For most, a brush with death would be cause for retreat, reflection, and reluctance, but Seattle band La Luz found something different in it: resilience. Having survived a high-speed highway collision shortly after releasing their 2013 debut LP It’s Alive, La Luz, despite lasting trauma, returned to touring with a frequency and tirelessness that put their peers to shame. Over the past year-and-a-half of performing, the band arrived at a greater awareness of their music’s ability to whip eager crowds into a frenzy. In response, frontwoman Shana Cleveland’s guitar solos took on a more unhinged quality. The basslines (from newly-installed member Lena Simon) became more lithe and elastic. Stage-dives and crowd-surfing grew to be as indelible a part of the La Luz live experience as their onstage doo-wop-indebted dance moves.
When it came time to record Weirdo Shrine, their second album—due out August 7th—the goal was to capture the band’s restless live energy and commit it to tape. In early 2015, Cleveland and Co. adjourned to a surf shop in San Dimas, California where, with the help of producer/engineer Ty Segall, they realized this vision. Tracking most of the album live in shared quarters, La Luz chose to leave in any happy accidents and spur-of-the-moment flourishes that occurred while recording. Cleveland’s newly fuzzed-up guitar solos—which now incorporated the influence of Japanese Eleki players in addition to the twang of American surf and country—were juxtaposed against the group’s most angelic four-part harmonies to date. The organs of Alice Sandahl and the drumming of Marian Li Pino were granted extra heft and dimension. Thematically, Cleveland channeled Washingtonian poet Richard Brautigan on “You Disappear” and “Oranges,” and sought inspiration from Charles Burns’ Seattle-set graphic novel Black Hole.
The resulting album is a natural evolution of the band’s self-styled “surf noir” sound—a rawer, turbo-charged sequel that charts themes of loneliness, infatuation, obsession and death across eleven tracks, from the opening credits siren song of “Sleep Till They Die” to the widescreen, receding-skyline send-off of “Oranges” and its bittersweet epilogue, “True Love Knows.”
In describing Weirdo Shrine, Segall remarked that it gave him a vision of a “world…burning with colors [he’d] never seen, like mauve that is living.” In “Oranges,” the Brautigan poem which inspired the aforementioned track of the same name, the poet writes of a surreal “orange wind / that glows from your footsteps.” These hue-based allusions are apt: the sound of La Luz is (appropriately) vibrant, and alive with a kaleidoscopic passion. Weirdo Shrine finds them at their most saturated and cinematic.
Omni – the band, not the hotel – are from the former home of the Braves: Atlanta. Playing lo-fi pop that channels the specter of the late '70s and early '80s, Omni brings you back to an era where any sane person was reeling from the unfulfilled promise of the Space Age and Age of Aquarius bleeding into the looming threat of "Morning in America."
Omni distills the buzz and grit that snakes through the best of Television, Devo, and Pylon into surprisingly danceable, hook-laden slabs of raw, angular, sonic bliss. It's still the summer of '78, and pushing the roots of rock & roll to its limits remains in vogue. "Deluxe" serves as a fresh reminder that rock music can work outside of blues rooted, formulaic progressions without playing it safe behind a wall of effects.
Arty enough to impress record enthusiasts, yet melodically attractive enough to transcend to those who've never asked: "'Sister Midnight' or 'Red Money'?"
Happyness are a 3 piece band from South London, formed of multi-instrumentalists Ash Cooper, Benji Compston and Jonny Allan.
After forming in early 1973, the band went on hiatus pending their births and the sufficient progress of the affordable digital audio interface market. Regrouping in 2013, the band spent Saturday nights playing under a railway bridge in Bermondsey. By mid-2013, having written “most of an album” they rented out an unused church with the intention of setting up a studio and finishing the record there. That ended after less than a week with only one song tracked – they were driven out by “the bitter cold and an unconvinced congregation of the dead”.
Before the recording sessions, the band had played a handful of shows under a variety of names (“something to put on the flyers”), but the name Happyness wasn’t used until November 2013, when the band started playing live in the build up to the release of their eponymous EP – mixed by Ed Harcourt.
Veiny Hands is one of those bands that just step out of the darkness and immediately blow your face off. In just a small amount of time their music and impact has reached so many different places and has grasped the attention of some of today's most notorious bands. They have been constantly evolving since day one. Mixing different music styles of garage, new wave, krautrock and surf to create their own dark, mesmerizing sound. Rod Olfo (Lead Guitar) and Jasmine Deja (Bass Guitar) team up as songwriters and force your heart to erupt with nostalgia as they combine their clever riffs and shove the words down your throat. While Brie (drums) and Tina (keys) keep you driven and steady hypnotized on the path of each song.
Since opening for The Growlers at their fourth show, Veiny Hands has had the pleasure of sharing the stage with other notable bands; La Luz, Shannon and the Clams Jacuzzi Boys, Death Valley Girls, Broncho, LA Witch, Colleen Green, TV Girl and more… Veiny Hands has released their own 7 inch Vinyl and an EP with BUFU records.
They are due to release a full length vinyl in Spring 2017