has said of Good Luck With Whatever. “The fact that we’re able to lean on each other and celebrate each other as individuals just makes us so much more excited about getting to play together in this band.”

The L.A. rock band Dawes will release their first new album since 2018’s Passwords later this year. Good Luck With Whatever is out October. 2nd on Rounder Records, and lead single “Who Do You Think You’re Talking To?” is out now alongside a fun new music video. The band, helmed by guitarist Taylor Goldsmith alongside his brother Griffin and their compadres Wylie Gelber (bass) and Lee Pardini (keys), recorded the new album at RCA Studios in Nashville, Tenn., with one of Music City’s most in-demand producers, Dave Cobb. “We’re a living breathing organism,” Pardini said in a statement. “People love to say, ‘this record sounds so THIS’ and ‘that record sounds so THAT,’ but to us, it just sounds like Dawes. We make records to document where we are at that time, but every time I check, it just sounds like Griff, Taylor, Wylie and me.”

Release date: October 2nd

Jenny Owen Youngs grew up in the forests of northern New Jersey and now lives in Los Angeles, 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.

Okay so I recorded a cover of “Teenage Dream” by Katy Perry because it’s one of my very favourite modern love songs, and it has been making me feel feelings for the full duration of its decade upon this earth.

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It was my great pleasure to record this (remotely, in quarantine, via Zoom hangs and shared Pro Tools sessions) with John Mark Nelson, who produced and mixed the song with great instincts and great sensitivity. Mastered by the wonderful Jett Galindo at The Bakery.Canada’s sweetheart Devan Power designed the artwork, and incorporated a photograph made by America’s sweetheart, Tucker Leary.

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

 

Lomelda—the indie project of Hannah Read—has shared her new full-length LP “Hannah”, out now via Double Double Whammy. Hannah follows her 2019 album M for Empathy as well as her covers EP with Hovvdy. In usual Lomelda fashion, lead single “Wonder” is cathartic and vulnerable. It’s soft, but it builds into something powerful and poignant, clocking in at just over two minutes. The album was recorded in a studio in Silsbee, Texas, over a period of a year.

Performed by Hannah Read, Tommy Read, Andrew Hulett, Charlie Martin, Andrew Stevens, Zachary Daniel, Adan Carlo and Cody Green

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Released September 4th, 2020

Written by Hannah Read
Produced by Tommy Read & Hannah Read
Recorded in March 2019, July 2019 & February 2020
at Lazybones Studio in Silsbee, TX

 

Tomberlin, the Los Angeles via Lousiville, KY artist, has announced a new EP titled “Projections” with a Busy Philipps-directed video for its lead single “Wasted.” The EP, which was produced by Alex G (Alex Giannascoli) and his bandmate Sam Acchione, continues the arc of her critically acclaimed 2018 debut, At Weddings. The rich vocal harmonies and guitar lines that made At Weddings so riveting still provide the EP’s foundation, but new percussive backing and instrumental flourishes open the path forward for Tomberlin.

What hides in the fog that keeps people apart, and what does it take to cut through it? These questions hang heavily over Sarah Beth Tomberlin’s music, whose hushed and intimate tones orbit answers as much as they savour the unanswerable. To be in relation to another human being is to engage with a deep mystery: We are all fundamentally alone, siloed into confusing bodies, and yet occasionally we find someone who lets us feel as if we weren’t. Tomberlin, the Louisville native who recently relocated to Los Angeles, delights in articulating and amplifying that mystery, picking out its details and marveling at its scale. In singing her aloneness she soothes it, and extends a hand to others reckoning with their own solitude–a paradox that warms her spectral songs.

Tomberlin’s new Projections EP continues the arc of her critically acclaimed 2018 debut At Weddings, weaving new collaborators and new techniques into her signature dusky milieu. Since the LP’s release, Tomberlin has toured with Pedro the Lion, Andy Shauf, American Football, and Alex G, played a Tiny Desk concert for NPR, and given a riveting performance on Jimmy Kimmel Live! The five-song EP, capped with a cover of Casiotone for the Painfully Alone’s stunning “Natural Light,” reflects this period of intensive growth and self-discovery. “I wrote these songs while getting to know myself outside of people’s perceived notions of who I was,” says Tomberlin. “I just started being like, What am I interested in? What do I want out of relationships and friendships? What am I looking for that I don’t have in myself already?”

The rich vocal harmonies and guitar lines that made At Weddings so riveting still provide the EP’s foundation, but new percussive backing and instrumental flourishes open the path forward for Tomberlin. After touring the US with Alex G and playing new songs for the band in their shared green room, Tomberlin reached out to Alex Giannascoli and bandmate Sam Acchione to produce the EP’s four original tracks. She recorded her new songs in Giannascoli’s Philadelphia apartment alongside Acchione and frequent collaborator Molly Germer. The fleshed out sound lends a sense of urgency to tracks like “Wasted,” an uptempo romp across the kind of thorny relationship that withholds as much as it gives, and “Sin,” a song that applies reclaimed Christian imagery to an unorthodox romantic partnership. “I don’t mind sinning if it’s with you,” Tomberlin sings against washes of violin and brushed cymbals. “Say a prayer/Lay your hands on me/I just wanna be clean.”

“I wrote ‘Sin’ while living at my parents’ home and exploring my queerness, but afraid to make it too obvious,” Tomberlin says. “It’s definitely using imagery that gets used against queer people, but making a joke out of it. That’s a thing with queer people. We all use humour to deflect our pain.”

Tomberlin’s ability to pan across the general disaster of human relationality and then zoom in on an effervescent moment of pure intimacy is one of her greatest strengths as a songwriter. Queer people get shuttered under the label of sin by the wider world, and yet despite that brand they steal moments of love and healing for themselves. Love is, generally speaking, a wellspring of pain and dysfunction, but look at the moments where it works. “It’s all sacrifice and violence, the history of love,” Tomberlin sings on EP opener “Hours,” “But remember when we stayed up/And took turns playing songs?” The camera zooms in, and magic alights on the people who suddenly take up the whole frame.

You can refuse the mystery of how people manage to be among each other, or you can delight in what it offers, no matter how fleeting. Tomberlin opts for delight every time. Hers are songs for people who, despite the turmoil of the world at large, despite the weight of its sadness, unshield themselves and fall into wonder.

New EP out October 16th. Produced by Alex G and bandmate Sam Acchione.

“£Projections” comes out digitally on October 16th, with a picture disc vinyl pressing following on November 13th. You can pre-order the limited run picture disc today at the Saddle Creek Records Store.

Harmony Tividad and Avery Tucker aka Girlpool have shared a new remix EP featuring versions of their song “Like I’m Winning It” that dropped earlier this year.

The EP is titled Touch Me (It’s Like I’m Winning It), and it features three different remixes from Dev Hynes, Porches and Lydia Ainsworth. Each collaborator brings new life to the song, from dark and moody with Ainsworth to loop-heavy with Hynes, transforming breaths into beats.

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“It’s really cool to hear our song realized differently by artists we admire. Each remix is so unique and unexpected,” Girlpool said.

Listen to the Touch Me (It’s Like I’m Winning It) remix EP.