Showing posts with label Halfsour. Show all posts
Showing posts with label Halfsour. Show all posts

April 4, 2016

Today's Hotness: DTCV, Thin Lips, Spectres

DTCV -- Confusion Moderne (detail)

>> We suppose it's possible another song as enchanting as DTCV's "L'Accord Parfait" will be released this year, but we can't imagine one more enchanting. The romantic swooner is a bit of a deep cut on the Hollywood-spawned duo's forthcoming fourth full-length Confusion Moderne, which is due next week on Xemu Records. DTCV is comprised of songwriters and multi-instrumentalists Lola G. and Jim Greer. If you're sitting there saying to yourself "*That* Jim Greer?" the answer to your question is "yes." For those not in the know, Mr. Greer is -- among other things -- a former member of Guided By Voices and author of the excellent book "Guided By Voices -- A Brief History," which book we highly recommend. If memory serves, Greer also once took us to task on Twitter for using the genre descriptor shoegaze in a non-pejorative way, something we felt oddly honored about. Anyway, the aforementioned "L'Accord Parfait" is a highlight of the very strong album, and achieves an emotional peak in its final choruses as layered vocals beginning a delirious swirl of words. The song and indeed most of the album features lyrics sung in Lola G.'s native French, and these are apparently concerned with "her anti-capitalist, neo-anarchist, radical feminist, and pro-environmental concerns," according to press materials. While it's hard to hear "L'Accord Parfait" in the context of that heavy subject matter, the substantially more gritty "Conformiste" -- whose riffing verses call to mind The Dead Boys' classic punk anthem "Sonic Reducer" -- certainly channels a serious vibe. New York-based Xemu releases Confusion Moderne as a digital download April 8; a very limited edition clear blue vinyl version released in France is already sold out. DTCV plays a hotly anticipated Boston show at O'Brien's Rock Club in Allston Rock City April 17, an evening that also features GBV-ophiles Halfsour, scene heroes Reports and The Dazies. DTCV formed in 2012 and was initially known as Detective, a name borrowed from the title of a Jean-Luc Godard film. The act's previous releases include the cassette However Strange on Burger Records, a label that readers will recall co-released last year The Pre-Fab Messiahs' delightful 10" Keep Your Stupid Dreams Alive. Stream DTCV's "Captain Ennui" and "Bourgeois Pop" via the Soundcloud embeds below, and click here to purchase the set as handy MP3 files.





>> Philadelphia indie-punk unit Thin Lips's Divorce Year EP was one of the best releases of 2015, so we've been eagerly anticipating a full-length from the band. Our proverbial prayers will be answered May 20 when Philly's Lame-O Records releases the quartet's debut long-player Riff Hard. The 10-song set is heralded by the stupendous preview track (and video) "Never Again," a hook-spangled ripper that foregrounds fronter Chrissy Tashjian's potent, emotive vocals. The tune is a 155-second blast of uptempo awesomeness with a shout-along chorus and zippy lead guitar licks. Ms. Tashjian powers the tune with a voice that can do jubilant just as convincingly as bummed. Long-time readers will recall that Thin Lips sprang from the equally tremendous but sadly defunct guitar-pop unit Dangerous Ponies -- other members of DP went on to form emo heroes The Superweaks (which features Chrissy's brother and sometimes bandmate Mikey Tashjian). Sadly, second guitarist Chris Diehm's father is gravely ill with Creutzfeldt-Jakob disease and treatment costs are mounting; two test pressings of Riff Hard were to have been auctioned off recently to help defray those costs, although we're not sure if the auction has happened yet or not. Either way, donations can still be made via Paypal; check out the details here. Thin Lips recently wrapped a short tour with the Max Levine Ensemble; they next play Boston June 23 on an extraordinarily hot bill that also features emo titans Modern Baseball and Joyce Manor. That June show is near the tail-end of a massive strand of tour dates that stretches from late May through early July, making 2016 truly a summer of rock for the act. Lame-O is already taking pre-orders for Riff Hard. The set is available in a limited edition of 750 black vinyl LPs (pre-order here) or as a digital download (pre-order here). Stream "Never Again" via the Bandcamp embed below.



>> We went gaga for the doom-'gaze sounds of Spectres' stunning 2015 collection Dying, and we're not the only ones. If you follow the Bristol, England quartet on the social media, you've seen them popping up next to famouser folks like Henry Rollins or Thurston Moore (maybe we imagined the latter, as we can't find the pic now). Just last week, Spectres disclosed it has been tapped to open a number of vintage shoegaze faves Lush's reunion dates. Dying was recently followed up with a remix collection called Dead that sees songs from Dying getting the remix treatment from luminaries including Ride's Andy Bell, Mogwai's Stuart Braithwaite, and Factory Floor, among others. In all, Dead contains 13 tracks, as Dying standout songs "Mirror," "Sea Of Trees" and "This Purgatory" were remixed doble vez. And yet Dying *still* has not had a proper domestic release. Perhaps that is going to change though, at least in a limited way. According to a recent email, the US LP subscription service Vinyl Me, Please is offering subscribers a limited edition of 300 Dying LPs pressed to "the blood of Phil Collins" red vinyl. The same email says non-subscribers can get the record in "regular shops" in May. It's unclear if that would be leftover stock from the Vinyl Me, Please pressing, or a larger pressing in wider release; it's also unclear if the reference to "regular shops" means US shops. So keep your fingers crossed, we suppose. Spectres is promoting the release of Dead with a strand of gigs in the UK, some of which will include appearances by certain of the remixers; if you are in the UK and fancy seeing a show, we'd suggest looking up the show dates here and buying tickets ahead, as tomorrow night's date at London's Waw Warehouse is already sold out. Stream Mr. Braithwaite's remix of "This Purgatory" via the Bandcamp embed below. Stream all of Dead via Spotify right here.

January 22, 2016

Today's Hotness: Halfsour, Fall Seattle, Rocketship

Halfsour -- Tuesday Night Live (cover detail)

>> We suppose there might be some quibbling, especially as how one defines "big" or "Boston" has some bearing on the matter, but it seems indisputable anyway that the first big Boston album of 2016 comes courtesy of Halfsour. The trio's terrific debut long-player Tuesday Night Live, which streets next week, boasts scads of brisk tunes fizzing with hooks. The first preview track "Porch Sittin" presented a hardscrabble garage sound a la Parquet Courts, but the great strength of the set is its variety of approaches to power-pop (emphasized by the traded-off lead or doubled-up vocals from Zoe and Matt). An outsized melody, caffeinated strumming and explosively boxy snare conspire to make set highlight "Pop Art Pop Tart" a breathless banger. The song careens from verse to pre-chorus to chorus, marrying scritchy guitar chords to just enough jangle to conjure thoughts of Peter Buck. The swinging hip-shaker "Pleasantly Whelmed" also shines brightly, and hints perhaps at Halfsour's purported small-g genesis as a Guided By Voices cover band. The verse of the slow-burning, syncopated "I.K." recycles the classic Beatles "Ticket To Ride" riff, and bursts its seams coming out of a manic chorus with an angular guitar solo that buzzes like a fridge. There's just a lot to like. Tuesday Night Live will be released in a limited edition of 300 LPs and (virtually) unlimited CDs by Jigsaw Records Jan. 29; pre-order the set right here. In addition, Baltimore-based Nebraskan Coast is doing a run of cassettes for Tuesday Night Live, so watch this link for availability, quantity, color, etc.; the label has also done tapes for Princess Reason and Wildhoney, in case you were wondering. Halfsour previously released via Ride The Snake a dandy of a split EP with Boston luminaries Reports in late 2014, which you can purchase from Jigsaw right here.



>> We're longtime fans of Brighton, England's Faux Discx label, in part because the outfit supplies a keen look into a vital slice of the UK underground. Interestingly, the label's latest is shining a light on a terrific act native to these United States, namely Reston, VA space-pop foursome Fall Seattle. The act's self-titled debut, due next month, was two years in the making. And the wait was worth it, based on three very dreamy preview tracks that cast big guitars and sublime melodies within songs the hint at a firm push-and-pull between dream-pop and reigned-in, post-punk influences. The brisk opener "Carol" pairs punchy bass and clangorous, chiming guitar stabs for a spiky composition perfectly topped by a charming, adenoidal tenor. Fall Seattle quickly turns lush on the succeeding track, the winning "Wanda Jackson," which sets sparkling guitar leads against murmured vocals to deliciously gauzy effect. The glimmering strummer "Time" feels especially romantic and recalls the understated and underrated California Snow Story, an act that, incidentally, recently announced its return. An earlier version of "Time" from 2014 is also well worth a listen, although there are few if any structural differences between the two versions, and the differing production values reveal nothing revelatory; it's just a good song that you should listen to more than once, yeah? Faux Discx releases Fall Seattle Feb. 5 in a limited edition of 100 cassettes, and you can already pre-order one right here. Hit the embed below to stream the aforementioned three cuts, which also happen to open the record. We don't see any information about a release show or touring, but we suspect if you watch the band's Facebook dojo information will be forthcoming. Fall Seattle formed in 2012.



>> Given Rocketship's primary auteur Dustin Reske is a bona fide pop genius, it's safe to assume that when it feels like his song is trying to make a point, it probably is. The thought came over us as we listened to the act's dazzling new single "Sleeping Pills," a deliriously upbeat and bright pop gem whose lyrics steadily reference certain of the band's classic recordings. When the old album and song titles caught our ear, we took a look to see if the lyrics were on Bandcamp, and we were pleased to find them there. They describe a relationship in trouble, but we couldn't help but wonder if it wasn't Mr. Reske's relationship with the music industry itself that he was actually singing about. An unedited version of an interview he gave last year, posted to the Rocketship web site, details Reske's forthright opinions on the problems with the business of music. Given that, it's easy to construe lines like "We shared 'A Certain Smile...' but you sold everything, it don't compute, now there's just a certain sadness and ambiguities about the loot" in more than one way. Speaking of Rocketship's older stuff, a Kickstarter for the reissue of the band's absolutely titanic 1996 Slumberland LP A Certain Smile, A Certain Sadness on vinyl is said to be starting next Wednesday or Thursday (!!!), and in the aforementioned interview, Reske stated a new Rocketship record titled Thanks To You would follow quickly on the heels of that reissue. If "Sleeping Pills" -- which previously had only been available at Rocketship's surpassingly rare 2014 live dates in San Francisco and New York -- is any indication, the new LP should be very satisfying for fans. Stream "Sleeping Pills" via the embed below, and start scraping together your cash for the big Kickstarter next week.

April 28, 2015

Regolith A3E3: Supriya Gunda Presents Choices

Regolith A3E3: Supriya Gunda Presents Choices

Wait, wait, wait! Come back! We've got that final installment of the third Regolith -- you know, the one featuring Supriya Gunda of Digital Prisoners Of War? As with installment two, there was some delay in dotting all the i's and crossing all the t's, because life is like that. But we are nonetheless very pleased to be able to present to you the fruits of Ms. Gunda's labor, a concise yet dreamy four-song EP titled Choices. As you will see in her interview responses below, the creation of this music was not without its challenges. But that real-ness is sort of the stock-in-trade of Regolith, non? And honestly, we don't really hear the struggle in the music, which is impressionistic and appealing. Choices, which clocks in at just over 10 minutes, opens with the pretty "Norman." The song foregrounds a chunky beat and pretty synth arpeggio, while Gunda's voice floats in and out of a misty middle ground. The tune faintly echoes '80s visionaries Eurythmics circa Touch, which is a pretty good row to hoe in this blog's opinion. "Privilege" opts for more a more jittery synth cadence and more aggressive beat, but still somehow establishes a placid, contemplative vibe with Gunda's intimate, indistinct vocal. All of Choices is embedded in full at the bottom of this blog post, and we encourage you to take a moment to go hit the play button right now. Read Gunda's thoughts on the new collection and the Regolith process below; if you missed the first two installments, click here and then here. We are extremely grateful to Supriya for participating in the Regolith 30-day songwriting challenge. The next Digital Prisoners Of War show is June 2 at Lilypad in Cambridge, Mass., during which Gunda will be performing solo, as her DigiPOW bandmates will be otherwise engaged. You can experience what we assume will be the full-band DigiPOW experience next on June 18, when Gunda, et al., open a very, very solid evening of indie music that also includes hitmakers Halfsour, Feral Jenny (which is fronted by current Bent Shapes bassist Jenny Shapes) and Baltimore lo-fi pair Romantic States (makers of this fine jam). Full deets on the June 2 show are right here and information about June 18 is right here. And stay tuned for our announcement about our fourth installment of Regolith, why don't you? -- L. Tiburon Pacifico
Clicky Clicky: So how did it go? Do you consider the results a personal success? A failure?

Supriya Gunda: It went harder than I thought! I ended up recording everything through the built-in mic on a $200 computer. I wouldn't go so far as to call it a success.

CC: What were the biggest challenges and frustrations?

SG: Time, mostly. Equipment, as a byproduct of time. It made me appreciate the resources other humans provide.

CC: How were you able to work around or overcome these challenges?

SG: Built-in computer microphone! Ha. I recorded stuff, like, in my car, I started to like the sound of digital clipping, I didn't finish most of what I started. The only [digital audio workstation] my computer could handle was Audacity.

CC: Did you find that your approach to writing and recording for this project changed over the course of the 30 days, or did you begin by finding an approach that worked (time-wise), and just apply that to everything?

SG: I don't think I ever found an approach that worked time-wise, but this really did give me a perspective on what 30 days actually feels like. Usually I don't notice time has passed until it's long gone. This wasn't really an exception to that, but I guess it enhanced my awareness in general that I was a person alive on this earth for a month.

CC: What song do you think came out the best?

SG: I'm not sure any of them did. But I do think I got some decent ideas in there, maybe.

CC: What song or songs do you wish you'd had more time to work on? Do you see yourself re-doing any of these in the future with DigiPOW or any other project?

SG: I'll probably use this as a source for ideas from which to build different songs in the future. Not sure any of this would truly work in a band setup, nor should it.

CC: Are there any songs you did for this project that you couldn't re-create live?

SG: I COULD probably recreate it all live, but I would choose to do things differently live.

CC: If there was one person or piece of equipment you could have brought in for the project, who or what would that have been?

SG: I used a sample of my friend Richard Lewis reading from the paper about the "British Coal Gas Story", which was [about] the prevalence of sticking one's head in the oven when coal-gas was around in the '60s and '70s. Once they took the coal-gas away, the suicide rate dropped dramatically. So I suppose he was there in spirit. If there was one piece of equipment I would have brought, it would have been a high-functioning studio.

CC: Did you learn anything about how you write and record music? What specific or quantifiable lesson, if any, did you learn that will help you in the future?

SG: Haha, yes. I learned I can' really force it. I don't know if I could be a Max Martin now. I just gotta be me.

CC: If you could travel into the future and speak with the next Regolith participant, what one piece of advice would you give them?

SG: Clear your damn schedule. Don't go to work. Get yourself a cabin in the woods. And don't come back after the 30 days.


Previously On Regolith:
Regolith A3E2: Supriya Gunda Is Writing Songs Under The Gun
Regolith A3E1: Supriya Gunda Is A Songwriter
Regolith A2E3: Sean Tracy Presents Dye's Alone
Regolith A2E2: Sean Tracy Is Writing Songs Under The Gun
Regolith A2E1: Sean Tracy Is A Songwriter
Regolith A1E3: Reuben Bettsak Presents Emerald Comets' Inside Dream Room
Regolith A1E2: Reuben Bettsak Is Writing Songs Under The Gun
Regolith A1E1: Reuben Bettsak Is A Songwriter
Introducing... Regolith