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A következő címkéjű bejegyzések mutatása: Deap Vally. Összes bejegyzés megjelenítése
A következő címkéjű bejegyzések mutatása: Deap Vally. Összes bejegyzés megjelenítése

2022. január 18., kedd

18-01-2022 alter:MiX # 33 alter tracks in PRSNT_PRFCT_MiX (2h 22m) [2019-2022]


18-01-2022 alter:MiX # 33 alter tracks in PRSNT_PRFCT_MiX (2h 22m) [2019-2022] # Deap Vally, King Gizzard & the Lizard Wizard, Night Flowers, Desert Sessions, Mike Dillon, Teen Daze, Rhye, Mura Masa, Sweet Whirl, Resavoir, Tindersticks, The Cribs, The Silence, Trees Speak, David Bowie


M U S I C (2h 22m)

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A rock & roll duo from California, Deap Vally deliver a primal mix of hard rock stomp, glam rock swagger, and greasy blues riffs, like the White Stripes colliding with the Black Keys after time traveling to the 1970s and back. With just guitar, vocals, and drums, the group manage to sound full-bodied while possessing a deadly sense of cool, a healthy degree of sonic punch, and a deadpan sense of humor in their braggadocious lyrics...
Perfuction 2:56
Phoenix 2:57
from Marriage 2021
Now that two-piece rock bands are no longer considered an anomaly, high-energy duos are expected to have ready answers to the question of how you keep things fresh and change up your sound when there are only two instruments to contend with. Deap Vally, consisting of guitarist and singer Lindsey Troy and drummer Julie Edwards, showed they knew how to deliver primal, stripped-back rock on their first two albums (2013's Sistrionix and 2016's Femejism), and their third full-length, 2021's Marriage, finds them expanding and exploring a bit after firmly establishing their template of straightforward hard rock with a side of blues and a dash of glam. Through the magic of overdubbing, Troy has added several extra layers of guitar on most of the tracks here, as well as multiplying her half-breathy, half-sneering insouciant vocals into massed choruses and casual but passionate harmonies... Though Deap Vally have found new ways to dress up their music on Marriage, at their core they haven't changed that much -- this is still a smart, powerful rock band with sharp wit and an abundance of well-deserved confidence -- but the added details and textures make a difference, and this music points to a more interesting future for them than one might have imagined after Femejism.



King Gizzard & the Lizard Wizard's sense of unfettered sonic exploration makes it easy to mistake them for a long-forgotten relic of the psych explosion of the 1960s. With a far-out sound that, at times, feels barely held together, King Gizzard evoke the eclectic rock experimentation of Frank Zappa's early work with the Mothers of Invention, the anything-goes feeling of the Flaming Lips, and the demented glee of a random, obscure '60s group plucked from a Pebbles compilation as they follow their musical flights of fancy wherever they might lead...
Minimum Brain Size 4:18
Some Of Us 3:52
from K.G. 2020
Over a ten-year span spent releasing an album every few weeks (or so it seemed) King Gizzard & the Lizard Wizard never repeated themselves, always pushing forward and trying new things whether it was lengthy jazz excursions, gloom-and-doom synth prog, or thundering thrash metal. That changed some on 2020's K.G., where the band revisit the approach used on Flying Microtonal Banana, the group's 2017 album built around the avant-garde sounds of their custom-made guitars and altered instruments. Stuck in their various homes during the global pandemic, the band gravitated toward the unique instruments and built a batch of songs using their non-Western tunings and tones. Unlike that album, though, where that almost felt like a (mostly successful) gimmick, this time the guitars are more fully integrated into the songs... 


Indie pop quintet Night Flowers cast a warm spell of dreamy guitar pop and dulcet boy/girl vocals that result in a wistful, romantic sound. Based in London, but with Northern English roots and an American singer, the band rode a steady stream of singles and EPs in the mid-2010s to critical acclaim, both in the U.K. and Japan...
Night Train 4:38
Merry-Go-Round 2:25
from Fortune Teller 2019
Awash with wistful, romantic lyrics and breezy guitar jangle, London's Night Flowers made a winning impression on their 2018 debut, Wild Notion. Greg Ullyart, Chris Hardy, Sam Lenthall, and Zebedee Budworth originally formed the band in Humberside before moving south to the capitol where they recruited American singer Sophia Petitt to complete their lineup. The sound they make together flirts with the misty borders of dream pop, but ultimately plays like a cleaner and more straightforward take on classic indie pop. Guitarist Ullyart shares some of the lead vocals with the dulcet-toned Pettit, making for some amiable interplay and sweet harmonies. Appearing a little over a year after their debut, Fortune Teller is Night Flowers' second full-length and sees the band shifting even more toward a mainstream sound with clear, full production from drummer Budworth and arrangements that fall somewhere between soft rock and the more earnest side of '80s college rock... 

2021. december 21., kedd

21-12-2021 alter:MiX # 33 alter tracks in PRSNT_PRFCT_MiX (2h 15m)

21-12-2021 alter:MiX # 33 alter tracks in PRSNT_PRFCT_MiX (2h 15m) [2019-2021] Son Lux, TOY, Eerie Wanda, Rose City Band, Goat Girl, Benjamin Lazar Davis, Urlaub in Polen, Bradford Cox / Cate Le Bon, Lost Under Heaven, The Growlers, Pom Poko, Deap Vally, King Gizzard & the Lizard Wizard, Night Flowers, Desert Sessions


M U S I C (2h 15m)

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Originally the post-rock project of composer/keyboardist/vocalist Ryan Lott, Son Lux grew over the course of the 2010s to include guitarist/composer Rafiq Bhatia and experimental drummer Ian Chang. Combining live instruments with computer-manipulated acoustic performances, samples, and Lott's strained vocal delivery, Son Lux's bold, dystopic sound often correlates with anxious lyrics about a fearful future.
Bodies 2:41
Warning 3:02
from Tomorrows II 2020
Son Lux released the first installment of their Tomorrows trilogy in August of a turbulent 2020. Fourth months later, and loosely reminiscent of the second movement of a classical symphony, Tomorrows II proves to be a relatively more hushed, introspective volume. Like Tomorrows I, it was recorded with group members and contributors separated in such far-flung locales as New York, Los Angeles, Indianapolis, and Budapest... 



London's TOY borrow from shoegaze, Krautrock, and classic psychedelia to make pulsating, absorbing music. 
TOY 
Down on the Street 4:43
A Doll's House 3:35
TOY started 2019 with one of their lushest releases and ended it with a study in minimalism. On the full-length Happy in the Hollow, they indulged in as many styles and sounds as they could pack into its songs, but on Songs of Consumption, they don't pile on layer after layer to keep things interesting. Both rawer and more electronic than any of their previous music, this covers EP finds TOY drawing on the evocative simplicity of vintage synth pop, minimal wave, and electro-punk as they reimagine songs by artists ranging from the Troggs to John Barry. Not only does the band have an enviable record collection, they know how to pick songs that challenge them. They begin the EP with one of their biggest departures: Their taut version of "Down on the Street" trades the Stooges' raw power for sullen synth rock with a cruise-controlled Motorik beat... The band gives Nico's "Sixty Forty" a makeover that's nearly as radical, miniaturizing its dark, rolling majesty into something more intimate but just as poignant... Their dedication to stripping these songs down to their bones yields especially fascinating results on "A Doll's House," where they translate the complexity of John Barry's composition with just a handful of instruments. Even when TOY returns to a more familiar sound, they do it creatively...


The Dutch band Eerie Wanda are led by vocalist/songwriter/guitarist Marina Tadic, whose warmly intimate vocals are paired with melancholy pop songs influenced by psychedelia (as on their debut album, 2016's Hum) or, as on their second record, 2019's Pet Town, sweet early-'60s ballads and rockabilly.
Pet Town 3:27
Rockabiller 3:32
Hands of the Devil 2:35
from Pet Town 2019
...There are traces of girl group sweetness, soda shop, rockabilly, and lots of Ricky Nelson's "Lonesome Town" in the sound Tadic and her mates create. It's quiet and peaceful, but never boring thanks to the richness of Tadic's voice and the power of her lyrics. There's a disarming directness to both the melodies and the words, and though one might miss Verhulst's pulsing basslines or the electric guitars, the unbroken mood Tadic creates is entrancing. .. Pet Town makes for the perfect record to calm down at the end of a typically bonkers day or as a brief respite from the storm during the middle of it. Tadic's vocals are endlessly soothing, the arrangements are comforting, and the warmth of the songs emanates from the speakers like gentle heat waves from a crackling fire. Stripping back from the already gentle sound of Hum could have been a step in the wrong direction' instead, it's a perfect evolution and a wonderful album.


After initially appearing as a semi-anonymous psychedelic country jam band, Rose City Band was revealed to be the project of Wooden Shjips/Moon Duo guitarist/vocalist Ripley Johnson. He worked with indie giant Thrill Jockey to reissue the band's 2019 self-titled debut after a self-released pressing quickly sold out. ..
Rose City Band 
Rip City 3:49
Rivers of Mind 6:34
Fog of Love 4:22
from Rose City Band 2020
Mysterious and calm, the debut album from Rose City Band rolls in slowly like the morning fog. Produced by Moon Duo/Wooden Shjips member Ripley Johnson, the project filters the softer side of the Grateful Dead's jammy explorations through a gentle, spaced-out haze. Where other late-2010s disciples of Garcia and Weir sometimes reworked the Dead's amped-up boogie rock tendencies, Rose City Band's self-titled debut leans more into the moments of soft, cosmic elegance that sometimes arrived deep into lengthy space jams... Rose City Band is ultimately less about the songs, or even the jamming, and more about the muted, textural palette it stretches out on.