Tag Archives: video

January 16, 2018 — “Tea-Soaked Letter” by Anna Burch

Anna Burch

If you only listen to one song today, make it “Tea-Soaked Letter” by Anna Burch (2018, from the forthcoming album Quit the Curse).
Anna Burch is an indie pop singer-songwriter working out of Detroit. Years ago, she was the front of a band called Failed Flowers, and she had been in other bands, but she took some time away from music to go to grad school. After that, she moved to Detroit and started a solo career. She got a big break when she was spotted by fellow Michigander Fred Thomas, who was once a member of His Name is Alive, and was also the front of the indie pop band Saturday Looks Good to Me. Thomas has also put out a few solo records and contributed to dozens of albums across many genres. As the story goes, he sent her demo to Polyvinyl Records with a note that said “This is not a drill. You need to hear this”. They liked it, and they quickly signed her. Her debut album Quit the Curse will be out on February 2.
This has all happened very quickly. Thomas sent the demos in the summer of 2017. She had a bunch of songs written, and she had also caught the ear of Collin Dupuis, who has mixed records by Angel Olsen, Mynabirds, The Black Keys, Grant-Lee Phillips, and many others. He helped her fine-tune those songs, and the end result is Quit the Curse. Only six months passed from the time Thomas said “listen to this” to the time Polyvinyl said “We’re putting this record out”. They announced the signing in late October and started promoting the album in November. I’ve been getting emails about a couple of the songs, and with the release date just a couple of weeks away, it’s time.
Some say she sounds like the brilliant no-fucks-given mid-90s indie rock of Liz Phair. Some people say she’s like Courtney Barnett. I get that, but I hear other things like the precision, power and punk-lite beauty of That Dog combined with the gritty and angular but silky smoothness of Julie Doiron. Boil all of that down, add a dash of Mitski, and I get Anna Burch. I love all of her songs that I’ve heard, but I love this one the most:
“Tea-Soaked Letter” by Anna Burch

I love it. And I love that it’s just a song about raw emotion. It’s not about romance and all that stuff: it’s about sex. Or wanting someone really badly. There’s one bit about not playing the game of trying to be wooed

I forgot to fake
the way that I was feeling
I guess it’s too late
All my cards are showing

and then the other bit about again accidentally-on purpose putting the ball in her own court:

No you can’t come up
Who am I kidding.. I would drag you up

But then there’s the bit where the other person might not feel the same:

What was that you said
That I don’t exist inside your head

Ouch!

There’s also some line about making a fool of herself in the interest of getting with this person. It may be to no avail, but she takes it in stride:

So I made a scene
I can think of things more embarrassing

Of course she really lays it on the line at the end:

You’re all I wanted
You’re all I wanted

Everyone understands these kinds of emotions. Everyone –well, mostly everyone– has given their unrequited love before. It sucks, but it’s not the end of the world. See also: “Your Best American Girl”.

There’s also a video of the song, and the video is another thing that makes me think of Julie Doiron.

Quit the Curse will be out on February 2, and you can pre-order it via Polyvinyl here. There’s a cool “pink/white starburst” vinyl in a limited run of 300 as well as a green vinyl, cd, cassette, and digital versions.


January 9, 2018 — “Fool’s Gold” by S. Carey

Sean Carey

If you only listen to one song tonight, make it “Fool’s Gold” by S Carey (2018, from the forthcoming album Hundred Acre).
S. Carey is the stage name of Eau Claire, Wisconsin indie-folk rocker Sean Carey. Although he’s put out two solo albums and a couple of EPs, he’s probably most known for being a vocalist and one of two drummers in Bon Iver. The first two records —All We Grow (2010) and Range of Light (2014)– had “generally positive” reviews, and the forthcoming Hundred Acre is getting tons of advance praise.

The new record, which will be out on February 23 via Jagjaguwar Records has been called his most personal work yet, and like the first Bon Iver record, it’s “basic” and beautiful. It’s stripped down: guitar, strings, pedal steel, synths, drums, and Carey’s dulcet vocals. Carey is challenging the listener to join him “to strive for a near-utopian ideal of returning to a simpler way of life, and loving those around you, to heal personal wounds.” That’s from the press release back in November. I’ve just gotten around to listening to the new song, and I really can’t wait for the full album. This is that song:

“Fool’s Gold” by S. Carey

The slide guitar is brilliant. There’s a fine line between “enough” slide guitar and “way too much” slide guitar. They’ve found the right side of it. The balance of the acoustic guitar and the electric guitar is amazing. Carey’s vocals are perfect. Beautiful and heartbreaking. I absolutely love the sparseness of the whole thing. Best of all, though, the lyrics don’t get in the way of a beautiful song like they might with a Sun Kil Moon song. Oh no. This is the kind of song that Mark Kozelek wishes he could still write.

This is also the kind of song that reminds us why we loved Bon Iver in the first place. To be honest, I didn’t care for the newest Bon Iver record, but I still hold For Emma, Forever Ago (2007) in the very highest regard. Certainly one of my favourite records of the first decade of the 2000s.

You can and should watch the below video of Carey’s band playing the song:

The album doesn’t come out until February 23, but you can pre-order it via Jagjaguwar in your choice of physical formats including “translucent green” vinyl and “blue haze” vinyl here. You can also order a digital copy via Bandcamp here.

Finally, you should also go catch S Carey on tour. Bon Iver will be at Austin City Limits later this month, then the UK this March. Right after that S Carey will tour the east coast and midwest US. See the tour dates here.


January 8, 2018 — “Petal” by Hovvdy

Hovvdy

If you only listen to one song today, make it “Petal” by Hovvdy (2018, from the forthcoming album Cranberry).
Hovvdy is a slowcore/bedroom pop/”pillowcore” duo from Austin, Texas. Yes. Another band who uses a “double-v” in their band name in lieu of a “w”. Will Taylor and Charlie Martin, who are both drummers, met in 2014, and bonded over their love of downtempo pop music. They recorded some stuff in bedrooms and living rooms, and in 2016, they released their debut album Taster via Sports Day Records. That album was re-released by Double Double Whammy Records last year. Their sophomore album Cranberry is due out on February 9 via DDW. They’ll follow the record release with a mini-tour that features three shows in Texas, two in Mississippi, two in Tennessee, one in Louisiana, and one in Brooklyn.

I had never heard of the band before I got something in the mail bag about them. As everyone knows, I love DDW Records, and the email had a bunch of alluring press clippings. After giving a quick listen to a few songs, I really like what these guys are doing. There’s something really familiar about their style, and it took me a while, but I ultimately decided that they sound like Matt Pond doing early Built To Spill covers. Today’s song is my favorite of the three that I’ve heard, but they’re all great.

This is that song.
“Petal” by Hovvdy

Whichever one of the guys who does most of the singing has a nice falsetto that reminds me just a little of Doug Martsch out of Built to Spill. This guy sings better than Martsch, though. The song structure is a little like a lot of Built to Spill songs. Specifically, I’m thinking of “Car”. Except it’s slower-paced and much prettier. Like the way it might be if done by MPPA.

You can pre-order a digital copy of the album via Bandcamp here. You can also pre-order physical formats including a “cranberry red in milky clear” vinyl via the DDW web store here.

You can also see the beautifully shot video below. Bicycles. Pickup trucks. Dogs. Tree-lined streets. It’s got everything. Plus it’s got the band playing the song.


January 5, 2018 — “On a Sunday Morning” by Dead Vibrations

If you only listen to one song tonight, make it “On a Sunday Morning” by Dead Vibrations (2018, from the forthcoming album Dead Vibrations)
Dead Vibrations is a noise pop/shoegaze/psych rock quartet from Stockholm. They’ve been around since 2015, but they just released their first EP Reflections last year, and they’re all set to put out their eponymous debut album on January 26 via Fuzz Club Records.

The band has already been getting a lot of good press, and this new album should push them to the front of the Scandinavian shoegaze scene. I had never heard the band before, but I got something in the mail bag suggesting a sound reminiscent of Jesus and Mary Chain, Spacemen 3, and the Seattle grunge scene of the 1990s. In today’s song, there’s a small bit that absolutely reminds me of “Nearly Lost You” by Screaming Trees. Painted with broader strokes, today’s song reminds me more of Swervedriver than of the Mary Chain. On other songs, there’s a more viscous texture, and I’m reminded of Sonic Youth. And these are all fantastic things to be reminded of.

“On a Sunday Morning” by Dead Vibrations

The part where the drums come in at 0:32 up until where the vocals come in at 1:20 is the bit that reminds me of that Screaming Trees song. Then it gets noisy and has me thinking about Mezcal Head. There’s a bridge that’s a little Sonic Youth-esque, then back to that drumbeat at around 3:40.

I like this a lot. And I love the rest of the album. The rest of the album is a little sludgier and packed a little tighter. They don’t breathe very much, but that’s okay. This is meant to be sweaty and beer-soaked.

Look for the album on January 26. You can pre-order the vinyl here. It might be kind of fun to play that record with the pitch adjusted down to make it even sludgier. Pre-order the digital version here.

You should also check out the video of the band doing this song on a rooftop:


December 12, 2017 — “Turtledoves” by Gingerlys

If you only listen to one song today, make it “Turtledoves” by Gingerlys (2017, from the album Gingerlys).

Gingerlys is an indie pop/shoegaze/dream pop quintet from Brooklyn. They formed in 2013, and they’ve recently released their smashing self-titled debut record via Topshelf Records and Babe City Records. The album is finding its way onto a lot of year-end lists, and the band is earning comparisons to Alvvays and The Pains of Being Pure at Heart. I’m totally on board with those comparisons, and I absolutely love the album. I’m also reminded of Veronica Falls.
A few months ago, I started getting stuff in the mailbag about Gingerlys. I also started to see a lot of things written about them on other blogs and I started to see some early year-end-lists. The album came out on November 17, and although I’ve had it for several weeks, I only just got around to spending significant time with it over the past few days. I love it.
The entire album is a bunch of bouncy, shiny fun right from the drop. Today’s song is the first song from the album, and it really sets the tone.

“Turtledoves” by Gingerlys

It’s noisy and melodic. It’s bouncy and bright, while it’s also a little unwashed. There’s something that’s vaguely reminiscent of DC-area popgaze of the mid 1990s. There’s also the official video, which is a mashup of film styles. some of it was shot digitally on modern equipment, while some of it looks like it was filmed with a VCR camera using an old tape. You can clearly tell the bits with the 4:3 aspect ratio are of lesser quality. That kind of mixed film quality works for me. Here’s the video:

You can buy the album digitally here. They also have CD, cassette and vinyl format. The vinyl comes in “clear coke bottle” or black. There was a “starburst pink” or “opaque pink” vinyl, but it appears to have sold out. Just buy the album in any format. You won’t regret it.


December 6, 2017 — “Sure” by Hatchie

Harriette Pilbeam (Hatchie)

If you only listen to one song today, make it “Sure” by Hatchie (from the 2017 standalone single).
Hatchie is the stage name of Brisbane-based indie/dream pop singer/songwriter Harriette Pilbeam. She’s been in the Brisbane music scene for a few years as a member of two other bands, but this is her first project that she’s been the front of. She released a shimmering indie-pop single called “Try” over the summer, and followed that with “Sure” a month ago. She’s set to release her debut EP early next year, and it’s probably safe to assume that this song will be on that record.

I recently got something in the mailbag about this rising star, and the email promised similarities to Slowdive and Cocteau Twins. Those kinds of handy references are thrown around pretty frequently, but it’s not often that I find the lofty comparison to actually work. “Try” doesn’t remind me of those bands at all, but there’s definitely a Robin Guthrie-like quality to the guitars on today’s song. In general, there’s a Milk and Kisses-era Cocteaus feeling. While Milk and Kisses is generally regarded by anyone with any frame of reference to be “lesser Cocteaus”, it’s still a very good album compared to the majority of stuff that passes as “rock music”. There’s also quite a bit of jangly guitars that remind me of the indie rock of the early 90s.
There isn’t a sharable Soundcloud or Bandcamp file, but here’s the video:

Right off the bat, the intro to the song is eerily reminiscent of the intro to a gem from the pre-Copacetic Velocity Girl days. The song “Forgotten Favorite” was on the band’s 1993 self-titled debut EP. It’s absolutely my favourite VG song. In fact, that whole EP is incredible, but it often gets forgotten in the catalog of a band that few people remember anyway.

The video seems to be a deliberate glove-tap to the indie pop videos of the early-mid 1990s. The stripey shirt worn by the guitar player. The jangly acoustic guitar. The bank of TVs with horizontal TV noise and video feedback/recursive image. The classic 8-eye Doc Martens worn by Pilbeam. This is all stuff that takes me back to the golden age of indie pop, when Pilbeam and her mates probably weren’t even born yet.

The song, according to what I’ve read, is about a couple who keep breaking up and getting back together. They’re giving it one last go because they can’t live with or without each other.

All I know about the forthcoming EP is that it’s called Sugar and Spice and that it’s due out “early next year”.


December 1, 2017 — “Ojos en el Carro” by Mint Field

Mint Field

If you only listen to one song today, make it “Ojos en el Carro” by Mint Field (from the forthcoming 2018 album Pasar de las Luces).
Mint Field is a dream pop/shoegaze duo from Tijuana, Mexico. The 21-year olds Estrella Sanchez (vocals/guitar) and Amor Amezcua (drums/synths) released an EP called Primeras Salidas in 2015, and played Coachella and South By Southwest. They went to Detroit to record with Chris Koltay out of Akron/Family, and their debut album Pasar de las Luces will be out on February 23, 2018 via Innovative Leisure.
I don’t really know anything about the band, but I got something in the mailbag, and I’ve read that their sound falls in line with krautrock, shoegaze, dream pop, and stoner rock. Naturally, that piqued my interest. Today’s song reminds me of bands like Beach House and Memoryhouse. I haven’t heard the rest of the album yet, but I really like this song.
“Ojos en el Carro” by Mint Field

I love the glacial pace of it and the dreamy guitars. The drums are really gentle and Sanchez’ angelic vocals are affected with heavy delay. The highlight for me, though, is the sonic sea change at 3:31. It goes from glacial and gauzy to not-so-glacial and loud. By the end, it’s really fuzzy and gritty. I love all of these things, and I can’t wait to hear the rest of the record. It doesn’t really matter to me that Sanchez sings in Spanish, and that I don’t understand a word of it.

You can pre-order Pasar de las Luces here.

You should also enjoy the official video here:


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