Showing posts with label Joyce Manor. Show all posts
Showing posts with label Joyce Manor. 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.

July 4, 2015

Today's Hotness: Flying Saucer Attack, Happy Diving, Mourn

Flying Saucer Attack -- Instrumentals 2015 (crop)

>> A particularly cultish corner of the experimental rock music world was driven to hysteria month ago when it was finally announced that Flying Saucer Attack, one of the finest shoegaze/drone concerns of the 1990s, would release Instrumentals 2015 on Drag City Records this month. The new collection, due July 17, will be the band's first in 15 years! The apparently aptly titled, 15-song set features pieces recorded by fronter David Pearce (partner and vocalist Rachel Brook presumably sits this one out) to analog tape and CD-R at his home, a medium which served the band well on landmark static-und-drone releases Further and Distance. With hopes of appealing to both die-hard fans and those unfamiliar with the its catalog, Flying Saucer Attack's two preview tracks gently lull the listener while providing windows into Pearce's thoughtful and powerful sound world. "Instrumental 7" opens with smooth, mid-range guitar feedback that dramatically shuts off briefly at various intervals. As each drop-out occurs, swells of supporting notes join the feedback tone to establish additional new harmonies. Second single "Instrumental 4" takes a different approach, instead employing ear-splitting cascades of feedback and slowly plucked single-note guitar leads to slow time and space to a hypnotic background whir. With each track, the subtle mastery of the dynamics is first-class. Like another dreamy '90s shoegaze group, Auburn Lull, did last year with its magnificent Hiber cassette, the inimitable FSA have reappeared to show the seemingly burgeoning legions of bedroom drone instrumentalists how things are done. Pre-order Instrumentals 2015 on 12" vinyl, CD or cassette from Drag City Records right here. Both "Instrumental 7" and "Instrumental 4" can be streamed via our curiously but purposefully narrow YouTube embeds below. -- Edward Charlton





>> This publication was properly bowled over by Happy Diving's Father/Daughter-released debut long-player Big World last fall, and last month's news that the group are already set to return with a fresh 7" on the mighty (and getting mightier) Topshelf Records is certainly cause for celebration. Out July 17 on a variety of colored wax, the East Bay, Calif. band's preview single offers up two great, humid, chugging sludge-pop jams. A-side "So Bunted" recalls the Big World standout "Space Ooze" with its atypical structure, dense chordings and bummed-out vocals, while further pressing those signifiers as some of the band's greatest strengths. After a brief opening comprised of post-Blue Album guitar wailing, the group scales back to a single verse where guitarist/singer Matt Berry's plaintive, bruised vocal details a relationship gone as sour as the minor-to-major power chord changes that keep the song both murky and anthemic. Recorded in just four hours at The Atomic Garden with go-to California heavy-rock producer Jack Shirley (Deafhaven, Whirr, Joyce Manor), the two-minute piece is perfectly rendered in all of its live-sounding, signal-clipping glory. Happy Diving stay true to their monolithic approach to twenty-something, house show angst, and it promises even more fuzz-fest payouts on their next album, which at this rate of productivity just might be here by 2016. Pre-order "So Bunted" from Topshelf right here, and catch the band on its upcoming tour, the dates of which are listed out below. Stream "So Bunted" via the Soundcloud embed below. -- Edward Charlton



07/15 -- Oakland, CA -- One Fam
07/17 -- Portland, OR -- TBA
07/18 -- Olympia, WA -- Old School Pizzeria
07/19 -- Seattle, WA -- Office Space
07/20 -- Vancouver, BC -- Alf House
07/21 -- Victoria, BC -- The Mirancave
07/23 -- Santa Rosa, CA -- The Funk Den
07/24 -- San Francisco, CA -- Thee Parkside
07/25 -- Santa Cruz, CA -- Cafe Pergolesi
07/26 -- Los Angeles, CA -- The Echo
07/27 -- Corona, CA -- Sinbad's Hookah Lounge
07/28 -- San Diego, CA -- Che Cafe
07/29 -- Merced, CA -- Tigers & Daggers Records
09/04-09/06 -- Berkeley, CA -- Resurrect Cali Fest @ 924 Gilman

>> This reviewer admittedly missed Mourn's Captured Tracks-released self-titled debut album, which was issued in February, but the quartet's wickedly quick follow up Gertrudis 7" was enough to send us back to listen to it. The much-hyped Catalonian co-ed punk group apparently represent a rising wave of young Spanish punk which has greatly excited tastemakers including Captured Tracks' Mike Sniper, and A-side "Gertrudis, Get Through This!" certainly bears out that heightened interest. Opening with a kinetic, prickly guitar riff, the song highlights the cool vocals of Carla Perez Vas, which echo those of the band's idols including PJ Harvey and Sonic Youth. Building in tension as the instruments remain sturdy and straight, Ms. Vas breaks from a clear and upfront coo to a desperate chorus that brings to mind other European positive feminist punk outfits such as Welsh powerhouse Joanna Gruesome. While straightforward in its construction, the song shifts so dynamically into the "get through this!" chorus that the youthful angst of Mourn arrives in ear canals completely, precisely. Album number two will certainly not be slept on after a wake up call like this, and a release date has been tentatively scheduled for this very month. In the meantime, grab the single digitally via Steve Jobs MegaCo. right here. -- Edward Charlton

October 21, 2014

Review: Happy Diving | Big World

San Francisco sludge-pop upstarts Happy Diving first breeched our radar at the onset of the year via a digital/cassette EP, but the East Bay act is poised to decisively put its stamp on 2014 with an ear-pleasing, skull-pounding full-length debut titled Big World. Due Nov. 4, the record bears all of the hallmarks of a contemporary classic indie release: recorded quickly (two days); with a hot shot up-and-coming producer (Jack Shirley of Deafheaven, Joyce Manor and Whirr fame); backed by a rising area imprint (Father/Daughter Records). Oh, it also rocks.

As with the likely incessant humming inside producer/The Cars guy Ric Ocasek's head, Happy Diving brings the fuzz. Indeed, Big World channels Ocasek-produced touchstones like Weezer's thrilling blue album and Nada Surf's High/Low -- and, to a lesser extent perhaps, Bad Brains' Rock For Light -- into aggressive punk rock forms. With each pummeling chorus, grit and dirt shudders loose from Happy Diving's sustained, high-output sound like the dessicated refuse from sonic flypaper faced with a strong breeze. And so thick rhythm guitars establish a formidable aural wall along the length of Big World. It's perhaps the most pronounced element substantiating the Weezer comparison (although the band's occasional third guitarist is clearly a big fan), although Happy Diving's melodic sense is fairly keen as well. Even so, the constant clipping and in-the-red tones of songs including "Mikey's Rules" and "Weird Dream," all the searing feedback and sustain, evoke something ultimately darker and more dejected than Rivers Cuomo's adolescent observations. Big World highlight "Space Ooze" follows this model, economizing its down-stroked chords to create a compact punk bruiser with thrilling single-note bends, a quick verse, a sore-and-subtle harmonic "oohing" bridge and a slapdash guitar solo. The tune's breakneck pace implies a sense of danger, leading the song somewhere substantially more troubled. In this context, and especially when taking into account the album art, the album title is less optimistic than it is anxious.

Fronter and guitarist Matt Berry's resigned singing does much to establish the disaffected mood of Big World. Mr. Berry's smooth yet sour pipes evoke the characteristic confusions and frustrations of 20-somethings, specifically that state of feeling one way while being pressured to present another. And so Berry's singing injects another dimension to the sweeter melodies of the more pop-oriented "Sad Planet," and imbues much of Big World with greater emotional depth than a superficial read of its songs might otherwise note. Still, song titles like "Always Noon," "Whatever" and the aforementioned quirky, sci-fi referencing duo "Sad Planet" and "Space Ooze," evidence that Happy Diving don't take all of this rock 'n' roll business too, too seriously. So as the listener can imagine the year-old foursome running through its repertoire in a dimly-lit basement -- pissed off and disenchanted with the world, perhaps -- she or he can still also imagine Berry and co. still goofing off and having fun.

Big World will be released by Father/Daughter Nov. 4. Said release is being celebrated with a release party tomorrow night in Oakland, Calif. at 1234 Records; the show includes Fish Breath, LVL Up and Big Ups. The album is available as a digital download as well as a limited edition vinyl 12" pressed to oxblood, oxblood and baby blue splatter, or classic black media, and it appears there are only 100 pieces of each, so be sure to pre-order one while they last via the band's Bandcamp right here. The entirely un-eff-withable Art Is Hard label will release a cassette version of Big World in the UK Nov. 3; there are only 100 of those available. Stream three tracks from the record via the embeds below. -- Edward Charlton

Happy Diving: Bandcamp | Facebook







September 20, 2014

That Was The Show That Was: Joyce Manor with The Weaks,The Exquisites | The Sinclair | 14 Sept.

The Weaks tune up, Sept. 14, 2014, photo by Dillon Riley

[PHOTO: Dillon Riley] If, like us, you prefer your pop-punk heavy on both the former and the latter, last Sunday's show at The Sinclair was not to be missed [unless you are slacker, in which case you did miss it, as tickets sold out 10 days prior. -- Ed.]. While it's inaccurate to state that hotly tipped topliners Joyce Manor and Clicky Clicky faves The Weaks sound alike, it's undeniable that the acts draw from a similar thematic well. The Weaks approach pop-punk with a pronounced little-c classic big-R Rock aesthetic, incorporating plenty of flashy guitar leads, while Joyce Manor's judiciously edited punk channels elements of vintage hardcore and never lets a song drift past 150 seconds. In common is an almost overwhelming tunefulness and refreshing earnestness that marks the best of the millennial generations' guitar bands.

The Weaks commenced the evening's program of music with hook-laden tunes from their cheekily titled debut EP The World Is A Terrible Place & I Hate Myself And Want To Die, as well as what sounded like some yet newer jams. In the flesh, the Philadelphia-based heroes manifest as a quintet, with a three-guitar attack that ably recreates the thick guitar sound that populates their recordings. Dual fronters Evan Bernard and Chris Baglivo handle most of the vocal and musical heavy lifting, and Mr. Bernard is an especially engaging presence on stage, with a full, booming voice and impressive array of facial hair. "Nietzsche's Harvest Song" connected with the early-arrivers and a particularly lethal take on the EP-highlighting "How To Put An Audience To Sleep In Under Two Minutes" served as a nice entree to the headliner's abbreviated brand of punk rock.

California-foursome Joyce Manor's recently issued LP Never Hungover Again, its fourth, may be the band's finest to date. Not one of the set's 19 minutes feel wasted, and every musical element supports the massive hooks girding each song. Joyce Manor's stage sound and persona challenges the pop-punk tag regularly applied to it, and its notably rowdy shows evidence the fact the act is a breed apart from their relatively staid brethren. It would be an understatement to call what we participated in throughout the show Sunday a "mosh pit," as the assembled mass really had no choice in the matter: literally everyone on the floor was complicit (or at least made complicit) in the chaos. Don't get us wrong, it was a blast, and as much fun as we've had on a Sunday night in quite a while, but the melee almost inhibits the band. Almost. In spite of the swirling tornado of bodies before them, Joyce Manor pulled off its tricky vocal harmonies and quick-change dynamics quite impressively. Everyone in the crowd seemed to know every word and rhythm change in the songs from the new, Epitaph-released record by heart. Seattle's The Exquisites held down the middle slot of the evening, performing songs from its clever 2013 debut Self Titled.

Joyce Manor's tour continues anon with The Exquisites supporting, and is presently in the American south and heading back to the left coast; remaining U.S. dates are posted below. In early November Joyce Manor heads to Europe and the UK for 15 dates there. The Weaks appear to be off the road for now but have dates booked in Charlotte and Atlanta at the end of October. -- Dillon Riley





09.21 -- 1904 Music Hall -- Jacksonville, FL
09.23 -- Backbooth -- Orlando, FL
09.24 -- Epic Problem -- Tampa, FL
09.26 -- Walter's Downtown -- Houston, TX
09.27 -- Red 7 -- Austin, TX
09.28 -- INDEX Festival -- Dallas, TX
09.30 -- Gasworks -- Albuquerque, NM
10.01 -- Yucca Tap Room -- Tempe, AZ
10.02 -- Irenic -- San Diego, CA
10.18 -- New Noise Music Conference at Velvet Jones -- Santa Barbara, CA
10.25 -- Beach Goth 3 -- Santa Ana, CA