If you don’t know World Wild, then the video for their new single HOLLYWOOD is going to make your head explode, between touring and electrifying the stage with the likes of Client Liaison and Luke Million .. World Wild have been busy making art happen.
World Wild teamed up with Aaron Shuppan, a film maker making waves around the world.
Singer, Jarrad Lee Jackson says: After watching Aarons reel I was blown away, it wasn’t like anything id seen lately, it was full of mystery and it took me to a dark place in which I felt safe and didn’t want to leave. I knew right away Aaron was going to have to make this video, the mans a genius.
The boys carted the whole production half a kilometre up a secret ridge to get that perfect view and as seen in the video WHAT A VIEW! The video is oozing with eighties influence, from an old broken down dirt bike to the blinders and smoke machines, there is a “Lost Boys” eeriness to a Ramones “Pet Cemetery” texture. It builds beautifully to a stadium ready ending sonically and visually makes you want to see World Wild’s explosive live performance.
Jackson: We were performing on a ridge over looking our city using generators, smoke machines, crazy lighting, we all worked together and made it happen, the rain held out and everything ran so smoothly. I took a moment to comprehend that it was even happening, there was an emotional static in the air in which I think we could all feel, you don’t get to feel that often and I will never forget it.
Hollywood is about two artists/lovers trying to make their dreams reality, the constant battles they push through and how easy it is to turn bad energy onto one another.
This indie synth driven piece of art is a hybrid of electronic loops and studio recordings inspired by true events, emotions and moments in time where the earth stood still.
Jackson: We aren’t here to enjoy success, we have no expectations of finding a pot of gold but only to live and breathe the adventure of putting in fruition our imagination, the battles we entail on each artistic burst is called life, we enjoy that.
I’m sure everyone knows by now that after a five year hiatus, Sub-Pop band Wolf Parade have re-grouped and are currently in the process of a short tour.
After a few residency shows in New York, Toronto and London this May, they just kicked it off this weekend in Oregon at the annual Pickathon, and are wrapping it up end of September in Ohio.
Since putting Wolf Parade behind them, the band’s main members have gone on to release new music under various monikers and/or with new acts — Spencer Krug with Moonface, Sunset Rubdown, and Swan Lake; Dan Boeckner with Operators and Divine Fits. But fret not, the boys are back. And although a small evolution in sound (sounding a bit more refined and secure in their musical prowess), the signature Wolf Parade is intact.
And one thing is for certain, this band is a lot of fun to check out live, so don’t miss them this upcoming August 7th (Special guests Dardo) and 8th (Special guests Deep Sea Diver) at The Neptune Theater.
Finally I had a chance to get to a few of my pictures from BBB 2016. This was my first year attending BBB 2016, and it’s no doubt, one of the best little music fest’s around. I was able to snap some shots of some of my Seattle faves, as well, as some new discoveries (sign of a great fest), before I started to over indulge. I hope this doesn’t go away anytime soon, cause I am looking forward to next year already.
Formed in the suburbs of San Francisco’s East Bay in 2013, Happy Diving play loud, spiritual rock music with a strong pop sensibility on the subject of freedom, love and pain. Though the band has seen various member and location changes (now with members living in Seattle, Vancouver and Oakland), the five-piece has gained notoriety for their blistering, high-energy performances and prolific release output.
Electric Soul Unity, Happy Diving’s fourth record in less than three years, showcases the band taking their dynamic rock to new heights. Their characteristic thick fuzz is coupled with tender melodies, a yin-yang of scorching in-your-face rippers and contagious hook-laden sing-alongs. The aggressive driving force of lead single “Holy Ground” meets its match with the slow-burning ballad, “Head Spell,” proving the band is just as comfortable in their quieter moments as they are being loud as hell.
The West Coast band will embark on their first ever North American tour, ending at San Francisco’s Bottom of the Hill for Creative Adult’s record release show with Never Young and Plush.
07.23.16 – Oakland, CA @ Sam’s House
07.24.16 – Santa Rosa, CA @ Arlene Francis Center (w/ Gun Outfit, Tony Molina)
07.25.16 – Los Angeles, CA @ Hi Hat
07.26.16 – San Diego, CA @ Soda Bar
07.27.16 – Tucson, AZ @ Club Congress
07.28.16 – Albuquerque, NM @ TBD
07.29.16 – Oklahoma City, OK @ TBD
07.30.16 – Ft Worth, TX @ TBD
07.31.16 – Houston, TX @ Vinyl Edge Records
08.01.16 – New Orleans, LA @ Saturn Bar
08.02.16 – Nashville, TN @ Two Boots
08.04.16 – Richmond, VA @ TBD
08.05.16 – Raleigh, NC @ Pinhook
08.06.16 – Baltimore, MD @ TBD
08.07.16 – Philadelphia, PA @ Lava Space
08.08.16 – Brooklyn, NY @ Shea Stadium
08.10.16 – Providence, RI @ Tommy’s Place
08.11.16 – Boston, MA @ Great Scott (w/ Kindling, California X)
08.12.16 – Amherst, MA @ TBD
08.13.16 – Montreal, QB @ Poisson Noir
08.14.16 – Toronto, ON @ Smiling Buddha
08.15.16 – Detroit, MI @ TBD
08.16.16 – Milwaukee, WI @ High Dive
08.17.16 – Bloomington, IN @ Jan’s Rooms
08.18.16 – Eau Claire, WI @ TBD
08.19.16 – Duluth, MN @ Northern Isolation Fest
08.20.16 – Minneapolis, MN @ Dead Media (early show)
08.21.16 – Sioux Falls, SD @ Total Drag
08.24.16 – Calgary, AB @ Tubby Dog
08.26.16 – Vancouver, BC @ Antisocial Skate Shop
08.27.16 – Seattle, WA @ Neumos
08.28.16 – Olympia, WA @ TBD
08.29.16 – Portland, OR @ TBD
08.30.16 – San Francisco, CA @ Bottom of the Hill (w/ Creative Adult, Never Young, Plush)
Like a long journey House In The Tall Grass unfolds itself through many layers. Existing fans of Kikagaku Moyo will be comforted by the soft vocals harmonies and warm sitar, but what sets this release apart is the refinement of the band’s song-writing and their delicate execution. Side A begins with a pair of travelling songs where the interplay between the vocals, guitar, and sitar lift and suspend the listener on an unexpected journey. The patient listener is rewarded with tracks such as “Trad” and “Silver Owl” which demonstrate the masterful balance the band has between soft and loud; chaos and order, or being both cold and tender at the same time.
House in the Tall Grass, recorded between October and December of 2015 at Tsubame Studio where it was mixed, mastered, and produced by Yui Kimijima, takes the listener by the hand on a satisfying quest through destinations both familiar and unknown. It is a natural step forward for the band and perhaps the most refined example of their style to date.
We got a video premiere today with Seattle band Cloud Person, we asked them the process and inspiration for the video. This is what they said:
“We wanted to convey a mood rather than attempt to act out the narrative in the lyrics.
Our goal was to provide simple imagery to accompany the words. We decided to do this by using shadows and different colored lights. The hope was that the viewer would have a sense of mystery and that their mind would be allowed to wander with the words.
Our singer works at a warehouse with super tall, matte white walls so we cleared a big space and shot the video there. There is a long standing tradition of bands playing in warehouses in videos and we wanted to avoid being part of it, so we decided that all shots of actual people would need to be obscured in some way, either by angular motion or blurred focus.”
The video was directed by Steve Straney, and assisted by Scott Wilson.
What are the dreams of a youth that never makes time to rest? For 21-year-old Yung frontman Mikkel Holm Silkjær, a Danish DIY figurehead who has left a catalogue of cassettes and self-produced songs in his wake, the goal seemed to be recording, and living, as fast as possible. Writing and performing songs filled with gritty guitar and driving rhythms that snap like a live wire, he’s been busy channelling the electric drive of youth, creating brief, flashing sonic portraits of his life in Aarhus, the country’s gritty, industrial second city.
That makes the music on the reflective A Youthful Dream, the debut album from Yung (out 6/10 on Fat Possum), such a revelation. Angst makes space for wisdom, youthful exuberance begins channelling road-tested experience, and a blur of basement shows and self-produced bromides becomes something more. DIY doesn’t mean unrefined, it just means personal. And at a point where inertia made way for introspection, Silkjær showcased a new degree of songwriting craft and and sonic experimentation, and a new perspective on everyday life and young adulthood.
Where the previous releases such as “These Thoughts Are Like Mandatory Chores” found Silkjær masterfully running through buzzsaw riffs, recalling The Replacements and Jay Reatard, A Youthful Dream finds Silkjær reshaping his vocabulary and experimenting with a larger sonic palette. Richer melodies, pianos, and even trumpets made their way into the recording sessions at Sound Studio in Sweden, where Silkjær, Frederik Nybo Veile (drums) and Tobias Guldborg Tarp (bass) decamped with a handful of guest musicians.
After more than a decade of writing songs, he’s grown bored with other people’s perception of what “punk” means, and his ambitions and songwriting have evolved. Always on the move and in the moment, Silkjær has created a musical step forward, while pausing to consider and reflect on the past.
“For me, Yung has always equalled total freedom,” says Mikkel. “I don’t want Yung to be a band that you can put certain labels on. I wish for it to be a project that can principally go in any given direction.”