Fresh video from LA-based slacker duo, Sego. This feels like MGMT before MGMT sucked. Enjoy.
There are going some dope – yes, I said dope, that’s how real I am – shows coming to Orlando in the next few months, and this one just happens to be the closest. On Friday, Topshelf Records invades Orlando, and their bringing the moderately loud noise. Enjoy.
A Great Big Pile of Leaves
AGBPOL are riding hot after the re-release of their 2010 album, Have You Seen My Prefrontal Cortex?. In the past, they’ve toured with Orlando act You Blew It!, a longtime live favorite, but I haven’t yet gotten the chance to see AGBPOL live. Look at this gorgeous limited edition vinyl. You just want to lick it.
Hear the whole album at AGBPOL’s Soundcloud!
In February, Baltimore boys Diamond Youth released their second EP Shake. “Can’t Shake the Feeling” is a particularly rad song from the EP, but don’t take my word for it, listen to the whole thing!
New Jersey folk Prawn have a couple releases of their own, most notably their two LPs with Topshelf, 2011’s You Can Just Leave It All and 2012’s Ships. “Why You Always Leave A Note” is off their 2014 split with Joie De Vivre.
Hear more from Prawn on Spotify.
Field Mouse is destined to be the pleasant wildcard of the evening. They’re a bit different from the other acts, but their different is refreshing. Listen to the swirling synths and sweat vocal melodies off the band’s July 2014 release, Hold Still Life.
Hear all of Hold Still Life on Field Mouse’s Soundcloud.
Man, it’s been a while since I’ve done one of these. I love hearing local Orlando talent, and seeing them live. Today we have Decades in Spain. If you’re a fan of Deftones, Joy Division, Savages, or all three, please read on. Enjoy.
You can download their whole EP, FOR FREE!
Posty Punky, Alternative, Indie Rock music
Decades in Spain is four-piece rock outfit from right here in beautiful Orlando. They’ve been doing their thing since 2012, and recently released their self-titled EP. Decades in Spain is classified as somewhat alternative, somewhat post-punk. Musically they seem to take influence from that 70’s Joy Division scene, but with a smidgen of Deftones (a modern day comparison could be drawn to Savages).
Throughout the EP, Decades in Spain guitarists Marc Hernandez and Alex Langfur layer their songs with dark and punchy melodic guitar harmonies that remain forever fluid. Different guitar tones are utilized, helping to keep the EP interesting. There are numerous instrumental breaks where the boys showcase their stuff, and although they can be a little daunting, they never come off forced.
Chris Marques (bass, vocals) and Mike “The Sawmill” (drums) form a tight rhythm section, creating a solid canvas for the Hernandez and Langfur to paint all over. This is best demonstrated on “Sixty,” the EP’s opener. The drums on the track are after my heart; I’ve always been a huge fan of fast closed hi-hat. That, paired with a thumping bass line, sends the urgency pouring out my speakers.
The vocals on the song are in a half sung, half spoken style, typical of the sounds influencing Deacades in Spain. Marques’ lyrics are reminiscent of the current emo-revival movement. I’m reviewing the new You Blew It! album right now, and the juxtaposition between the two band’s lyrics is interesting. On future Decades in Spain releases, I would like to hear some screaming to break up the sometimes lesser interesting vocal melodies.
If you live in the Tampa area and like what you hear, Decades of Spain is playing at West End Trading Co. in March. Also in March, stay tuned for new music from these guys. I’m excited to see where they go in the future. L8R.
Today on The Vinyl Warhol, we have The Raveonettes. I’ve been a fan of The Raveonettes for about 2 years now, and I think they’re one of the most underrated bands in the indie rock scene. They’re the perfect soundtrack to the cold weather we’ve been having, so I’m here to share them with you. Enjoy.
If you missed Part 1 of New Year/New Music check it out!
Let’s Rave On.
Sune Rose Wagner and Sharin Foo, the Danish duo who make up The Raveonettes, have been blending indie rock, post-punk, and garage rock since their 2002 EP Whip It On. The sounds on Whip It On meld together in a dark haze. This, along with a thick blanket of fuzz, make “Attack of the Ghost Riders” feel haunting. Picture the energy of The Cramps with the melodies of The Cure. The little sample that pops in during “Do You Believe Her?” is so satisfying. “HONEY!” Our introduction to the The Raveonettes’ was their most bombastic to date, and in 2003 they followed suit with Chain Gang of Love.
One of the biggest things that draws me to The Raveonettes is some of the bands they evoke. A decent chunk of their material reminds me of releases from the gritty 60’s New York bands. After all, they’ve worked with members of The Velvet Underground and Television. Working with artists that have been highly regarded in the underground music scene of the last 10 or so years, gives The Raveonettes some level of creditably as a band. One of band’s biggest triumphs is how they can sound so fresh while drawing heavily on their influences. Like The Kills, The Raveonettes take trick from today and update the music of yesteryear.
What I love about The Raveonettes is Sune Rose Wagner’s, who does all the song writing and composing, ear for melody. These songs have crazy hooks. Listen to “Love in a Trashcan” off Pretty in Black. The guitar riff pulls you in, the verses sit on top of the songs so nicely, this track is like a sockhop in a graveyard. Another solid moment on Pretty in Black is a cover of The Angels 1963 hit “My Boyfriend’s Back”. It again evokes the doo-wop Happy Days period, only staring the kids who hang out behind the bleachers and smoke. Sharin Foo’s vocals are so sweet, as with all of her vocals, they keep me coming back every time.
The Raveonettes have six full-lengths and five EPs out so there’s a lot of material to dive into. In and Out of Control is a pretty decent release. It’s not my favorite, but tracks like “Bang!,” “Boys Who Rape (Should All Be Destroyed),” “Suicide,” and “D.R.U.G.S.” are incredible. They have some of the best choruses The Raveonettes have ever produce, but stick out in their catalog as having some of the darkest subject matter.
My favorite two releases from The Raveonettes are the two most recent: 2012’s Into the Night and Observator. Into the Night is my winner by small margin favorite, which might not be fair because of it’s short four track length, but the four songs that make up Into the Night are easily some of the band’s best output. The title-track is by far my favorite track ever by The Raveonettes. Don’t ask me why because it’s hard for me to convey why I love “Into the Night” so much. Simply put, it’s the essence of night. “Night Comes Out,” “Too Close to Heartbreak,” and “Bad Ghosts” are all great, listen to this EP!
The Raveonettes other release of 2013 Observator came out right when I was getting heavily into the band, and it marked some great additions to their sound. “Observations” is almost totally piano driven, and is one of The Raveonettes most somber tunes to date. On Observator, Wagner and Foo sing individually, which makes for an interesting distinction between melodies. The Raveonettes recorded the album in California, which bleeds through on “Sinking with the Sun”. The track doused with these surf rock waves, but keeps it’s somber attitude.
More recently, the band is back in the studio recording a follow-up to Observator. I can only hope it’s released this year, and that they tour Florida soon. Stay gold everyone.
And look another playlist!