Posts Tagged shoegaze
There’s a bit of comfort in knowing that we are not alone in our despair, sadness or frustration. Meditative Shoegaze-y instrumentation and layered arrangements safely engulf you and transport you into a beautiful aural solace. The Light Gathering Lens is the music project of singer/songwriter and wildlife scientist Eric Burnham. He was in the 80s/90s bands Weather Theater and Ministry of Love. 24 years ago he recorded these songs and re-discovered them and decided to release the EP which comes out on April 21, 2017.
“Shenandoah” with its humming base and relaxing tone reminds me of some music that accompanies guided meditations. Overlapping vocal rounds on “Seeing Stars Part One” harmonizes like Buddhist chanting. That blends into the psychedelic tinged instrumental of “Seeing Stars Part Two.” Beautiful murky vocals and Middle Eastern elements gorgeously blend on “The Terror Time” which is Burnham’s stunning interpretation of a folk song first written by Ewan MacColl. I’m positive I could mediate to this. The songs on the EP provide the soothing, meditative timbre that we sometimes (or often) crave and that possibly will connect with your chakras [if you dig that sort of thing].
Eric Burnham explained:
I started playing the trombone when I was seven years old, but I didn’t pick up a guitar until my freshman year in college. I first learned to play classical guitar, and a little bit of flamenco. Flamenco music still is an influence for me, along with near and middle eastern traditional music. I have always loved psychedelic music, and the first album I bought was Sgt. Pepper’s Lonely Hearts Club Band when I was 10 years old.
I have struggled with clinical depression for all of my adult life, and this has affected my art. I believe that my music is about all of the struggles with mental illness, and about finally finding redemption after many years of bleak desolation.
I had been a wildlife scientist and my research had been aimed at conserving gray wolves in the western U.S. I had spent much time alone in the wilderness tracking wolf movements, and analyzing their kill sites, and I think that this experience also inspires my art.
Sydney Eloise and the Palms, “Sorry Not Sorry”
Sydney Eloise possesses retro yet modern vocals that both move and soothe. This song conveys resilience and strength. I’ve been listening to the entire album for a bit and it’s so comforting and dynamic. If you like Neko Case, First Aid Kit and She and Him you’ll definitely appreciate Sydney Eloise and the Palms. The Atlanta musician gathered local musicians to fill out the band, including Paul Stevens (Grand Vapids), Jenna Shea Mobley (Book Club) and Matt Jarrard (Royal Thunder, Spirits and the Melchizedek Children).
Album Faces [The Cottage Recording Co.] out 9/22
Sydney stated: “I feel like I’m just tapping into myself as a musician, just now honing my sound and my voice. This is the first project I’ve worked on where I was pushed to the limit, and I could see my full potential blossoming. I’ve been waiting for this moment—this record truly represents who I am, where I am, and how much work I put in leading up to it. I feel like I’m meant to be here, now, with these people, my best friends, doing exactly this.”
Operator, “I, Banana”
starts with an intense, infectious beat and lots of cool synth grooves. Vocals kick in giving the song a very British shoegaze vibe. Overall fantastic track with lots going on. The Brooklyn quartet plays mellow synth-pop similar to Stereolab and blends synth grooves, noise pop, krautrock, dreamy indie rock, and shoegaze.
Dara Hirsch (guitar/synth/vox)
Jared Hiller (guitar/synth/vox)
Adrian Price-Whelan (bass)
Landen Griffith (drums)
Puzzlephonics I EP out October 9th
As a GenXer, music fan, Anglophile and music critic I listened to Ride quite a bit in the 90s along with Jesus Jones, The Charlatans UK, Swervedriver, Curve and Lush. shoegaze. Swirling and churning guitar. psychedelic-laced indie rock. Indelibly hypnotic. Thrilled that the band has reunited nearly twenty years after breaking up and will be touring this fall beginning on September 17 at the 9:30 Club in Washington D.C. and closing out November 19 in Hawaii on with a date in Boston on October 3 at The Paradise Rock Club.
The band formed when the members were teenagers in Oxford, England in 1988. The band released several influential albums including 1990’s Nowhere and 1992’s Going Blank Again. They broke up in 1996, following the release of Tarantula.
guitarist Andy Bell
singer Mark Gardener
drummer Laurence “Loz” Colbert
bassist Steve Queralt
9/17 – 9:30 Club, Washington DC
9/18 – College Street Music Hall, New Haven
9/19- Theatre of Living Arts, Philadelphia
9/21 – Irving Plaza, New York
9/22 – Irving Plaza, New York
9/23 – The Stone Pony, Asbury Park
9/25 – The Riviera Theater, Chicago
9/26 – MidPoint Festival, Cincinnati
9/27 – Pygmalion Festival, Champaign
9/29 – Mill City, Minneapolis
10/01 – St Andrews Hall, Detroit
10/02- House of Blues, Cleveland
10/03- Paradise Rock Club, Boston
11/06 – Saturn – Birmingham, AL
11/07 – Fun Fun Fun Festival – Austin, TX
11/09 – Crescent Ballroom – Phoenix, AZ
11/10 – House of Blues – Las Vegas, NV
11/12 – The Wiltern – Los Angeles, CA
11/14 – The Catalyst – Santa Cruz, CA
11/15 – Crystal Ballroom – Portland, OR
11/16 – Neptune – Seattle, WA
11/17 – Commodore Ballroom – Vancouver, BC
11/19 – The Republik – Honolulu, HI
Fitting for the album to open with “A Place You Return to in a Dream” because there’s a cool, effusive fuzzy guitar hook and then the entire album proceeds to put you in a blissful reverie state. Dreamy pop that I play again and again. It’s easy to get caught up in the mesmerizing shoegazing hazy chords with vocalist/guitarist Rachel Browne’s euphonious blurred vocals woven throughout.
Browne formed Field Mouse in 2010 as a duo with producer/guitarist Andrew Futral then they expanded into a four-piece with the addition of bassist Saysha Heinzman and drummer Tim McCoy. Field Mouse beautifully infuses edgy hooks with subtler elements. So there’s the darkness and light combination that’s so compelling if you think of bands like Lush, Curve or Swervedriver.
“Tomorrow is Yesterday” has a grooving bass riff. Browne’s vocals sound a bit like Letters to Cleo’s Kay Hanley, sweet yet storied. Staggering edgy guitar, blurrier lilting vocals and a hypnotic melody on “Two Ships.” Speed picks up on “Everyone but You.” This is a talented band creating indie pop deliciousness with near-perfection. Closing track “Water in the Valley” is bittersweet and lulling with guitar feedback. Spot-on. This is one of my favorite albums of the year.
Hold Still Life
release date: July 22, 2014
–review by Amy Steele
purchase at Amazon: Hold Still Life