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SET IT OFF ANNOUNCE PREMIERES ‘ANCIENT HISTORY’ VIDEO

UK HEADLINE TOUR ANNOUNCED FOR MAY

Set It Off is premiering their high energy, cinematic music video for their impossibly catchy new single ‘Ancient History’ on setitoffband.com!

Not too long ago I was in a relationship with someone that was very serious. We had a very firm connection, we lived together, it was great, but one day we had to split ways. Once the initial storm from the breakup had settled we realized something. We missed the sex. We knew it wasn’t a smart choice, but it was an easy choice. So then came the 2AM calls and the sneaking off. We eventually realized we were doing more damage than helping so we decided to call it quits and just stay friends,” reveals vocalist Cody Carson of the song.

This song is about that particular situation. Also, the foundation vibe for this song was “That Thing You Do” from the popular Tom Hanks film and I LOOOVEE that song so much so I’m happy that double clap made it’s way into a Set It Off song.”

The band are also excited to today announce their return to the UK/Europe for their first headline run across the pond shortly before returning to America for Warped Tour. 

We just returned home from our recent tour in the UK/Europe with Crown The Empire, and were so overwhelmed with the response from the crowd. So…we are coming back for our VERY first headliner overseas!! I can’t wait to see everyone over there again and to see the full extent of what these crowds are capable of. European tours are a force to be reckoned with, but so are we, so all I have to say is, bring it on!”

The band is currently headlining The Glamour Kills Tour – the band’s first full US headline run in support of their new album Duality. Joining Set It Off on the nearly six-week tour is Against The Current, As It Is, and Roam.

Duality is out now and available digitally through iTunes, AmazonMP3, and Google Play, and at physical retailers such as Best Buy, FYE, Newbury Comics, MerchNOW and more.

TOUR DATES:

Set It Off w/Decade and Brawlers

May 01 Belgium BE @ Groezrock
May 04 Glasgow, UK @ King Tut’s
May 06 London, UK @ Underworld
May 07 Manchester, UK @ Sound Control
May 08 Sheffield, UK @ Corporation
May 09 Birmingham, UK @ The Asylum 2
May 10 Cardiff, UK @ Clwb Ifor Bach
May 12 Paris, FR @ La Maroquinerie
May 14 Cologne, DE @ Underground
May 15 Wiesbaden, DE @Schlachthof
May 16 Hamburg, DE @Rock Café
May 17 Berlin, DE @Comet
May 19 Munich, DE @Backstage Club
May 20 Eindhoven, NL @ Dynamo

Set

 

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MUTINY ON THE BOUNTY
Share New Video For
‘MKL JKSN’

Flares, dance-off’s and math-rock on the ‘Soul Tram’…

Groove infused, instrumental math-rock from Luxembourg
FFO: Battles, Adebisi Shank, Polymath, That Fucking Tank

New Album ‘Digital Tropics’
Due Out On 27th May 2015 via
Small Pond Recordings

Previous praise for Mutiny On The Bounty:

“…a must-hear for anyone who enjoys their technical, melodic rock” – Rock Sound (9/10)

“…Mutiny On The Bounty’s wild time signatures and eclectic post-hardcore yelps invite the desire to listen again and again” – Kerrang! (4/5)

“…with careering riffs and electronic blips, this is a band that are intent on transporting you to another world” ­– Big Cheese (3/5)

Following on from their last album ‘Trials’ released in 2012, Luxembourg post-rock quartet Mutiny On The Bounty are ready to release their new album ‘Digital Tropics’. The new album comes in the wake of signing to new up-and-coming Brighton based record label Small Pond Recordings, and a UK tour in December 2014 which saw the band play alongside the likes of Maybeshewill, Flood of Red, Dialects and Polymath.

The new album sees the band fully embrace their instrumental side which was heavily championed on their last album. On the new album the band have said, “Digital Tropics” englobes all the facets of our personalities going from rock, to electro and more varied influences such as 80’s pop or even hip-hop. It gives a wider range of emotions and we believe that it’s a powerful album. We’re really proud of this album and can’t wait to share it with everyone”

The appropriately named lead track ‘MKL JCKSN’ is the perfect introduction to ‘Digital Tropics’, with reverb soaked and groove-infused staccato melodies from the guitars dancing around a technical and mechanically intricate rhythm section. Elsewhere tracks such as ‘Telekinesis’ infuse slightly heavier riffs and driving rhythm with guitars that sound closer to keys or synths than strings, giving the track a diverse and uplifting feel. This is where the inclusion of new influences can be heard, at times you can almost hear elements of Kraftwerk, whereas other areas are closer to bands such as ASIWYFA, Faraquet or Battles. Similarly this can also be heard in ‘Ecliptic’ which darts between the realms of electro, math-rock, and Vangelis/Brad Fiedel-esque moments of euphonious orchestration.

MOTB are a band that have soared from strength-to-strength with every album by delving further into their individual personalities to explore new sounds and composition techniques. In doing so the band have reached new territory exploring a more deceivingly moody soundscape than ‘Trials’ which is both technically challenging yet entirely danceable.

‘Digital Tropics’ is a work of relentless convergence and exploratory disposal that reaches to the heart of both emotional and creative expression. The result of which has created MOTB’s most diverse and accomplished album to date.

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Anxious new music from Los Angeles trio White Arrows with amazing film to go with it. The new album incoming is an incredible tropical psych/pop explosion made up of catchy danceable tunes. 

LA’s WHITE ARROWS RETURN WITH GLACIAL NEW TRACK ‘NOBODY CARES’

EPIC NEW VIDEO SHOT IN 3 TAKES, NO PERMITS, MICKEY’S SUIT FOUND DUMPED OUTSIDE A MEXICAN TRANNY BAR

WATCH VIDEO:
https://www.youtube.com/watch?v=heVo_NzfgpE

STREAM TRACK:
https://soundcloud.com/white-arrows/nobody-cares-1

A slice of seductive pop with undertones of anxiety, but the video elevates it to a whole other world” – Noisey

Sharply seductive, tinkling synths, beautiful vocals and striking visuals” – Clash Track of the Day

Los Angeles trio White Arrows are back with new music for 2015 driven by the dark, glacial and shimmering sound of ‘Nobody Cares’, released digitally via Votiv as a single on March 9th.

Following 2012’s debut album Dry Land Is Not A Myth, White Arrows found themselves in the studio for the first time sat alongside a producer, allowing them to interpret and articulate the ideas rattling around frontman Mickey Church’s imagination. The results spawned a meditative, ritualistic and uplifting experience as heard in the mesmerising new single ‘Nobody Cares’, taken from the forthcoming album In Bardo. 

“’Nobody Cares’ is about living in a self-obsessed society in a world moves so fast,” explains Mickey. “I specifically wrote it because it is how I feel 98% of the time: honestly, nobody cares. It’s about how living with that in mind can be bad and weird but also liberating. You could do something really embarrassing in life but in time people might only remember the incident but not the person. Because we’re all too self-absorbed. It really represents the sub-conscious lyrical through-line around which the album is built.”

The video for this naked journey was shot in Los Angeles with no permits withiin 2-3 takes only. Fitting that the outfit, worn by singer Mickey Church, was actually found ditched outside the Mexican tranny club where the footage was shot too.

The Californian band, who have played with the likes of Weezer, Santigold, White Denim and the Naked and Famous, have transcended their previous futurist funk, psychedelic rock and 80-flecked synth pop influences to create an experience – one that that defines their own world perfectly.

Feed your transitional state from this first offering and await album release news soon.

Find White Arrows at:

 

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Experimental Composer Shark’s Teeth Premieres New Video With CLASH

“Gently lapping against the speakers, the song is smothered in reverb with teasing shards of melody lurking amidst the gloom.”
– CLASH

“…the kind of record worth paying attention to the little sonic details.” 
– Ransom Note

Today CLASH have premiered the new ambient/sound art video from Sharks’ Teeth’s forthcoming album ‘Wissenschaftslehre IV or Opinion Crisis’ (due out 17th March 2015).

This is one for fans of Raymond Scott, ENO, Olafur Arnolds and could just as easily be coming out on Erased Tapes or The Leaf Label…It requires some concentration and it’s incredibly minimal but the subtle changes in mood and tone are what makes this such an deeply interesting and idiosyncratic listen/watch.

Whilst the video seems to almost explicitly depict joyous moments from childhood, the music carries the mood and tones, and whilst it can make the most mundane of days seem incredibly significant, it can even make Christmas seem incredibly dark and almost dissonant.

It’s a lush experience, with flittering electronic haze and zero vocal work, seeming to allude to leisure and faith.

Due out on 17th March 2015 via Paco Tapes

http://www.sharksteethband.com/ //https://www.facebook.com/sharksteethsounds
Sharks’ Teeth began in 2009 as an outlet for the solo recordings of Tyler Scurlock, songwriter and guitarist of New Orleans indie band, Sun Hotel. Six years and six synthesizers later, and Sharks’ Teeth are ready to release their 17th album ‘Wissenschaftslehre IV or Opinion Crisis’.The new album will be the fourth instalment in a sequence of ambient collections known as ‘Wissenschaftslehres’.

Borrowing its name from the German Philosopher, Johann Fichte, who used the term to mean something along the lines of “this is the way I think”, ‘Opinion Crisis’ comes to us in 22 tracks of pleasing yet dark, and dejected synth waves, maintaining a sense of otherworldly beauty across the board, with gorgeous pads and arpeggiators making their way across the stereo field in a hazy, oxymoronically lo-fi, cassette-recorded fashion.

True to its heritage ‘Opinion Crisis’ is philosophical in its execution. There is something almost cinematic in its design. Scurlock says “I think about how when the score enters a film, it can make a scene of an everyday task such as grocery shopping, folding your laundry, or just staring out the window appear to be an emotional and deeply meaningful experience, depending on the musical tones”.

Lead track, ‘Jade Oscilloscope Screen’ exemplifies this perfectly by blending dark, melancholic and swelling drones, with beguiling piano and subtle sweeps, which seduces the listener into forgoing any distractions and gives them a bespoke feeling of significance. It’s soothing, accommodating, and at times it is evocative of an outer body experience allowing the listener to inspect every element of their own mise en scène. This is more than just an album of pleasing synth driven tracks, it’s a collection of emotions and moods bestowed on to the listener for his/her own subjective delineation.

‘Wissenschaftslehre IV or ‘Opinion Crisis’ will also be the first release to feature the use of Scurlock’s very own design for a light operated delay device, the ‘Alter-Echo’. This unit, designed and distributed by Scurlock’s small time circuit bending operation kindinstruments.com, gives the tracks on ‘Opinion Crisis’ a new quality, made possible through a new way of controlling the expression of tone. These unfamiliar textures reveal themselves in the warped strings of opening track ‘Reader’s Digest Go Unread’ and in the bending and bouncing melody of ‘Gray Court’.

Sharks’ Teeth
‘Wissenschaftslehre IV or Opinion Crisis’

 

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“NRVS LVRS make wonderfully noise-rich shoegazey tunes for the listener’s audial immersion” – [Premiered by] Fred Perry Subculture

Debut LP ‘The Golden West’
Out 16th March on Hz Castle Records

www.facebook.com/nrvslvrs
twitter.com/NRVSLVRS
nrvslvrs.tumblr.comPress Images Here
‘Glistens every bit as bright as the lights on their hometown’s famed Golden Gate Bridge.’ The 405

 “Epic, prescient and intelligent rock tunes, all tinged with nuanced flavours of indie, pop, electronica and various other aural titbits. The album tackles some hefty themes and discussions like the housing market, technology boom, the economy and the power of the corporations. It’s galvanised by the tragedy that local citizens embedded in the city’s culture, arts and music scenes are being priced out of their homes by faceless businesses, leaving a vapid, soul-extracted shell in the wake.” – The Line Of Best Fit 

San Francisco 6-piece NRVS LVRS began their journey at the beginning of 2014 when a collection of songs, written initially for the purpose of musical experimentation, found themselves at the centre of a newly forming band. The resulting group was driven by the desire of Andrew Gomez and girlfriend Bevin Lee to link their creative muses and express their thoughts and feelings on their rapidly-changing city. Circuit bent bleeps, grimy drum loops, buzzy toys, humming synths, processed handclaps, and failing 80’s keyboards are all creatively edited together with the flesh and blood sounds of guitar, bass, & drums in this album – an album that presents a band ready to explore the fading art of political music.

‘’Each song examines a different point of view on the latest tech disruption and its leaders” says Gomez. New album The Golden West explores the many problems the current technology boom in their native San Francisco is causing. In a city with a disappearing arts & culture scene, where work and free time have become indistinguishable, and locals are being priced out of their own homes, NRVS LVRS find themselves at the forefront of the conversation.

Take the album’s title track ‘’Golden West’’, for example. Addressing the city’s increasingly profit-driven housing market, this song centers on a tenant being unfairly evicted via the Ellis Act, a controversial California law. In its introduction, a lonesome and tremolo-buoyed synth sits on top of the mix with hints of a Tears For Fears era apparent. The gentle and distant strumming of an acoustic guitar titters on the horizon, creating a despondent unease. The vocal line is then introduced alongside the full weight of a growling synth bass and the hard-hitting opening phrase ‘’I had a place to live but robots came and kicked down the doors’. The strong hook in the chorus makes for a powerful messenger, and a crashing wave of guitars & drums in the closing stages of the song leaves a lasting impression –rather reminiscent of a Broken Social Scene record. Upbeat and fast-paced ‘’Black Diamonds’’ explores these themes further and sees the band tackling the problem of an overworked tech industry and its strange corporate leaders. A song brimming with optimistic chords but sarcastic sentiments, the track features a driving back beat and the dense guitar play of an 80’s jangle-pop heyday.

Listening to this album gives one a front row seat to San Francisco’s ever-changing and fast-developing technological environment, but this album is by no means just about that. ‘’What is happening in SF is happening in NYC, Detroit, and to my knowledge, just about every major city in the US & Europe, so the album’s themes of dread, uncertainty, and displacement feel pretty timely, if not universal,’’ Gomez explains. “We know we’re not the only ones experiencing an inordinate amount of disillusionment and disaffection.”

A collection of talented friends and adept musicians bolster the album with their contributions. Bassist Wendy Brents contributes to the album by writing and singing the opener “City Lights”, a moody slow-burner that simultaneously foreshadows & summarizes the emotional heart of the record. As drummer Aaron Hazen adds humanity & weight to the loops, guitarists Charles Belvedere & Rye In The Sky cleverly play off each other with their separate dalliances in shoegazy haze and layered, articulate counter-melodies. A large majority of the album’s production took place on cold, late nights in their apartment in San Francisco but some was also captured with co-producer Patrick Brown at his historic Different Fur Studios in the Mission District of San Francisco.

From such disruption and discontent comes a truly stimulating collection of ‘sonic collages’. Gomez sums up his thoughts on the album by concluding ‘’There is a dark side to SF’s latest economic boom, and this is our snapshot of it.’’

 

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