Posts Tagged ‘v’

wooden-shjips

Wooden Shjips’ rise to prominence from the psychedelic underground to the rock and roll overground has been a steady sojourn. With each new release, the band has found new ways of transforming heady psychedelic rock into minimalist masterpieces, bridging the gap between the woozy freeness of Les Rallizes Denudes and Crazy Horse and the simplicity of Suicide and the Velvet Underground

Wooden Shjips, are from the bay-area of San Francisco, the quartet led by Moon Duo’s Ripley Johnson, release their fifth album, V., via the stalwart label Thrill Jockey Records today. As the shadows cast begin to lengthen out here on the east, this new disc’s heavy dose of warm shoegaze psych is a more than welcome companion. Embodying the psychic spectrum of a nighttime desert drive, a lost weekend in the valley of beyond, the band alchemizes atmospheric ripples of ragged glory guitar, sorcerous waves of synth, free jazz skronk, and blissed out boogies. It’s a summer-tinged collection, emitting its freak out transmissions across high noons and blood moons alike

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Spaced out rockers Wooden Shjips are back with the full length album V. True to their style, Wooden Shjips deliver with laid back jams with definite influences from Buffalo Springfield on their released song “Staring At The Sun” their their psychedelic twist. This seems to be the only limited release over at Thrill Jockey on opaque red vinyl.

Here is a little blurb about the release:

Wooden Shjips, long-time leaders of the contemporary psychedelic movement, expand their sound with V. The quartet of Omar AhsanuddinDusty JermierNash Whalen and Ripley Johnson augment their already rich sound with laid back, classic summer songs. The songs were written during the summer of 2017 by singer and guitarist Ripley Johnson as an antidote to the pervasive anxiety both political and natural. As Ripley tells it, “We had huge forest fires just outside of Portland and there was intense haze and layers of ash in the city. I was sitting on my porch every evening, watching ash fall down like snow, the sky looking like it was on fire. It was an apocalyptic feeling. Summer in Portland is usually really chill and beautiful, and we were working on a ‘summer record,’ but the outside world kept intruding on my headspace.” V., a graphic representation of the Peace sign, seemed apt to an album focused on the power of peace, beauty and resistance. The music is a balm against the noise and negativity.

Each song shimmers with a distinctly Wooden Shjips sound, a relaxed summer vibe. This was a conscious choice, an atmospheric goal that influenced nearly every detail: the tones, the delay types and reverbs used, as well as the synthesizer elements that color the songs. The basics were recorded by Jason Powers at Types Foundry Studio in Portland. The guitars and vocals were largely recorded in Ripley Johnson’s comfortable home studio. The album was mixed by Cooper Crain (Cave, Circuit Des Yeux) who the band has formed close bonds with on tour. The instructions were simple “We told Cooper to keep it really fat but to feel free to play around with the other elements, make a nice headphone mix with a lot of movement,” said Ripley, “I wanted it to be floaty because that’s kind of where my headspace was at the time.”

LP version packaged with full color artworked inner sleeve and free download card. A limited supply pressed on opaque red color vinyl and only available via Thrill Jockey mailorder or the band’s merch table.
Includes digital pre-order of V.. You get 7 tracks now (streaming via the free Bandcamp app and also available as a high-quality download in MP3, FLAC and more), plus the complete album the moment it’s released.
digital album releases May 25th, 2018

“Already Gone” is from Wooden Shjips new album ‘V.’ out on Thrill Jockey Records.

Wooden Shjips’ rise to prominence from the psychedelic underground to the rock and roll overground has been a steady sojourn. With each new release, the band has found new ways of transforming heady psychedelic rock into minimalist masterpieces.

Wooden Shjips, are long-time leaders of the contemporary psychedelic movement, here the band expand their sound with V. The quartet of Omar Ahsanuddin, Dusty Jermier, Nash Whalen and Ripley Johnson augment their already rich sound with laid back, classic summer songs. The songs were written during the summer of 2017 by singer and guitarist Ripley Johnson as an antidote to the pervasive anxiety both political and natural. As Ripley tells it, “We had huge forest fires just outside of Portland and there was intense haze and layers of ash in the city. I was sitting on my porch every evening, watching ash fall down like snow, the sky looking like it was on fire. It was an apocalyptic feeling. Summer in Portland is usually really chill and beautiful, and we were working on a ‘summer record,’ but the outside world kept intruding on my headspace.” V., a graphic representation of the Peace sign, seemed apt to an album focused on the power of peace, beauty and resistance. The music is a balm against the noise and negativity.

The first single “Staring At The Sun” is a nearly 8 minute laid back, slowly building narrative, whose lyrics tell of a gentle push and pull between the desire for sun and escape and the tug of anxiety, with peaceful resistance winning the day and guiding the tone. The restless traveler Johnson gives us a few of his signature traveling songs such as “Eclipse,” and “Red Line,” both showcases for the stellar rhythm section of Omar Ahsanuddin and Dusty Jermier. Their unparalleled sense of groove and restraint leaves ample room for Nash Whalen’s keyboard flourishes. There is movement and urgency in these tracks without aggression, a rolling foundation of rhythm over which Johnson’s voice floats and elongated melodic guitar lines soar.

Each song shimmers with a distinctly Wooden Shjips sound, a relaxed summer vibe. This was a conscious choice, an atmospheric goal that influenced nearly every detail: the tones, the delay types and reverbs used, as well as the synthesizer elements that color the songs. The basics were recorded by Jason Powers at Types Foundry Studio in Portland. The guitars and vocals were largely recorded in Ripley Johnson’s comfortable home studio. The album was mixed by Cooper Crain (Cave, Circuit Des Yeux) who the band has formed close bonds with on tour. The instructions were simple “We told Cooper to keep it really fat but to feel free to play around with the other elements, make a nice headphone mix with a lot of movement,” said Ripley, “I wanted it to be floaty because that’s kind of where my headspace was at the time.”

The band’s members collectively share a love of classic rock from the Velvet Underground to Neil Young, as well as more overt love of the San Francisco scene of the 60’s.

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Releases May 25th, 2018

THE HORRORS

The Horrors return with their fifth album and it’s full of synth pop and futurism – produced by Paul Epworth and released on his label. There’s darkness, windswept melancholia and self destructive noise. The Horrors have raided the 80’s closet and deliver a thrilling and substantial pop album.

With their fifth album, The Horrors have delivered their best batch of songs to date, a further refinement of the formula—Simple Minds-esque new wave meets baggy Madchester meets shoegaze psychedelia—that the British group has been perfecting ever since 2011’s Skying officially shrugged off the group’s gothic, shriek-punk origins. These songs are also their biggest: There isn’t a moment on that doesn’t sound tailored for arena stages (where the group’s lately been playing with Depeche Mode, an obvious influence on roiling industrial cuts like “Machine”), yet minus the pomposity that so many groups tend to affect at that level. It’s a perfect distillation of The Horrors’ slow and deliberate evolution over the years. It will be hard to top.

new record, “V”, is coming out on September 22nd

Image may contain: 5 people, people smiling, people standing

The Horrors have shared a third track from their new record. Scroll below to hear ‘Weighed Down’. The London-based band will release their fifth record ‘V’ on September 22. It follows on from 2014’s ‘Luminous’.

Following on from the album’s lead single ‘Machine’ and their record’s synth-pop closing track ‘Something To Remember Me By’, The Horrors have now unveiled ‘Weighed Down’. A sprawling, mind-bending and glitchy number,

Music video by The Horrors performing Weighed Down. (C) 2017 Wolf Tone Limited, under exclusive license to Caroline International.

Image may contain: 4 people, people standing

The London-based band will release their fifth record ‘V’ on September 22nd . It follows on from 2014’s ‘Luminous’.
With their fifth album ‘V’ out on September 22nd, The Horrors have shared another track from the record, after end piece ‘Something To Remember Me By’  they dropped last month, and ‘Machine’ before that.

‘the song’ is the latest and where the band large it on psychgaze guitars and deep rhythms.

The Horrors - Something To Remember Me By

The Horrors  have always had that danceable sound, whether it’s the bright, shiny synths of ‘Who Can Say’ or the grit of ‘Endless Blue’, the five-piece have always been able to make a crowd move. It’s not until now, though, that they’ve fully embraced groove. ‘Something To Remember Me By’, its the closing track from the band’s upcoming fifth album ‘V’, settles into a rhythm early and doesn’t flinch for the next seven minutes.

Embracing the euphoric, propulsive synth-pop of New Order, Faris Badwan’s howl is replaced with a calm but probing whisper, one that proves to be equally affecting. The polar opposite to the band’s muddy, chaotic first single ‘Machine’, the new cut feels like the perfect album closer, and leaves the form and shape of what comes in between across ‘V’ an enticing prospect. A highlight of the band’s recent Latitude set, ‘Something To Remember Me By’ also looks to already be a highlight of their discography.

There’s a moment – exactly as the track hits the four-and-a-half-minute mark – the kind of moment to send blood coursing and incite an unstoppable sense of euphoria. Sending the track, and new album ‘V’, off into a simply wonderful finish, it could be the best thing The Horrors have ever written.

WAVVES – ” Way Too Much “

Posted: October 10, 2015 in MUSIC
Tags: , ,

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San Diego’s limitless supply of sunshine never gets old. From the sound of the new album V the band. Wavves aren’t tiring of their version of that formula either. The city’s indie-surf sons have emerged from the garage once again with seemingly upbeat, jangly songs contrasted by depressing lyrics revolving around losing your job (“All the Same”), losing your girl (“My Head Hurts”), losing your friends (“Cry Baby”), and losing your life (“Flamezesz”). But this time around, they’re back with controversy in tow—thanks to frontman Nathan Williams’ Twitter-bashing of his record label. That’s not a surprise to anyone who’s seen him throw Pete Doherty-worthy antics onstage, or to those who have listened to him whine while crooning, as he does on “Way Too Much”  (“I’m just stumbling / And I’m looking for a purpose / I’m just leaning / And it’s coming to the surface too much / Always thinking too much / This conversation is getting boring / I’ve given up and now I’m on the ground”). With V, Wavves haven’t completely given up yet, but they certainly aren’t trying anything new, either.


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