“Their constantly changing dynamism is part of what makes Dolores Haze such a captivating act to follow”- The Line Of Best Fit
“Dolores Haze have au aura about them, an un-f**kwithable attitude that makes them a force to be reckoned with”- Stereogum
“’Touch Me’ is a track that’ll effectively plunge you into the middle of your very own imaginary montage”- Noisey
Swedish music is unstoppable nowadays… Producing world-class acts after acts, from Lykke Li, Icona Pop and Robyn, it’s no surprise their latest addition, in the shape of Dolores Haze, brings top quality yet again. After hitting festivals such as End of the Road and Latitude Festivals this summer Dolores Haze is finally back with an irresistible emotional track to enter the dancefloor of rock clubs.
Today Princess Chelsea shares her fourth music video taken from the albumThe Great Cybernetic Depression, released earlier in 2015 on Flying Nun Records and Lil’ Chief Records. Rivalling the Kate Bush/Peter Gabriel classic Don’t Give Up, the song is an intergalactic love duet featuring fellow band member Jonathan Bree.
It’s hard to take something as raw as the blues and make it sparkle with unadulterated sheen but on Where the Bees Come to Die, Boy From the Crowd manages rather effortlessly over a mere handful of tracks. The sound never strays far from its initial source leaving the sting of the scraped soulful rock throbbing throughout the EP. Rather they find their corner in the garage, stomp it to their liking, then settle in for the long haul.
In this episode Mr. Pharmacist, Gregg Foreman, brings you a special three-way show, featuring conversations with three iconic musicians.
Mick Collins: leader and founder of garage soul gurus The Gories .
Bob Bert: drummer of such classic bands as Pussy Galore, Sonic Youth, and Lydia Lunch.
Greg Errico: drummer of Sly and the Family Stone, and producer of the legendary Ms Betty Davis’ 1973 self titled release.
Sometime in the late ‘90s or perhaps the early 2000s, pre-millennium tension or post-millennium relief resulted in a shimmering, shining sheen that settled upon pretty much all popular music. It was the age of American Idol and you’d expect that metal would be immune but instead, you got hyper-produced, polished metal bands. It wasn’t just rap-infused nu metal acts like Limp Bizkit that emanated this cologne-soaked veneer. We were also introduced to futuristic pop metal groups like Linkin Park who flirted with the more accessible elements of industrial, synth pop, and future pop while still throwing in an occasional scream, the sonic equivalent of a sports car speeding erratically through a school zone. This reverence for prowess and commercial appeal adds a glossiness to Five Hundredth Year’s latest full length A Rose from Ashes. While some metal bands may recoil from any association with the culture that spawned American Idol, Five Hundredth Year seem to embrace their mainstream pop metal potential.
The latest single from Norway’s viseMènn find the band carefully exploring the cavernous hollows of atmospheric mope rock. Crestfallen guitar and softly glowing moonlit synth hang loosely from the frame of a skeletal scarecrow frame of drumming, swelling and collapsing as if tumbled and tussled by a lazy yet insistent breeze. “Begging You Please” is somehow emotionally vulnerable and casually disconnected at the same time, with pleading vocals seeming to disassociate from the poltergeists of music rising and falling in the expanses between. The track hangs heavy with an emotional weariness mirrored in the staggering, stumbling beat as the song, drunken and depressed, collapses face first yet sinks through the floorboards in a light, semi-corporeal dream state; unharmed save for a touch of despair.
It’s uncertain whether Sidewave set out to sound like Failure on their full length Glass Giant, but if they did, they succeeded with flying colors. Where Sidewave may be more prone to an uplifting chorus, their merging of elements of hardcore, sludgey grunge, and shoegaze leaves them sounding more like Failure than Failure.
Miracle, the latest full length by singer-songwriter Andy Evans is a genre-blurring album not in that it confounds preceding recordings so much but rather that it’s so safe that it’s hard to define. It’s not offensive music in the slightest, played with competence and certain to be welcomed on the speakers of upper middle class coffee shops with a safe jazzy fusion of rock and soul.
Opium Denn come steeped in their own mythos, highlighted by warnings that their use of HEV (Health-Science Enhanced Vibrations) may lead to seizures. With that in mind, I’m somewhat disappointed by how innocuous Demarkation, their debut full length, comes across. It’s billed as a concept album of sorts, though it’s much easier to connect the dots melodically and in general aesthetic than to determine the themes lyrically. It’s difficult to imagine seizures stemming from the loose fluidity of guitars and expansive notes echoing across cavernous compositions. There’s so much room for these songs to breathe that they eventually surpass relaxation and land more in a sort of listless, drugged state.