Posts Tagged ‘Los Angeles’

WALLICE – ” 23 “

Posted: March 20, 2021 in MUSIC
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It’s still early days for Wallice, but it feels as if the sky is the limit for this 22-year-old singer. She has an understated star power and writes lyrics that cut to the core of the uncertainties of life in your early twenties with a self-deprecating poetry and wry smile. On the two songs that she’s released so far Wallice writes about relatable experiences and the support that has come from fans and tastemakers has been widespread.

Wallice attended the New School’s Jazz Vocal Performance program in New York but dropped out after a year and moved back to California, living at home with her parents and working on her own music. That decision is paying off now, but new single “23” digs into how she felt at the time. “[The song] is about living in my mom’s house and feeling like a failure. 23’s not an old age, and it really shouldn’t be considered that, but I think the media makes it sound like we should be so much further along—especially with all these literal child stars to compare ourselves to. It’s so easy to think about where you should be in life, and what you could be doing to get closer to your goals, but it’s also so easy to sit around and put things off until tomorrow. And sometimes I think that’s an okay thing to do.”

Working with producer and childhood friend Marinelli, Wallice has honed in on a nostalgic, live-feeling indie rock sound that feels more urgent than much of the bedroom pop-adjacent music that is so abundant today. With an entire EP on the way with more driving hooks and lyrics that punch you in the gut like a Phoebe Bridgers couplet, Wallice is well on track for a breakout 2021.

With a sound described as, “West Coast indie pop meets Gen Z existential dread”, Wallice is a Los Angeles-based songwriter, who despite only being 22 years old, has been honing her craft for many years after first dabbling in song writing while still in middle school. After a year spent enrolled in The New School’s Jazz Vocal Performance program in New York City, Wallice returned to LA to focus on her own music, the latest taste of which emerged this week in the shape of new single, 23.

Thematically, “23” is perfectly of-the-moment but sonically, Wallice’s sound is a throwback to around the year she was born – the confectionary riot grrl indie pop of artists like Liz Phair or bands like Bratmobile. Like the riot grrls, Wallice understands that sugar helps mask the taste of strychnine. Add in a dollop of humor and a ton of personality via her impressively well-executed lo-fi music videos .

The follow up to well-received debut single, Punching Bag, “23” is a song of prematurely feeling nostalgic for your youth, as Wallice explains, “much like how people ‘reset’ every new year, it’s comparable to be ‘older and wiser’ with each birthday, but instead of constantly looking to the future, it is important to be happy with where you are.

The track has a personal twist, as Wallice sings of her fathers disappointment at her dropping out of college and feeling like a failure for still living in her mum’s house. Musically, the track is like a bombastic take on the bedroom pop of Soccer Mommy or Snail Mail, the intimate lyricism fused to a deliriously unhinged guitar-line. Wallice might be worrying about the future, on this evidence there’s no need, she’s a star in the making.

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Skullcrusher singer songwriter Helen Ballentine From: Los Angeles California, USA, performs Soothingly vulnerable folk songs that tug at the heartstrings through the use of minimal instrumentation, lush vocals and detailed lyricism. Those who listen at full volume and with intent, however, may find their brains a tad dented after absorbing this four-song, 11-minute introduction.
Why you’re going to love them: Skullcrusher – aka Helen Ballentine – finds beauty in solitude, with lush acoustics and painstakingly introspective lyrics making up her musical repertoire. Her ghostly yet hypnotic melodies interweave with touches of new-wave horror to create a Brontë-esque aesthetic. The result? An arrestingly fascinating style of musical production with the visuals to match. This track ‘Places/Plans’ on her debut EP.

An avowed Nick Drake devotee who also has exquisite taste in ambient electronic music, Skullcrusher builds songs that seem to creep into the room, reside for a few vague minutes to make their presence known and then fade away. As a guitarist, she likes layering a few different takes to create a web of sound, and she does the same with her voice. By the end of “Places/Plans,” she’s repeating in layered vocal lines the lyric, “I don’t have any plans tomorrow.”

Perhaps unsurprisingly given the tenor of the times, Skullcrusher leans into solitude at nearly every turn. “Places/Plans,” she writes in release notes, is her attempt “to communicate the beauty and vulnerability of being alone and what it means to let someone else in to see that.”

“Places/Plans” by Skullcrusher, from her debut released self-titled EP out June 26th on Secretly Canadian. For fans of: Faye Webster, Angel Olsen

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

The sound of Helen Ballentine aka Skullcrusher is not nearly as violent as her alias might imply. Instead her gentle and almost fragile ambient-infected songwriter folk might break your heart instead of your bones. The artist who performs as Skullcrusher crafts work that on the surface is hardly as menacing as her moniker. The simmering, acoustic guitar-centered songs on her debut EP will not collapse your noggin with aggressive rage, distorted noise or irrational violence. 

Last year’s self-titled debut EP was a blissful testament of beauty and vulnerability and felt like a fitting soundtrack for a more introverted life. And since 2021 doesn’t look quite different for now, the haunting sound of Skullcrusher will most likely comfort us this year as well. A full album is expected over the course of this year and we’re pretty sure it will be wonderful no matter if the pandemic is still raging or not. Ballentine also shared her personal hopes for the year with us:

“You can definitely expect more music from me and perhaps some drawings and visual art. My hopes for this year are to become more comfortable with myself and as a result be able to connect with more people through art.“

Issued by the indie music powerhouse Secretly Canadian Group (home to Angel Olsen, Bon Iver, Moses Sumney, Sharon Van Etten and others), which has an ear and eye for breakout talent, Ballentine’s work aligns with the company’s aesthetic: smart, insightful sounds that draw on classic forms but explore them from inventive new angles.

“Farm” the new song by Skullcrusher, out October 19th on Secretly Canadian.

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Helen Ballentine has announced the next project under her Skullcrusher banner. “The Storm in Summer” EP releases April 9th via Secretly Canadian, and has released the title track as an early preview. The five-track follow-up to her 2020 Skullcrusher EP finds Ballentine reeling from the spotlight after experiencing some unexpected success. As she explained in a statement,

“I wrote ‘Storm in Summer’ after releasing the first Skullcrusher EP. Over that summer I thought a lot about what it means to really put myself out there and share something personal. I felt so vulnerable and overwhelmed by the fact that these songs I had written in private were exposed and likely being misinterpreted or disliked. I think the song really tries to communicate these anxieties in a cathartic way while also leaning more into the beauty of relinquishing part of myself.”

The song begins with a kind of sonic disassociation: A banjo played by Noah Weinman seems to come to the listener from a great distance, as if your next-door neighbour played it on the radio. But after a few seconds, everything comes crashing into place. “And I wonder if I go back home,” Ballentine sings, “Can I hide away?/ Or if I step into the storm/ Is it warm?/ Will I find my place?” The track comes with a music video that shows Ballentine staring out of a rainy window, 

Previously, Skullcrusher shared the lead single from “The Storm in Summer” EP,  track “Song for Nick Drake”. Skullcrusher is the musical project of Los Angeles based songwriter Helen Ballentine

With a sound oscillating between psychedelic pop and space rock, Triptides’ album “Alter Echoes” channels both The Byrds at their most hallucinogenic and Floyd at their most cosmically composed while creating something immediate and new. The band has established itself as a preeminent part of the Los Angeles new wave psych music. With “Alter Echoes,” they pull away from the pack, thanks to the quality of their song writing, performance and production. Triptides is led by multi-instrumentalist Glenn Brigman, and with drummer Brendan Peleo-Lazar and bassist/guitarist Stephen Burns.

Another ripper of a single from Triptides this week. Tapping into their fuzz-soaked psych with a nods to garage days gone past, the song was written together in quarantine and the video was shot at a shuttered Zebulon in L.A. Stomping riffs give way to jangles and reverb-laced lyrics. A lounged bridge cools the waters, but only temporarily, and then the band jumps back in with all the force of rave up rippers who’ve long found their place among the new generation of psych-pop acolytes. The band has been especially potent of late in the single format, and this track seems to be yet another stand-alone nugget of heady bliss. While it’s not heralding a new album, it’s more than enough fun to pop on repeat for a few runs around their kaleidoscopic roller-coaster.

With a sound oscillating between psychedelic pop and space rock, Triptides’ album “Alter Echoes” channels both The Byrds at their most hallucinogenic and Floyd at their most cosmically composed while creating something immediate and new.

The band has established itself as a preeminent part of the Los Angeles new wave psych music. With “Alter Echoes,” they pull away from the pack, thanks to the quality of their song writing, performance and production.

Triptides is led by multi-instrumentalist Glenn Brigman, and with drummer Brendan Peleo-Lazar and bassist/guitarist Stephen Burns.

Triptides continues their  jangly, wiggy voyage into the unknown. – SHINDIG! (5 star review)

They write impressive songs, not unlike their more famous inspirations. And in some cases, even better. – AMERICAN SONGWRITER (4 star review)

Brings to mind ’60s psych rock with a sunny California vibe. – GLIDE MAGAZINE

You will be instantly reminded of The Byrds, but these folks bring their own brand of jangle pop to the table, however well worn it might be. And in this pandemic still plaguing us, it is so refreshing and calming to hear upbeat music. – ECHOES AND DUST

L.A.’s Triptides  push a bit more progressive than they have in the past. Still flirting with those summer sun jangles, they slice much deeper into the gauze of their psychedelic side, tapping lysergic pools that hit the psych-pop sweet spot. – RAVEN SINGS THE BLUES

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Marina Allen glides on angelic highs, surfing the husky deep; she is one of the great new voices of her generation. Writing songs that carry notes from other realms; these are kitchen table tales about love and fear, the capturing of the wild heart, sketching the breaking of dawn, bringing real life back to life.

Every song on stunning debut album ‘Candlepower’ is a tick box of influences, asides, inspirations, quickfire theories, storylines and melodic progressions that galvanise a chemical reaction for each dramatic scene that unfolds on this genre-traversing seven song epic.

One listen to opening track ‘Oh, Louise’ underlines the range of Marina’s talent, it’s a filmic play on words, with an arrangement that’s like a Kate Bush dream sequence. It’s the perfect foil for the plaintive strum of ‘Sleeper Train’, a haunting, folky paean fit for Judee Sill brought up to date with some echoey electric guitar; or the conversational ‘Believer’; with a nod to Joni Mitchell in the lyrics it sounds every bit like Simon And Garfunkel at their Big Apple best listening to the ‘7 O’Clock News’ re-imagined on Sunset.

The stuff of legend for a voice that surfs many musical tangents, hovers, and persists, that stings with honesty; morphing from Karen Carpenter’s gentle reverence to Laura Nyro’s soulful grit, moving through the phases like some possessed Dada performance artist before throwing in a melody from Joni at her jazziest or from the close harmonies of the lamented Roches when they flipped out with Robert Fripp.

‘Candlepower’ is a juxtaposition of melodies, an achingly beautiful set of songs set against the clank of the mundane world, a beguiling commentary on the everyday and everywhere. It’s all here, in under 20 minutes… every second counts. 

Releases May 4th, 2021

Beachwood Sparks [Deluxe Edition]

 

Los Angeles’s Beachwood Sparks said that they hated the term “americana” to describe their music . But looking back now, there was something about their sound in terms of the production and energy in it that I think is missing from some of the big names in americana these days. It had that Laurel Canyon country-rock feel of bands like The Byrds and Buffalo Springfield but didn’t feel derivative. There was a buzz about it – the album felt messy but at the same time exciting. And the songs were just crazily good. Those first few bars of opener‘ Desert Skies’ still make the hairs on the back of my neck stand up. Even the cover is one of my favourite album covers of all time. Thank God they were reincarnated into GospelbeacH, but nothing will beat their debut – it’s a record I can’t imagine ever tiring of hearing and it’s great news to hear it is now being re-issued.

If ever a band sounded like the sunbaked children of a partnership between the trippy psychedelic dreamers of the paisley underground and the lonesome cowboys of the late-’60s Laurel Canyon cosmic country, Beachwood Sparks are it. The group’s self-titled debut album is a perfect distillation of the two thanks to soaring pedal steel, winsome harmonies, alternately twanging and swirling guitars, and songs that sparkle like lost gems. The band take care to adorn each sweet and sad melody with note-perfect arrangements that fill every corner of the mix with something good. They coat the melancholy songs in a woody patina of dusky sunlight, surrounding Chris Gunst’s fragile vocals with sympathetic strums and vocal harmonies. “Canyon Ride” is a blue delight, especially when the downcast “doo-doo-doos” come in, “New County” is a lovely laid-back waltz that sounds lifted from a late-’60s Byrds record, and “The Reminder” features some excellent barroom piano and sounds as lowdown and broken as the saddest Gram Parsons song.

The bulk of the album revolves around these tender ballads with the band showing off considerable skill as singers, writers, and players. They balance these moments with a handful that cut loose a little as they kick up some serious dust on rockers like “Sister Rose” or “The Calming Seas,” take a detour to the beach for “This Is What It Sounds Like,” drop some acid-y, guitar-heavy elements into the woozy “Something I Don’t Recognize,” and ramble through some hippie C&W on “Silver Morning After.” No matter the mood or tempo, every song comes across like the band playing at their absolute peak. Most of the members of the group had already been making music for a long time when they started Beachwood Sparks, notably with lo-fi heroes Further, and it shows. They play with confidence and restraint, while still filling the uptempo songs with a sense of joy and the sad songs with tear-streaked soul. Beachwood Sparks might not be the first band to give cosmic country a shot, but their debut album proves right away that they are one of the best.

[The 2020 reissue of the album adds a second disc of single tracks and rarities, including two that were on the Japanese release of the record. Two alternate versions of songs from the album are fun: “This Is What It Feels Like” has an explosive psych-rock coda that doubles its length; “Canyon Ride” leans even more into Laurel Canyon rock with a ripping guitar solo added.

The band’s 1999 Sub Pop single is made up of one of their summeriest tunes in “Midsummer Daydream” and a pleasantly laid-back slice of country-pop titled “Windows 65.” The two tracks from the Japanese album are lovely: “We’d Love to See You” is fine soft rock complete with electric piano; “Surfing Saints” is drifting psych pop that the Rain Parade might have come up with if they were stranded in the desert for a week. Best of all is the previously unreleased song “Morning Light.” It’s hard to see why this jangling, sun-dappled power pop ballad didn’t make the final cut for the album. These extra tracks help tell the complete story of this version of the band and make for an essential addition to what’s already a brilliant album.

Johanna Samuels just announced “Excelsior!”,
Here’s what they say about it: “Before making this record, I felt the furthest from myself that I ever had. There was a lot of cognitive dissonance–wanting to pursue my music while also feeling good about who I am as a person. This record is a lot of me identifying what I don’t want to be & recognizing the importance of listening to each other, understanding that a conversation doesn’t have to end because one person has to be right & the other wrong.

I made it during a very snowy winter with Sam Evian producing at his new cabin studio in the Catskill Mountains. We tracked live to tape, laughed a ton & ate amazing meals. I’ll never forget where I was at when we made it & I’ve learned so much since–through both beautiful realizations & some very painful, disappointing experiences. I’m grateful for all of it because I’ve never felt more like myself. I feel resolute in what I believe & in my musical relationships & friendships. I love the record we ended up making & the personal growth it paved the way for.

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Releases May 14th, 2021

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This week Cherry Glazerr (the Los Angeles-based band led by Clementine Creevy) shared a new song titled “Big Bang.” It marks their first music release of 2021, and is out now on Secretly Canadian Records. Cherry Glazerr shared their first new music of 2021 with a single titled “Big Bang.” inspired by lead singer Clementine Creevy’s time spent listening to DJ Koze, Caribou, Yaeji and Kaytranada. The bass-heavy, atmospheric track is marked by Creevy’s silky vocals and fits of endlessly catchy pop. “I wanted to give it a sort of early ‘aughts pop production feel, with the interplay between the acoustic guitar figure and the bass synth and the 808 hits during the choruses,” Creevy says. “The lyrics came from feeling like I was growing apart from someone who was close to me in my life, and the song is essentially about heartache, but it’s euphoric at the same time. That’s what I like about it — the intensity of those very personal feelings paired with a sort of huge, exposed energy. I feel like I was able to let a lot out with this song. It feels really special to me.” 

Creevy speaks about the song in a press release: “Some songs take on a lot of forms until they finally end up the way they do and this was one definitely one of those. It lived a few different lives for sure, I just kept changing up the rhythms until I was like, ‘oh yeah that’s it right there!’”

She adds: “I wanted to give it a sort of early ‘aughts pop production feel, with the interplay between the acoustic guitar figure and the bass synth and the 808 hits during the choruses. The lyrics came from feeling like I was growing apart from someone who was close to me in my life, and the song is essentially about heartache, but it’s euphoric at the same time. That’s what I like about it the intensity of those very personal feelings paired with a sort of huge, exposed energy. I feel like I was able to let a lot out with this song. It feels really special to me.”

The band released a new song titled “Rabbit Hole” in December of last year. Their most recent album, Stuffed & Ready, came out in 2017 on Secretly Canadian