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Sunday, February 28, 2021

Mint Julep and the eclipsing descending mystery of "A Rising Sun"

 











"a pulse..."


From the onset, the escapist dream that is "A Rising Sun" by Portland's Mint Julep, the dream pop, indie rock project of wife and husband duo Hollie and Keith Kenniff, feels more askew, more surreal and more experimental than many of their previous work. The vox, still beautiful, feel more pushed back and peering through a sonic haze. The track is the latest single from the duo's upcoming record, "In a Deep and Dreamless Sleep" dropping on March 19th on Western Vinyl. The flutters of static pull you back in time as does the lo-fi sound of the synths like a 70's Farfisa organ. The double time nature of the instrumentation counterpoised by screaming distant drones of sound create a mind bending tableaux for Hollie's vox to reveal it self but only partially. She seems like just one of the characters lost (too) in the descending fog.


-Robb Donker Curtius



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Created slowly over a years-long span that encompassed the recording of 2019’s Stray Fantasies, wife and husband duo Hollie and Keith Kenniff are set to deliver In a Deep & Dreamless Sleep on March 19th via Western Vinyl. The new album is a distinctly hazier chapter of their technicolor pop venture Mint Julep, which the new single "Black Maps" makes clear from the outset. Check out Self-Titled for the release of the new single out today.

Where the former album bore a crystalline latticework of defined pop structure, the latter blunts the sharpness and softens the glare, striking a balance between song-craft, and Hollie’s solo material, as well as Keith’s output as Goldmund and Helios. In a Deep & Dreamless Sleep assumes a more aerated form, exuding a heavy fog of shoegaze sensibility, though the infectious pop know-how of its precursor remains firmly intact.

“Our previous material tended to be structured largely in a verse/chorus setting,” Keith explains, “but these songs are more free flowing and through-composed with a focus on mood and texture. He continues “A lot of the songs are more stream-of-consciousness than premeditated; we went with first ideas and let them guide the composition rather than planning a definitive road map-- which hopefully lends itself to creating a specific and unique emotional connection.”

The new album can be pre-ordered here.

Opening track “A Rising Sun” inaugurates such notions with a gentle drum beat and thrumming acoustic guitar that glints beneath a topsoil of analog static. Where the usual pop song would take expected sharp turns from section to section, motifs remain steadfast, amassing vocals, guitar leads, and a marching snare drum until the listener is immersed in a riptide of impressionistic pop. Here, as on the rest of In a Deep & Dreamless Sleep, no single instrument claims center stage. Rather, each sound lends itself to an overarching megatexture that fully immerses the listener.

“Black Maps” provides the most familiar sense of structure, allowing a final moment of lucidity before dropping into the dense jovian atmosphere that follows. From here each track is a self-contained weather pattern that accumulates, precipitates, and evaporates from beginning to middle to end. At once low and high fidelity, In a Deep & Dreamless Sleep succeeds in its use of anachronism by crafting a setting that belongs neither to the past nor the future, yet rings of both. The closest thing to a title track, “In Your Sleep” drips with an almost prehistoric sense of psychedelia within its slow, unimaginably deep motorik pulse, and full-spectrum growling drones. “Westerly” serves as a clarified postscript, like a note written in a bedside journal upon waking.


Somewhat counter to its title, In a Deep & Dreamless Sleep is rife with dreamworld inclinations in which waking and sleeping, loving and leaving, living and dying, are all interchangeable. The album is imbued with the soft anticipation of oncoming love-- or perhaps that’s the mournfulness of a love in its twilight. Or, further still, that feeling is the spousal duo nurturing their love against the backdrop of their busy lives. “Time is a valued commodity, but we make it a point to do this together.” Says Keith. “Mint Julep is a good bonding experience, it's akin to a date night. Our routine is not structured, but we chip away at it, sometimes in long bursts, sometimes in short windows of opportunity.”

In a Deep & Dreamless Sleep is a window into an intoxicatingly romantic parallel world the Kenniffs have constructed out of analog synths, masterful sound design, nectar-drenched hooks, and airy vocals that wade way out into a sea of texture. They have managed to hone years worth of date-nights into a 46 minute collection of phosphoric ambient pop which bears a sense of skillful consistency that belies the album’s casual creation.


Mint Julep, dream pop, indie pop, bedroom pop, experimental pop, alternative pop, "A Rising Sun", Portland, "In a Deep and Dreamless Sleep"

Captain Danger and the pop rock, funky embrace of "Holly" (Official Video)



"Holly, she's not around when I look into her eyes..."


The Captain Danger world premiere "Holly" video begins with the once surreptitiously omnipresent Jim Turner (Randee of the Redwoods), comic / actor who here (to me) has a tinge of Harvey Keitel doing an abrasively funny intro. This grand weird beginning and all to follow as directed by Dane Lawing, using public domain footage and Captain Danger jamming is a lot of fun. This funk rock fused trio consisting of singer-songwriter, guitarist, Aaron Steinberg, drummer Roger "Joose" Benford (SiR, Shafiq Husayn, Patrick Paige) and bassist, vocalist, Keith Eaddy (Macy Gray, Dam-Funk, Jody Watley, Loose Ends) are seasoned professionals and "Holly' has a classic rock funk motif with solid late 70's, early 80's textures adding to the formidable line of those era's songs that elude to female inspirations like "Peg" and "Josie" (Steely Dan), "Rhiannon" (Fleetwood Mac), "Jennie" (Tommy Tutone), "Rosanna" (Toto) and "Roxanne" (The Police) to name a few. I cover a lot of post punk, indie rock, alt rock, dream pop, folk, electronic music, soul, neo soul here and in all cases, a minor or major element of funk, of blues roots is always a key transforming ingredient or, as someone might of said, the heart of rock and roll and, simply put, Captain Danger display a lot of heart here. A perfect blend of pop, rock and funk with embracing killer vox and musicality that hearken back to a time when pop music in general was a fusion of styles and not so compartmentalized.


-Robb Donker Curtius






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CAPTAIN DANGER is here to save the day.

Serving up “catchy, quirky pop with a funky soul,” CAPTAIN DANGER has a unique but “immediately likable” catalog of classics.

CAPTAIN DANGER “pulls off the perfect pop formula so well it doesn’t feel formulaic at all.” (or so said CMJ.)

This powerhouse trio consists of songwriter/singer/ guitarist AARON STEINBERG (at ease in highly flammable 70s polyester) and the fab talents of drummer ROGER "JOOSE" BENFORD (SiR, Shafiq Husayn, Patrick Paige) and bassist/vocalist KEITH EADDY (Macy Gray, Dam-Funk, Jody Watley, Loose Ends).

Influences include greats such as Prince, Jimi Hendrix, The Beatles, The Meters, The Police, Motown and King Crimson, along with artists like Sly Stone, Nellie McKay, Shuggie Otis, Soul Coughing, War, Ben Harper and Tom Lehrer.

Armed with great melodies and rhythms, as well as a love of humor and irony, CAPTAIN DANGER sticks up for the underdog (wherever she or he might be).

If DON QUIXOTE was a modern-day city dweller, he’d have CAPTAIN DANGER on his playlist.

Live highlights include South by Southwest, CMJ and Arlene's Grocery's "Best Of NY" release, and performing live on Showtime's "The Green Room with Paul Provenza.” TV, film and ad licensing includes Billabong, Bravo, Disney, CBS, NBC, MTV, ESPN, NHL, AMC, WE and more. Composing theme songs for specific productions (Bill Nye The Science Guy, Howard Stern, Fitz & Slade) is also a favorite activity for CAPTAIN DANGER (check out Captain Danger’s soundtracks website, chemicalmusic.com). Additionally, look out for guitar work on soundtracks such as "Battlefield Hardline,” “Dawn of War” and "Limitless" (film and also the Emmy-Nominated CBS series), "Dredd," "Dawn of War," "Dynasty" and more for composer Paul Leonard-Morgan.

Currently, CAPTAIN DANGER is based in Los Angeles - performing, recording, producing and happily making trouble for those who need it the most. Production / collaborating includes the hilarious wunderkind Flula Borg (Pitch Perfect 2, Conan O’Brien), the amazing Olivia Olson (Adventure Time, Phineas & Ferb, Love Actually) and fiery singer/songwriter L.P. (Warner Bros).


Captain Danger, pop rock, funk, jamming, neo soul, alternative rock, "Holly", seasoned, top notch musicality, groove based rock

Saturday, February 27, 2021

AWAZE and the bi-polar alt rock / broken art rock "Sorry Looking Boy"









"make up a reason why you're burning up inside"

Power punching garage rock / anti-pop / post punk / alt-rock is a great thing but throw some askew art rock on top and that is even better. That is what you get when you listen to Sweden's AWAZE. Take for example the genre fused "Sorry Looking Boy" that is in incredibly heavy stomper, an assaulting alt rocker highlighted by raw, feral guitars and twisting guitars and the caustic rock vox of guitarist Simon Zion. From the onset, you feel the sweat and spit from a ballistic sonic onslaught but then when the chorus drops in with it's kind of 50's white picket fence sort of diddly doo wop sway (for like only one long breath) before it slams back into disarray and then shifts back into a surreal beautiful mom in a house coat bringing hubby a cigarette and slippers only to spiral back again into this wonderful frenetic head banging thing. The surprising, totally bad ass bridge is also such a heavy, cool piece of art. 


"Sorry Looking Boy" (to me) is a sort of bipolar punk / art punk ride filled with so much surprising disarray which makes it so unique and, well, so lovely. Is lovely a strange word to choose? Not really, as a man who writes about music daily, it is hard to find a gem like this which makes it so easy to love. 


-Robb Donker Curtius



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Three friends, all working musicians, got together to jam in a basement one day in 2018 with no plans of starting a band whatsoever. The burst of energy that grabbed ahold of them the second they turned their amps up however left them no choice. Stockholm trio AWAZE was formed.


Fans have described the music as ”aggressive but beautiful high energy riffy garage madness” and ”Pieces of Rage Against the Machine and The Jimi Hendrix Experience, a pinch of Arctic Monkeys, one table spoon of 2021 and a fist full of no more fucks to give”. Awaze are all about reacting to each other musically on a gut level. Instinctive human energy being passed through drums, bass, guitar and vocals.


You might recognize the drummer Jonna Löfgren from her ten years of playing with Scottish indie giants Glasvegas, or from tours with major Swedish acts such as Lars Winnerbäck, Vargas & Lagola and Hurula. Lead singer/guitarplayer Simon Zion became famous as ”tie-dye Jesus” on Swedish Idol back in 2015 (where he came in third place), and Olov Domeij will play bass for anyone who pays him cash money - most recently he did 140 shows with Swedish rock legend Ola Salo.


The single Break a Bone was featured on New Music Friday USA, New Noise and about 1500 other playlists, and has also turned out to be a fan favorite at AWAZEs explosive live shows.


Starting February 2021 the band is releasing a song every month for the rest of the year.


AWAZE, garage rock, hard rock, alt rock, art rock, post punk, Sweden, "Sorry Looking Boy"

Sofi Gev shares truth and hugs on "Bloom"

 







"but he's squinting in the foggy light"


Listening to the open embrace of "Bloom" by Sofi Gev, the moniker of singer-songwriter and indie pop artist Hannah Lovelady and I am feeling sad, hopeful and wanting to find a mentor, a teacher, someone to shift my thinking from the dark to the light. This dreamy indie pop song is stuffed with a lot of emotional stuff, ether baggage or words written on paper to burn in the fire place. It rides on lovely synths and Lovelady's vocal aesthetic that feels singularly evocative but sweetly comforting and comfortable. 


[Her earliest and most enduring musical influence came from her father singing Joni Mitchell songs to her at night as a child.]

-Robb Donker Curtius







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Sofi Gev is the solo project of American singer-songwriter and indie pop artist Hannah Lovelady. Influenced by such artists as Birdy, Aurora, Agnes Obel, Coeur De Pirate, Shara Nova of My Brightest Diamond, and Natasha Khan of Bat for Lashes, her music layers introspective, offbeat lyrics and delicate vocals over a dreamy blend of indie pop, electronica, and indie folk. Her earliest and most enduring musical influence came from her father singing Joni Mitchell songs to her at night as a child.

Sofi Gev’s songwriting began in her childhood, entertaining herself on family road trips by making up silly songs with her younger sister. After piano lessons, she started playing the French horn in middle school band class and continued through high school. She honed her sense of melody by singing the words of recipes from cookbooks accompanied by her father playing acoustic guitar.

If you listen closely, you will hear revealed in an intimate yet universal way a woman bravely, fearfully, but honestly embracing and confronting life.

Sofi Gev, indie pop, folk indie, dream pop, singer-songwriter, musician, "Bloom", "tell me it isn't too late to bloom"

Friday, February 26, 2021

Ex Olympic paints filmic pictures on "Rapture" (Official Video)

 










"piano, piano, piano"


[THESSENCE] 

Ex Olympic's vagrantly sonic "Rapture" feels at once like the theme for a gritty 70's Film in the vein of John Schlesinger or Hal Ashby. The kind of movie that changes your world view if only for a moment but long enough that it's impact sticks with you your entire life and makes you live life like you will die before you turn 50 years old. 

-Robb Donker Curtius 


Ex Olympic is the project of Cape Town based producer and multi instrumentalist, Nic van Reenen.

After making electronic music (as Fever Trails) for several years, Nic became re-interested in the tactile expression of music, foregoing sequencing synths and samples, in favour of revisiting his musical roots in instrument-based music and song writing.









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Ex Olympic is the project of Cape Town based producer and multi instrumentalist, Nic van Reenen.

After making electronic music (as Fever Trails) for several years, Nic became re-interested in the tactile expression of music, foregoing sequencing synths and samples, in favour of revisiting his musical roots in instrument-based music and song writing.

Nic's songwriting is often vulnerable and telling of his internal dialogues, which he presents to the listener (with varying ratios of encryption:transparency), in some vague belief that there may be some 'universality' in- and resonance with his interior world and way making sense of things.

There are broadly scattered stylistic echos in his music, ranging from the psychedelic tapestries of Pink Floyd, to the proggy labyrinthian arrangements of Yes, to the pining melodrama of Richard Hawley, to the break-centric, string drenched euphoria of David Axelrod. Comparison is a bit of a silly exercise though, because it's also really none of these things. Maybe you can decide?




Johnny Mafia and the dark post punk passages of "I'm Sentimental" (Official Video)











"this is not what I wanted..."


Step into the raging pulp fiction of "I'm Sentimental" by French alt post punk rockers Johnny Mafia and might imagine running down dark streets, peering around brick walls, life and death perils, broken hands and / or drug deals or maybe none of that at all. The track might provide musical narrative of your own making, gifting dark atmospheres for your own black leather stories very much like some of the (post Kim) Pixies songs and, in fact, "I'm Sentimental" feels very much like a lost track from "Indie Cindy" or "Beneath The Eyrie" but done up in Johnny Mafia's own way. 


-Robb Donker Curtius



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JOHNNY MAFIA have long been high rollers in the burgeoning rackets gripping the country of France over the last few years; high-energy explosive acts like JC Satan, Th Da Freak, Cathedrale or The Psychotic Monks have been burning up stages across Europe with a vengeance, adding their craft to the long list of fine French exports suited to the more cultivated of music connoisseur.

The group hail from Sens, Burgundy (which is known more for it’s wheat and cereal production than rock ‘n’ roll) and bring a young, snotty, explosive and ferociously fun energy that drives audiences into a near-frenzy. Inspired by classics like The Ramones, The Breeders or The Pixies, they also draw heavily on more contemporary acts such as Wavves or the Reatards.

Johnny Mafia embodies punk attitudes and spirit of past and present with a firm foothold into their bright future as a young band ready to conquer the wider world. They have established their reputation above all else on stage and over the last four years, the band have been a featured attraction across festivals in France.

After recording and mastering their sophomore album (released by Dirty Water Records) with producer Jim Diamond (The White Stripes, the Fleshtones, The Sonics), the band turned to local french producer Kris Banel, who recorded many excellent Frenck punk rock albums, to record their third album, Sentimental, in the summer of 2020.

This new record features 10 deeply catchy and furious tracks, with infectious choruses, that show a surprising pop sensibility, hidden behind walls of guitars reminiscent of a time when MTV was still a cool thing. Sentimental is an uninhibited, thrilling indie rock album, an instant classic, the likes of which don't come out every day in France.

Sentimental will be out on May 21st 2021, via Howlin' Banana Records.


Johnny Mafia, garage rock, post punk, Pixies tones, storyteller rock, "I'm Sentimental"

Vacation Forever's youthful indie crush "Pop Up In My Head" (Official Lyric Video)

 








"you pop up in my head"


Listening to the cyclical garage indie "Pop Up In My Head" and feeling slowly changed as memories of glistening waves peeled off as I glided along blue faces of water. At that moment I thought that maybe Zacharias Zachrisson just might be a distant Swedish cousin of local surfer / musician Alex Knost (from Costa Mesa, California) who I covered for the blog what feels like eons ago. This is because Zachrisson's musical imagining, Vacation Forever, does (however slightly or however spiritually) remind me of Knost's incarnation (and band) Tomorrow's Tulips. Both make sounds that are drenched in an understated natural cool, the kind of cool that just is and is dripping with a crush of youthful longing. "Pop Up In My Head" is the kind of track that feels like a dreamier, more saturated and ultimately a more eclipsing indie serenade than TT's Eternally Teenage but they both feel as classic as a beautiful sunset on pristine waters.


-Robb Donker Curtius


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Vacation Forever deals in short, direct, almost-pop songs, but pop songs that aren’t afraid to stray into messy territory, taking influence from garage rock, psychedelia, anything that catches Zacharias Zachrisson’s attention. On his upcoming debut album, the songwriting is his strongest yet. Every song has the melodies to pull you in on first listen, and a chorus that makes it easy to love. The production, expertly executed by Grammy-nominated Patrik Berger (Ariel Pink, Icona Pop), and co-produced by multiple Grammy winner Jeff Bhasker, pulls those simple, direct songs and transforms them into something completely new. Lyrically, it’s deeply personal and powerful, and that’s what makes it work – intense both emotional and creatively.


Vacation Forever, indie rock, post punk, surf punk, dream pop, "Pop Up In My Head", Zacharias Zachrisson, Sweden

Kukuni and the swirling psyche fusion of "Dreaming Venus"












"Am I dreaming?"


There is such an absolute sense of swirling movement on Kukuni's vast track "Am I dreaming" that it feels like you are experiencing it in surround sound. The seemingly brittle percussion, the dominant groove and drum beat, all intertwined as Willy Christie's pushed plaintive croon steers this musical vessel. I love his vocal aesthetic that feels sort of possessed fully by his own spirit. I have to admit that I thought of Thom Yorke a bit. The bass attack, animalistic in intent and the blaring synths in total have such an orchestrated feel as an amalgam of post rock, funk, jazz, neo post punk and psychedelia in varying degrees colliding in a free form jam.

[Kukuni was conceived in late 2019 during a six month period of self-imposed writing isolation. Based in Los Angeles, Willy Christie claims to have “accidentally” sacrificed an entire summer to the project. Coming out of the cocoon in the winter of 2019, he vowed to never again stay inside for an entire summer. Then COVID happened.


In the middle of writing, Willy heard a guest on NPR mention the concept of “Kukuni.” Turning to the internet, Willy found that there was, in fact, no such thing as “Kukuni,” and that he had simply misheard the word “cocooning.” Not one to let a good idea go to waste, Kukuni was born.


After writing the bulk of material, Willy brought in the help of producer Tony Buchen (John Carroll Kirby, Sam Gendel, Smashing Pumpkins) and drummer Robby Sinclair (Chet Faker, Natasha Bedingfield, Linda Perry) to help take the tracks to the next level.]


-Robb Donker Curtius 


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Kukuni is best described as psychedelic, indie, experimental art rock with pop sensibilities; wavy and groovy; dark but uplifting.

As a student of Jung and Jodorowsky, Kukuni’s lyrics are rife with symbols, myths and fables; the language of the subconscious. Kukuni takes you to into dark forest of the human spirit and shines a light on the path less taken.

Kukuni’s music represents the internal space we all return to when creating; the room in which our strangest ideas float around, waiting to be transformed into something beautiful.



Kukuni, Psychedelic Rock, Lo-fi Rock, Indie Rock, post rock, "Dreaming Venus", orchestral production, free form jam

Thursday, February 25, 2021

orchid mantis and the enigmatic air of "light beyond (right now)" (Official Video)









"i remember racing home late at night, just to make it while you were awake"


The basic fluid chord progression, the push of notes ascending and descending on Orchid Mantis' dreamy track "light beyond (right now)" is not extraordinary by any means. A non feeling musician might even called it derivative but what is extraordinary is how Thomas Howard casts light on them, wraps varied shadows of emotions on them through the precise timbre of sound, the framing of tempo and the psychological punch of Howard's lyrical narrative told in his own imperfect way.

Orchid Mantis is an Atlanta, Georgia based experimental solo recording project Howard started in 2014 were he "attempts to inhabit the edge between ambient song structures and pop songwriting, employing unusual/lo-fi recording methods & weird, obscured samples"

'light beyond (right now) is from the album 'far from this world' (out everywhere now via Z Tapes Records) and I really like what I am hearing. For me, one of the best possibly outcomes of listening to someone's music is that it somehow shapes me in some small way either by tapping into my memory banks or molding my dreams or inspiring me to create something and many of these songs do just that. 

Some of what is happening is the creation of an ethereal atmosphere where, depending on your own headspace, the lyrics may become incidental to the experience (or not). This was the case on tracks like "feels like i'm just waiting for you to come home" and "never know why". It could because the vox might be pushed back and the use of past conversations or taped "things" poke through, further made off kilter by dissonant things happening in the background. Other tracks feel like literally bending or reverse masking memories ("timeless / ibis dream" and "It all seems the same").

"light beyond (right now)" has an accompanying lyric video and, about it, Howard shares:

"This new lyric video for ‘light beyond (right now)’ was assembled from a collection of 100+ film photos I’ve taken since 2014. In the background are VHS clips my friend recorded during an old lakehouse trip. Film photography has always been a part of the visual art surrounding Orchid Mantis, so with this video I thought I would showcase them fully as a sort of retrospective. This song was one of the more sentimental/nostalgic tracks on the album, so it seemed appropriate to look backwards at these last several years and create a sort of document preserving that period of my life."

-Robb Donker Curtius

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Orchid Mantis is an experimental solo recording project. The project began in 2014 and attempts to inhabit the edge between ambient song structures and pop songwriting, employing unusual/lo-fi recording methods & weird, obscured samples.


orchid mantis, indie rock, experimental music, alternative, dream pop, shoegaze, lo-fi pop, ambient pop, Atlanta Georgia, album "Far from this World"

Scrounge boil over on the politico punk pummel of "Leaking Drains"











"underwater, fill my lungs..."


"Leaking Drains" by South London feral rock duo Scrounge, comprised of Lucy (vox, guitar) and Luke (drums, vox) is a super short potent pummeling angst driven punk toned diatribe. Incidentally, I used to live in an apartment with a battle raged noisy couple next door and flashed on them while listening. It is though, the sheer intensity of rage informed by the world today that makes this so compelling. A follow up to the band's caustic "Ideal" EP (late 2019), the track is informed by the slowly boiling unattended pot on the stove. The band shares:


“This track is designed to be short and sharp, both lyrically and instrumentally. Living standards and life expectancy have dramatically dropped for the majority of ordinary people in the UK over the last generation or so, and it often feels like we’re at once completely weightless and under extreme pressure – a little like being deep underwater.

The demonization and punching-down that constitutes most of the mainstream discourse around debt, housing, poverty and precarity in this country only compounds the issue. The anger and absurdity of a track like ‘Leaking Drains’ is driven by this stuff.”


I love the sounds here and imagine it running longer live, music like this is like beating your head against the wall long enough to realize that we all need to beat down the walls of corrupt power that doesn't give a shit about those living down the mountain. 

[In lieu of any impending live action (although rest assured the duo duly squeezed out a socially distorted Brixton Windmill show late last year in between lockdowns), Scrounge will be appearing on a laptop near you at the fierce panda SXSW online showcase in March. Furiouser and furiouser…]

-Robb Donker Curtius


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‘Leaking Drains’ is the brand new single by hectic South London duo Scrounge, aka singing guitarist Lucy and drummer Luke. Their first release since the brilliantly brittle ‘Ideal’ EP from the end of 2019, even by the terse twosome’s normally abrupt standards this tune hurtles by in a covid-sweating, poet-punking panic. Help the raged, indeed.

“This track is designed to be short and sharp, both lyrically and instrumentally,” they pointedly explain. “Living standards and life expectancy have dramatically dropped for the majority of ordinary people in the UK over the last generation or so, and it often feels like we’re at once completely weightless and under extreme pressure – a little like being deep underwater.

“The demonization and punching-down that constitutes most of the mainstream discourse around debt, housing, poverty and precarity in this country only compounds the issue. The anger and absurdity of a track like ‘Leaking Drains’ is driven by this stuff.”

In lieu of any impending live action (although rest assured the duo duly squeezed out a socially distorted Brixton Windmill show late last year in between lockdowns), Scrounge will be appearing on a laptop near you at the fierce panda SXSW online showcase in March. Furiouser and furiouser…



Scrounge , South London, punk, post punk, alternative rock, politico punk, punk diatribe, diatribal rock, Duo, "Leaking Drains", Lucy (vox, guitar), Luke (vox drums)

Young Robot and the jammy alt rock party vibe of "NO NAME"

 








"dressed to kill and I'm feeling good"


Nashville based Young Robot stirs up youthful Friday night dreams on the party rocker "No Name". There is a retro sound to me infused in the heavy guitar lines (big hooky chorus) and shouting vox that are bathed in timeless phraseology like "digging on the scene" and "you know it's outa sight" giving it a sort of 90's vibe. 


"singing sad songs to all my friends, gonna do this shit till the day it ends"


It is also steeped in the hubris of youth or maybe false bravado, the desire of hooking up, getting lost in your drug or drink of choice and finding out who you are. The jammy lines and swaying slow rocking cadence that makes it easy to hold your drink while dancing is perfect for those get togethers, those house parties that seem like a long lost relic during these days of social distancing.  


-Robb Donker Curtius 

 


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Hurled at you like an asteroid being carried on cosmic winds of fate, Young Robot’s sound needs no introduction. The power of their riffs will draw you in, then their simple melodies hovering over complex arrangements will seal the deal. This Nashville based Alternative outfit is here to carve out a new niche, and they’re bringing everyone else along for a real journey through time and space.

Started in 2018 by Michael Carter (Vocals/Guitar) ,the full lineup has grown to feature Brandon Pennington (Bass), Christian Nerren (Guitar), and Tanner Fuller (drums). The boys dropped “P R I N T E R” in late 2019 after touring the Southeast and Midwest, then took a chill pill to ride out the majority of the Pandemic. Safety first, kids.

Now, rested and recovered, they’re about to claim 2021 as their own. The first in a round of several singles, “NO NAME”, drops on Feb. 19th. Produced and engineered by several of Nashville’s finest, it’s sure to put these boys on the map.

But most importantly, in your playlists.


Young Robot, indie rock, alternative rock, guitar rock, Nashville, party sounds, hubris of youth, house party jam, "No Name",

Wednesday, February 24, 2021

Lyn Lapid's glistening broken lullaby "Itsy Bitsy"











"you know you should be better"


Lyn Lapid is a 17 year old artist, singer-songwriter, multi-instrumentalist who has something to say. Her word's, versatile vocal aesthetic and emotional thrust has people listening and wanting more. She has amassed a huge following, crushing it on You Tube and Tik Tok.

“I want you to hear the messages I put out in my music,” she leaves off. “I’m talking about different things, whether it’s my experiences or mental illness. I hope you can really tune into the lyrics and what I’m trying to say.”

I usually gravitate away from pop indie tracks that build off of nursery rhymes but "Itsy Bitsy" works it's way into your brain. Like a surreal, dreamy slowly walking lullaby, Lapid's croon wears different sonic outfits from stoic zombie mantra, to pained bouncy flows to tender and broken cries all done up her way. The sound of her vocals shift tonally too, rendered in interesting ways as the music that embrace them shift as well. It is such a captivating sound that you get lost in it all until it ends much too soon.

Lyn Lapid is going places. As always, I encourage you to read the informative press stuff below.

-Robb Donker Curtius




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You know individuality the moment you see it—or hear it.

A classically trained musician, unpredictable vocal dynamo, and fearless genre-breaker, Lyn Lapid asserts herself as an individual through and through. At 17-years-old, the singer, songwriter, multi-instrumentalist, and member of vocal collective EARCANDY has unassumingly emerged as an unapologetic and undeniable voice for her generation. After attracting nearly 3 million followers on social media and generating over 100 million views, she breaks into mainstream pop culture with a series of 2020 singles for Republic Records and her forthcoming EP.

“When you hear my music, I want you to say, ‘Oh, that’s a Lyn song,’” she exclaims. “It would be amazing if people think, ‘She gives me Lyn Lapid vibes.’”

The origin of those vibes can be traced back to her childhood in Maryland. A first-generation American born the middle kid of Filipino immigrants, she initially studied classical piano before eventually performing violin in an orchestra for seven years. Simultaneously, she developed her voice by imitating videos online. Along the way, she also learned ukulele and guitar (and obsessed over animated series, such as Steven Universe and Gravity Falls, in her free time). On December 31, 2018, she made the jump to YouTube by posting a ukulele and vocal cover of “Best Part” by Daniel Caesar and H.E.R. She went on to deliver D.I.Y. YouTube renditions of everyone from Ariana Grande and Sabrina Claudio to Edith Piaf and Sarah McLachlan, amassing 8 million-plus views and counting on her channel.

In late 2019, she launched her TikTok page, building an audience of 2.7 million followers at a rapid pace. She joined the acapella group EARCANDY and continued a steady stream of posts. However, a snippet of her first original “Producer Man” exploded. Gathering 50 million views and 100 thousand shares, it emerged as “the most-viewed unreleased demo on a TikTok video in 2020.”

Landing a deal with Republic Records, she finally uncovers the full version of “Producer Man” as her debut single. Produced by Dan Nigro [Conan Gray, Carly Rae Jepsen, Lewis Capaldi, Sky Ferreira, Empress Of], an organic beat reverberates underneath her brassy theatrical delivery. It shuffles over soft guitar and a glitchy swell of snaps and synths. On this bouncy jazz-inflected bedroom pop parable, she shines a light on the industry’s dark side with ominous verses a la “Got the girl to move to L.A., got the paperwork so she could sign her life away…now she’s in the hands of good old Producer Man.”

“It was about my first interaction with anybody in the music industry,” she explains. “A couple of months ago, I was approached by this guy. He seemed pretty nice. I didn’t like how he pursued success though. He said, ‘You shouldn’t produce your own songs, because they won’t do well. You should do songs that will make you popular’. I disagreed and wrote this.”

With more music on the horizon, she will undoubtedly give you “Lyn Lapid vibes” forever.

“I want you to hear the messages I put out in my music,” she leaves off. “I’m talking about different things, whether it’s my experiences or mental illness. I hope you can really tune into the lyrics and what I’m trying to say.”


Lyn Lapid, indie pop, commercial pop, hip hop tones, singer-songwriter, multi-instrumentalist, "Itsy Bitsy"

Karate, Guns & Tanning and the hallucinogenic dream - "Artifacts" (Official Video)












"get out, get out of here"



If you were to stuff 90's Goth pop, post punk electronica, raw sensuality, 80's black leather aloofness and copious amounts of anytime cool into a sonic blender and hit chop and then puree, you would have the almost undefinable "Artifacts". Of, course, I just tried to define it's sound, give a flavor of it's aesthetic but it was not easy for me because it is an all encompassing sound. I mean, after the sort of Bonham drums at the beginning, the track is flooded with so many sonic elements that either hold hands or push each other away that there is this impression or emotional wave more than lyrics to filter through you brain while rhythms hold them up. It feels like sort of industrial wave meets post punk meets synth pop as surreal shoegaze, if you try to decode it, define it, but best not to, best not to. Best to just get lost in the feeling, in the hallucinogenic dream. 

It is also, the kind of sound that perfectly fits a band, a project called Karate, Guns & Tanning. Like the name, "Artifacts" makes no sense, at first. The outfit's members work collaboratively, maybe even psychically from different spaces, from Indianapolis and Louisville. The crux of this matter are Valerie Green and Paige Shedletsky who have a long 15 year history as divergent thinkers, artists and creative weirdos. Anyone who knows me, knows that weirdo is the ultimate complement and that descriptor is my assumption based on the lengthy, well written press notes that, as always, I encourage you to read (way down below).

“We basically share a brain,” Shedletsky says in terms of their instinctive songwriting process.

"Artifacts" is from the band's debut album 'Concrete Beach' which drops March 21, 2021 with pre-orders ongoing via www.karategunsandtanning.com.

-Robb Donker Curtius



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Long before coronavirus made remote collaboration the norm, Valerie Green and Paige Shedletsky were accustomed to creating music together across state lines. Best friends and collaborators since the mid-aughts, Green, who is based in Indianapolis, and Shedletsky, who lives in Louisville, don’t need to be in the same room to know what the other is thinking. “We basically share a brain,” Shedletsky says in terms of their instinctive songwriting process. Concrete Beach, the debut album from their newest band, Karate, Guns & Tanning, is the culmination of that 15-year collaboration, an incendiary blast of industrial-tinged post-punk, shoegaze and dream-pop that draws on influences as varied as the Riot Grrrl movement, Grotesque art, and the gonzo visions of Hunter S. Thompson. As Green puts it succinctly, “The album hits you like a Mack Truck.”

The two artists officially formed Karate, Guns & Tanning in late 2019, taking their name from a sign above a strip mall in Green’s hometown of Plainfield, Indiana. Shedletsky and Green first met in Colorado in 2005, waitressing together at a creepy diner fit for a David Lynch set. “It had these black and white checkered floors and every time the lights would flicker, it always felt like something ominous was about to happen,’” Shedletsky recalls. At the time, Green, a trained musician with wildly eclectic taste, was living in a house with an analog studio; Shedletsky was a teenage noise-rock obsessive with a Fender Rhodes keyboard, and a fondness for avant-garde iconoclasts like Captain Beefheart. Green invited her to come over and check out the studio and soon the two formed their first band, Good Housekeeping, a dream-pop group that drew inspiration from Cocteau Twins and Twin Peaks.

Despite Green moving back to Indiana in 2009, the two kept trading song ideas on-and-off for nearly 10 years. When COVID hit, they found themselves with ample free time on their hands and decided to complete Karate, Guns & Tanning's debut album at last. Green recruited two friends from the Indianapolis music scene, guitarist Joy Caroline Mills and drummer Daniel Guajardo, to join the band. In typical 2020 fashion, the album was recorded remotely, and some members of the band had never actually met in person until after the album was completed. The present lineup consists of Shedletsky (she/her) on keyboards and assorted synths/noise-making, Green (she/her) on lead vocals and bass, Joy Caroline Mills (she/her) on guitar, and Daniel Guajardo (he/him) on drums.

Concrete Beach was born out of restlessness and pent-up aggression, further intensified by the ambient dread of the early months of the pandemic. That fierce energy is palpable on standout moments like the rousing, militaristic cries of “Hot Bots,” which envisions a hostile AI takeover and culminates with a distorted kazoo solo, as well as the synth-splattered “Badlands,” a nightmarish vision of a doomed journey into the darkest heart of the desert. The song’s harrowing denouement is meant to represent a car flipped over in the sand; a sputtering sample of the 1970s country classic “Convoy” signifies the detuned radio, still blaring into the futile chaos while the wheels are spinning. “Breaking Teeth,” with its metallic guitars, gritty bass and chanted rally cries of “Fight! Fight! Fight! Fight!” (not to mention some blazing guitar solos from Mills), evokes the hyper-distorted noise-pop clamor of Sleigh Bells. The track describes an underground fight club, where a match is happening and the crowd is screaming, blood and teeth flying through the air.

That brooding intensity percolates on “Fire,” a new wave-tinted track powered by technicolor synths, melodic bass and dreamlike lyrics inspired by Marc Chagall paintings and Grotesque art (the track is accompanied by a surrealist video by visual artist Andrew Knives.) Meanwhile, “Artifacts” roars to life with pounding, Bonham-sized drums and hyper-processed vocals that serve as another instrument in the mix. The song was meant to evoke the unsettling feeling of being trapped by something not quite tangible. “I wrote this before quarantine,” Green says, “and it ended up being super relevant.” Elsewhere, the band’s experimental dream-pop past is resurrected by the lush and soaring pop smarts of “Zenith,” a minimalist cut inspired by the SpaceX launch.

Concrete Beach may be the culmination of all those years of Shedletsky and Green trading tracks back and forth with little more than a band name and a GarageBand setup, but with the addition of Mills and Guajardo, it became a passion project for the group during the most destabilizing year in modern history. “It's been a saving grace,” says Green. “It’s definitely been therapeutic.” Shedletsky adds, “It was just so scary going into [the pandemic]. This was such a needed distraction. We already have most of the next album written and a seven-inch follow-up on the way.”

Concrete Beach will be out March 21, 2021 with pre-orders ongoing via www.karategunsandtanning.com. When touring resumes, catch Karate, Guns & Tanning breaking teeth at a concrete beach near you.



Karate, Guns & Tanning, post punk, shoe gaze, alternative rock, synthwave, indie rock, electro rock, Gothic wave, "Artifacts", debut album, "Concrete Beach"

Tuesday, February 23, 2021

E.T. Man and the soulful indie electronica of "The Light" (Official Video)

 








"nowhere to go, nowhere to hide"


In E.T. Man's quest driven Official Video for "The Light" (directed by Kelcey Ayer of Local Natives), the Los Angeles synthwave group is seeking some hallucinogenic light besides the golden gleam of the 2nd St. Tunnel. Shot in a retro video tape style, this short film is smile inducing as you follow this trio, all wearing matching tropical shirts, feeling the need to trip out on shrooms against L.A. streets and hills, beautiful city lights, skylines and suburbia. There is a sense of detachment and enduring friendships at the same time. The subtitles are funny and relatable, this is very much a story that you enjoy watching unfold. As is often the case, sometimes life's destinations are not as important as those who you spend time with on those journeys, broken or not.

The soundtrack to this escapade is, of course, is "The Light" and it floats in ethereal and cool ways. The beautifully ascending synths that feel like a mixture of Church organ and retro sci-fi tones fall into a sort of smashed beat groove and a dreamy vocal aesthetic that feels so intimately drawn amid the synthetic bouncing drum tones and scattered electronica around the edges. There is a soulful quality here that might have quiet goose bumps skate across your skin. The feeling is embracing like a giant swaying group hug that within this time of social distancing is so needed right now.

E.T. Man, an emotive blending of synth pop, indie rock and indie electronica began as the solo project of Alessandro Ayer (former keyboardist for alt R&B artist TwoLips). Add Ayer's brother Spencer who brings in his talents (one of which is production skills) and their longtime friend, Trayler Swift, (MT. OSSA, Glorious Wondour) as drummer and co-producer and you have E.T. Man, the band, who by the way, look smashing in tropical flavored shirts.

-Robb Donker Curtius


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The L.A. synthwave group E.T. Man is set to release its latest single, “The Light,” on Friday, February 12. The radio edit single will be accompanied by a music video set to the full-length version of the song, which will appear on E.T. Man’s debut album this spring. The trio’s previous single, "Shades of Neon” was released in October and was well-received on Spotify with support from taste-making music blogs such as Dummy. A music video for "Shades of Neon" is also in the works.


E.T. Man is a Los Angeles-based trio that meshes such styles as synthwave, synth pop, indie rock and indie electronic. The group originated from a solo project of Alessandro Ayer’s, who began writing music in the summer of 2016 inspired by a newfound love for downtown L.A. Alessandro (a former keyboardist for alternative R&B artist TwoLips) shaped the concept for E.T. Man in 2018 with his brother Spencer Ayer, who brings his unique production savvy and crafty musicianship to the project and also serves as co-vocalist. Soon thereafter, they united with their longtime friend Trayler Swift (MT. OSSA, Glorious Wondour), who became the drummer and co-producer. Together, the three are E.T. Man.

E.T. Man, synthwave, electroica, indie rock, indie electronic, Los Angeles, Official Video, "The Light"

Monday, February 22, 2021

Chris Pellnat's time traveled DIY psyche folk buzz of "Stupid Child"











"Follow me not in their presence"


Swirling through and around "Stupid Child" by singer-songwriter Chris Pellnat, based out of Hudson, New York is the raw 60's psychedelic folk buzz born out of the counter culture rebellion or one two many acid drop. At least, that is what it feels like, part barefoot hippie and part slick nehru jacket with rectangular purple sunglasses. The sort of Farfisa organ sound, tom tom beat, busker guitar, and the bohemian folk prose feels like a lost demo tape from that time. Interestingly it is not unlike the re-retro psyche punk tones of mid-2000's post punk psyche bands like Mr. Elevator and the Brain Hotel or Mystic Braves although Pellnat keeps the downward spiral more organically hand crafted pulling in dulcimer, vibraphone and retro synth on top of his guitars.


From Pellnat's latest 2021 album "Crossing".


-Robb Donker Curtius
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Chris Pellnat does the singer-songwriter thing his own way. He uses strange amalgamations of sound, like dulcimer, vibraphone and retro synth - to build incredibly unique, melodic songs. Hailing from Hudson, NY (USA), Chris also plays guitar in the Poughkeepsie-based psychedelic band, The Warp/the Weft.

He released his latest album, "Crossing," in February 2021.


Chris Pellnat, singer-songwriter, indie rock, psychedelic folk, counter culture tones, 60's rock motifs, retro synths, "Stupid Child"

Ivan Moon and the smashing post punkery of "Cellophane"

 









"I know it must be something cuz I made it out of nothing"


Ivan Moon’s debut release “Cellophane” is an undeniable banger befitting for the times in a modern post punk fashion. Moon recorded this track at the beginning of the lockdown in Manchester, with lyricism illustrating the feelings of disconnect and anxiety caused by being tapped in to technology. The pandemic greatly amplifies our use of technology, furthering the frustration and disillusionment from reality. The music is simple, to the point and catchy with a modern punk spin, perfectly conveying the lyrics which we all can relate to. The music video for this track is set for release on February 26th, and we’re stoked to see it and what comes next from Ivan Moon. Listen to “Cellophane” and try to be present and avoid your phone today if you can.

-Alyssa Holland

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Ivan Moon is a Manchester based Alternative Pop artist, merging Post-punk and Hip hop elements to create an ever evolving sound. 2021 Will see the release of Mr Moon’s debut single ‘CELLOPHANE’.

'Ivan Moon’s debut is an earworm, wriggling with an infectious repetitive bassline and dark surf guitar licks. The monotone paranoid vocals and lyrics, paint an overall projection of a doomful pied piper that is Ivan Moon.'

'A sound reminiscent to Blur meets The Cramps.'



Ivan Moon, Post-Punk, Bedroom / Lo-fi Pop, Alternative Rock, Manchester, UK, "Cellophane", modern punk spin

Easter Island and the heartbreak and escape of "Great Big World" (Official Video)

 











"but it's not your fault..."


"Great Big World" by Athens, Georgia's Easter Island with it's pushed acoustic sounds and dreamy tender vocal aesthetic feels like an ode to a big unfolding story full of life's subtle, yet powerful punches in the gut. The bands says the song is about "What makes a small town feel like home—and how alien it is when many of its defining qualities are on hold or ended" and I think we have all experienced this kind of detachment and transformation of places we hold dear in small towns and even big cities.

Crucial touchstones of a place and the people that make those places special leave, crumble away or are lost to waves of a poseur mystique that feels false. Easter Island bring a deep wealth of emotions here and even if your mind wanders because buttons are pushed by the words making you think of bittersweet memories, the melodies and stirring music alone will still move you in unimaginable ways.

"Great Big World" an the accompanying Official Video is from Easter Island's 2020 album "Take All The Time You Need".

-Robb Donker Curtius



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Formed in Athens, GA, Easter Island is an ambient dream-pop act fronted by brothers Ethan and Asher Payne (guitar and keys) and Ryan Monahan (guitar). Their sound has been likened to Explosions in The Sky, My Bloody Valentine, DIIV, Pedro the Lion, and more. The band’s falsetto vocals and panoramic guitars are countered by its powerful rhythm section – John Swint (drums), and Justin Ellis (bass) add gravity to an otherwise weightless sound.

Throughout Easter Island’s career the band has had the opportunity to share the stage with David Bazan, Cindy Wilson (of The B52s), The Low Anthem, Bully, Wild Nothing, White Rabbits, Valley Maker, and more. The band’s debut record Frightened (2012), led to a number of television syncs, including ABC’s “Off The Map”, MTV’s “Awkward”, and a recent live appearance on CW’s Dynasty which aired in 2019.

The past six years have seen the band working in various studios all over the country on their new record while touring the US at large, including appearances at SXSW, CMJ, Treefort, Underground Music Showcase, Secret Stages, and Athfest in their hometown of Athens. They traveled as far as Japan to work on new material and to film the music video for the single, “Island Nation”, which was premiered by Paste Magazine. The band’s follow-up single, “Always Room For Another”, premiered on Billboard in fall 2018. In 2020 the band found itself spread out among five different cities and so they leaned into the separation and produced five music videos - featuring each member in their respective city.

Produced and engineered by Ryan Monahan, the songs received additional engineering from Mike Albanese at Espresso Machine Recording and mastering from Joel Hatstat at High Jump Media in Athens, GA. The new record draws on influences ranging from Sufjan Stevens and Max Richter, to The Never Ending Story. The band completed a successful Kickstarter campaign in early 2020 and will release their sophomore LP, Take All The Time You Think You Need, in December, 2020.



Easter Island, indie rock, alt folk, storytelling, dream pop, Athens, Georgia, "Great Big World", stirring, elegant indie

High Divide serenade global climate change deniers on "When the World Ends"

 











"no more look for rational debate"


After record setting snow fall blanketed Texas contributing to a huge power outage causing primates at an animal sanctuary to freeze to death in their cages and humans not equipped to deal with the extreme cold to die in their cars, bedrooms and backyards, the track "When the World Ends" by Seattle based High Divide seemed rather appropriate. And, believe me, I know this is a dark way to start a track review but political art has a way of sparking one's conscious and setting off alarm bells when they need to be heard.

"When the World Ends" is about the effects of global climate change deniers and how their pursuits of financial gains over the health of the planet will screw us all in the end.

The thing is, High Divide ties a pretty musical bow around the serious message. The aesthetic feels real and rootsy like late 70's garden rock with sinewy folk roots with lovely harmonies. To me, their are bits of Laurel Canyon rock, full suited northern California surf vibes and a sense of tie dye hippie lineage.

High Divide's sophomore album is in the works and I look forward to diving in.


-Robb Donker Curtius


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High Divide is a Seattle based band who will soon be releasing their sophomore album. They have spent the last year recording a collection of songs written since their first release and it promises to be their best work yet.


High Divide, indie rock, folk rock, alternative indie, garden rock, Seattle, "When the World Ends"

Izy Bandha and the darkly beautiful midnight movie "Only Lovers" (Official Video)

 











"Like ghosts of myths you tell "


Izy Bandha is a 23 year old singer-songwriter, musician who crafts her art in Germany. Her track "Only Lovers" which she wrote, recorded and produced is darkly dreamy feeling at once raw but vast and punk elegant. Maybe it is the drum beat (that made me think of David Lovering) the divergent bent, the organic tones but surreal dreaminess and lyrics that wax darkly poetic speaking of demons, death, and maybe love as possession that feels like sonic mythology as old as vampires and made me think of an amalgam of The Pixies, Siouxsie And The Banshees and Jim Jarmusch.

The Jarmusch thought was a cheat and informed by Izy Bandha's revelations about the song:

"The lyrics started as just random thoughts which I wrote down as I looked at my lover watching the sea. it's melancholic and sweet, also pure. we watched Jim Jarmusch's 'Only Lovers Left Alive' that night, which also really inspired me to write this song. I hope one day he will listen to it"

"Wooden furniture in bloody red 
Room filled with smoky air"

Jim Jarmusch's 2013 off beat horror romance movie, 'Only Lovers Left Alive' where love is eternal while the world is in a tumultuous constant wave of change and turmoil. I hope Jarmusch will hear "Only Lovers". Maybe it will end up in one of his evocative askew movies as the song is just that as well. I love the late 70's punk tones and I especially love Izy's vocal aesthetic, the rushes in her melody and the lush sort of dreamy pop flourishes, the layered vox and the lead guitar lines that push the beat further.

"I’m trying to hold my demons together 
Only Lovers"

When the beat falls away and the song becomes a fallen cascade of bittersweet hope, it feels like a deep painful breath before the beat drops back in. The end feels quietly cinematic like a black and white midnight movie. JJ would be proud of the askew things happening on this song.

-Robb Donker Curtius





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writing songs on rainy days in Germany

Izy Bandha, singer-songwriter, musician, DIY producer, Germany, raw, post punk, 80's new wave affections, gothic pop, organic tones, dark poetry, askew poetry, "Only Lovers", Jim Jarmusch

Sunday, February 21, 2021

Sunroot plus Darkwater and Stars' mask wearing post art punkery of "Ur face 'der"




"get your fingers down"


Sunroot has collaborated with Darkwater and Stars on “Ur face ‘der,” a short yet affecting ethereal and alternative piece that makes you wanna hear more. Sunroot aka Mark Richardson has been making music out of Texas for decades, having played in Clouded, All Transistor and with Daniel Johnston (to name a few). Darkwater and Stars is Melissa Shawn Griffin, who creates atmospheric and dark wave soundscapes, and they’ve teamed up with Sunroot to mesh their creative outlooks. The track is about forcing a smile while getting through the day, for the sake of pushing past your concerns or anxiousness to be courteous. The vibe of the music suits this theme, something you could listen to cathartically while doing something similar in your every life. Whether it’s going through depression while having to work, or being upset but trying to remain calm and kind to a cashier, we all experience this but interaction with others has a nice way of snapping us out of it. Listen to “Ur face ‘der,” while you persevere this day, and keep on Sunroot and Darkwater and Stars for their future releases and collaborations.

-Alyssa Holland




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Sunroot is Mark Richardson from Houston, TX. Mark has a long storied history in the Houston music scene, including playing with Daniel Johnston. He began playing live in 1993 with Clouded. They were nominated best band in Houston- 1996, and were officially accepted to SXSW in 1997. Other bands he played with are All Transistor, Judas Bear, and Sad Like Crazy. Since then he's been recording at home and writes/records songs continuously. To sum him up he's indie at heart but experiments with different styles, being a lover of a good hook, and simple pop songs. He writes with emotion, not brain.







Sunroot plus Darkwater and Stars, Mark Richardson, Melissa Shawn Griffin, experimental rock, post punk, art rock, post punk shapes, "Ur face 'der"