To celebrate his birthday, Dustin Payseur of Beach Fossils released a cover of Yung Lean’s “Agony,” and shot an impromptu video while “walking around in a haze,” as he phrases on Twitter, early this morning. The group transforms Lean’s version, adding layered instruments to the otherwise naked track. Payseur’s swoony arrangement basically transforms “Agony” into a really good Beach Fossils song and, oh no, suddenly we have all these feelings.
“Agony” originally appears on Yung Lean’s Stranger, with Lean stretching his voice over somber piano keys, conjuring up Beauty and the Beastimagery of dancing with candlesticks. For a group with roots the DIY scene, the cover might seem kind of weird on its face, but Payseur and his pals have always been voracious listeners. In addition to his robust collection of 80s UK hardcore, he and the band spent a fair amount of time around the release of their last album Somersault talking about how its patchwork construction was inspired by 90s rap and its production’s sample collagework. Also, for what its worth, sometime in the months since the release of Somersault they’ve apparently become friends with Post Malone after repeatedly @-ing him on twitter
The long-awaited return of Brooklyn’s Beach Fossils, “Somersault” showcases a band in bloom. Augmented with more complex instrumentation, including string arrangements, piano, harpsichord, flute, and sax, the new songs offer multi-layered pop guided by sharp, poignant, and honest lyrics. These songs pulse and pull, capturing a blend of promise and heartache. It’s beautiful and layered, a refined, sweeping creation that threads together numerous styles, textures, and themes into a refreshing, singular vision. [Limited edition red color vinyl pressing also available.]
Launched in 2009 as the solo project of singer-songwriter Dustin Payseur, Beach Fossils has since expanded to become a full-on rock quartet. On previous albums Clash The Truth, released in 2013, and their self-titled 2010 debut, the band have fleshed out Payseur’s delicate, melodic compositions, amassing a solid catalogue of songs that toe the improbable line between dreamy and anthemic.
On their latest full-length, Somersault, Beach Fossils add even more nuance to their brand of melancholy guitar pop. While the music is bright and playful, the lyrics find Payseur struggling through loneliness, underscoring the impermanence of personal relationships.
The heady, mid-tempo, piano-pop groover “Saint Ivy” combines a bouncy rhythm with dynamic classical strings, as Payseur’s lyrics touch on both cynicism and hopefulness. With its weaving bassline and the chorus’s gently-circling guitar, “Sugar” could be an outtake from a lost 4AD record. Underneath the gauzy instrumentation, Payseur’s vocal refrain—“On the outside, change your mind, feeling nothing”—hints at detachment and alienation.
The album closes with the softly-jangling “That’s All for Now,” which opens with sorrowful lyrics: “It’s new regret / Isn’t it funny how we forget?” Payseur sings. Eventually, the song’s mid-tempo groove gives way to tender, wilting slide guitar, as Payseur advises: “Keep moving on, keep moving on.” It’s a fitting end to an album that reconciles the immediacy of heartbreak with the transitory nature of life and love.
Beach Fossils “Social Jetlag” from their album “Somersault” out June 2, 2017.
Today Beach Fossils roll out their new single “Saint Ivy.” The video pays homage to New York City artists.The featured dancers have all grown up through the NYC school system. Merrie Cherry is a Brooklyn-based drag queen. The directors and the band themselves are all based in NYC as well.
Beach Fossils encourage fans and viewers to make donations (if they are able) to two incredible organizations: National Endowment for the Arts and Center for Arts Education NYC (both falling victim in recent times to our current administrations’ budget cuts).
Brooklyn’s Beach Fossils traded the breezy, minimalist indie rock of their debut for a more aggressive, punk-inspired sound. Now, it seems, they’re opting for something both poppier and more heartfelt. On June 2nd, the band will release their third LP, “Somersault”, an album with which the band has, according to a press release, “channeled years of experimentation into expansion and reinvention.”
Strings aren’t the only new instruments you’ll find Somersault. Beach Fossils has also heavily incorporated piano, harpsichord, flute, and saxaphone into their arsenal. The album will be released on Payseur’s own Bayonet Records.
Along with the announcement comes the band’s first single, “This Year”, which elevates the jangly dream-pop of yesteryear with stirring string arrangements that reflect the band’s “expanded sonic palette” while providing an added heft to frontman Dustin Payseur’s hushed vocals. Of the song, Payseur says it’s about facing mistakes you’ve made, aiming to work on it and better yourself, but ending up making the same mistakes again. It’s kind of an endless loop. People always aim to make New Year’s resolutions, get a fresh start, but ultimately fall back into these old bad habits.”
Beach Fossils “Saint Ivy” from their album “Somersault” out June 2, 2017.
When Dustin Payseur’s band Beach Fossils began making waves, they were lumped into the low-fi indie genre that seemed to be dominating underground music in both the UK and across the pond.
With bands like Wavves, Best Coast and Wild Nothing music critics worldwide were collectively housing them under type,collectively the fact that each of them were glorified bedroom musicians. Here we had a new wave of artists that were producing and releasing track after track for next-to-nothing usually from their own recording studio, they could craft a record all by him/ herself without the need for a big budget. Gone were the days of plush recording studios and a heap of session musicians to pad out your arrangements. These artists were breathing new life into the music industry .
Some of these bands capitalised off the back of their initial success, by going on to gain a cult following worldwide and, while not selling out arenas, released an assortment of singles, EPs and LPs that are still cherished today; one of these bands are Beach Fossils.
When you listen back to the band’s self-titled debut (2010), there’s still an air of excitement and a raw, nostalgic quality to their music. if you caught them live, line-ups would often change, with guest appearances from fellow musicians within the scene with the likes of DIIV;s Zachary Cole Smith regularly jumping in to assist on drumming or guitar duties. There was a similar aesthetic on their EP, What A Pleasure (2011), with an airiness to each composition and, again, guest appearances from their pals on Captured Tracks; the hip independent label to whom they were signed at the time. Production, however, was much crisper on “What a Pleasure” and there was a sense of a band wanting to explore their overall dynamic further.
2013’s “Clash the Truth” exposed the band’s grungier side and, while the song structures were almost identical to the ternary form heard on their debut, there was still a clear progression. As a listener, you could hear a seriousness and professional quality now to the songwriting that Payseur was producing; tracks such as “Caustic Cross” and “In Vertigo” (feat. Kazu Makino)” were standouts.
That brings us to their latest release; “Somersault “(2017). Clocking in at a comfortable 36 minutes, each track is still in the typical Beach Fossils format. All but one (“Be Nothing”) stays beneath the four minute mark and once again follow the basic verse – chorus – verse – chorus structure. Opener ‘“This Year” sets the tone for the album and sees the band mellow out quite dramatically in comparison to Clash the Truth. In-keeping with their current trend, the production seems even more polished with an array of heart-warming acoustic and clean guitars. The key focal point, however, is the introduction of the string section; it sounds amazing!
Finally, Beach Fossils seem to have shaken themselves loose from the shackles of their indie dream-pop days, revealing a band in their prime; Payseur at the peak of his songwriting career. The string section reappears on numerous tracks across Somersault, each time providing ear-cleansing, harmonious arrangements that diatonically compliment the music and guide the listener throughout a euphoric journey.
Somersault wouldn’t be a Beach Fossils record if there weren’t a few collaborations though and, as expected, there’s no exception here. “Tangerine”, features Slowdive band member Rachel Goswell, has a much dryer feel with dominant acoustic guitars and, again, that sexy string section in the chorus beneath Goswell’s distant vocals. “Rise (feat. Cities Aviv)” sees the band branch out and explore R&B, with saxophones and a lazy kick/ snare pattern. This is a first for Beach Fossils, but you wouldn’t think it and, weirdly, the track doesn’t seem alien to the album; it fits in nicely. “Sugar” is a killer track its aching synth progression and floating nature.
Overall, the most amazing aspect about Somersault is that it still has that bedroom-composed feel. While Payseur has matured dramatically over the last decade, he still manages to consistently produce records that reflect his roots and he highlights just how easy it is to create a catchy, successful LP .
After four years, Beach Fossils has made a triumphant return with their new album, Somersault. It has been described as a “sonic tapestry” of “breezy music both melancholy and uplifting.” pre-order the limited edition LP, regular black vinyl LP, CD, cassette, and an extra-limited edition LP bundle package, which comes with the limited color LP, a goodie bag with a Beach Fossils sticker, pin, and guitar pick, as well as a full-color poster signed by the band themselves!. These lovely full colour posters are also available to be purchased individually .
To kick off the album campaign, the band has released their very first single, “This Year.” You can stream the lush new single
Beach Fossils “This Year” from their upcoming album “Somersault” out June 2nd, 2017.
When Dustin Payseur’s band Beach Fossils began making waves, they were lumped into the low-fi indie genre that seemed to be dominating underground music in both the UK and across the pond.
The Fat Angel Sings 