The Next Plateau: Sunflower Dead Talks About The Music Industry


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In Part 2 of chat with Michael Del Pizzo of Sunflower Dead, we discussed what is on tap next for the up and coming band, cover songs, writing album number three, and how do they see the climate right now for bands trying to be successful in the music industry.

We’re thinking about a lot of things. We’re trying a couple of songs with radio programmers right now to decide if were going to go to radio with the next single, and if we do, then there will be another music video and we’ll go to radio in the fall with the third single. We actually also are writing for the third record in our downtime, because you never know. We might decide to do the new record in the fall and get it out right away, or we might tour this record for another year. We’ll see what the demand is. I know there’s also been talk of, because we’ve been doing these acoustic tour shows, maybe doing the other three or four acoustic songs Sunflower Dead style, like a little EP for fans to download. We’ll see if that happens.

 

I know you guys have done covers before that were fun, but I don’t know if that’s something else you would do in the future or not. I think the first thing never heard from you guys was the Police cover.

We’re definitely not a band that does a lot of covers because we’re just lazy in the sense of learning other people’s songs, but we’ll do a cover thing on a whim, like we’ll just work it and reload it to make it fit us. I don’t knowing we’ll do any covers. Maybe. You never know. Like I said, I do think the album still has legs under it, so we’re just, like everything we do, we’re just going to see how it goes and make decisions when we get all the facts. That’s it. We’re just starting to tour the record now. We did press and media without touring for a year purposefully, and radio to just build the awareness. Now we are finally touring the record so it’s all coming together.

 


That was definitely an interesting choice. Do you feel like it’s tougher than it used to be to break a band? This is not your first rodeo with a band and this environment is brutal for rock music.

All I can say is that the music industry unfortunately is the Wild West right now. You have to make up your own rules. I would say that Sunflower Dead takes advantage of that. We make up our own rules and we see the current climate, and we use it to our advantage. I could see how the current climate would be discouraging to most people because at the end of the day whether you’re on a label or completely independent, it all comes down to not only does the talent and skill and desire you have, but you need to have financial backing. It costs money to make money in any business, and in the music business, it probably costs $2 million to make $1 million. Do you know what I’m saying? Its a difficult time, and for us we are taking advantage of it and it’s working. I think that I was personally disappointed that the first single didn’t go higher on the charts than it did in radio, even though it did well, and I believe that’s because it’s the first time we’ve gone to radio. We are a new band in their eyes, but It’s Time To Get Weird single hit the top 40, which was good. We’re just like everyone else. We’re working and cresting awareness, ans at the end of the day, a bands job is to create awareness of their sound and their product so people will come around to it. You have to beat people over the head with it over and over again until they finally go “Oh, I get it.” That’s just how it goes.

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I heard a really great thing on a podcast recently: for a new band to make it, you have to reinvigorate your fan base every couple of years with new blood, and really stay consistent for the first five years of your career. If you can do that over a couple of releases and bring awareness, then you get that sustainability factor kicks in when you get that recognition.

It’s a constant building process, and then when you reach a certain plateau, then you think “Okay, I’ve gotten somewhere.” Then you realize “Oh my god. There’s another huge amount this time.” then when you acquire that one, then you’re like “Oh my god. There’s another huge mountain.” It just keeps going and going and going. It’s why you have to keep in your mind, I would tell myself to enjoy the small victories, enjoy the process. You never know how long we’re going to be here in life or as a band, so just keep enjoying it and working to get better and spread that awareness. It’s working for us at a nice steady pace, and I believe that the groundwork that were laying, if we put out the right song, so the right things, when it does really connect, it’s going to connect big. That’s definitely the hope.

 

Catch Sunflower Dead on tour this fall with Hellyeah and Escape The Fate.

KEITH CHACHKES

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Smoke And Mirrors Dissapear: Michael Del Pizzo of Sunflower Dead


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Sunflower Dead have spent this summer on tour, much like they have the last year. Supporting their 2015 release It’s Time To Get Weird, from their own label Blood Bat Records, the band has gone from unknown to underground sensation in a few short years. Just off the road from the tour bus, we spoke to frontman and leader Michael Del Pizzo about the bands’ recent tour with Avatar, breaking an “art rock” band in today’s climate, and the fun challenges of being a “different” kind of band than people are used to.

With Avatar and Sunflower Dead being like-minded bands and talents, we asked first how the tour went:

The Avatar tour was great. The way it happened was we had not signed onto a booking agent for our first album, and then this album, we were picking up so much steam that their booking agent came to us and said “Look, we want to pick you guys up and then we’ll put you with Avatar to get it going.” We were like ” That’s perfect.” It’s a perfect match. Those guys are very theatrical like we are, but they are a little more metal than we are, and I think we’re a little more rock than we are. The fans, in my opinion, really got their money’s worth. It was a great show and I know people have been emailing me already being like ” Are you guys going to tour with Avatar again? We’d really like to see that again.” I’m like “Hopefully.” We definitely got along great and the show, every night was just phenomenal.

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In addition to the recent tour, Avatar played dates with Hellyeah and In This Moment, and have another leg of the Hellyeah tour booked, along with Escape The Fate. As a relatively new band in the last few years, we wondered how the band deals with trying to convert new fans all the time?

The live thing has been great for us since day one. The weird looks we get, they are purposefully weird. We usually start with me just playing the accordion by myself for the crowd, and for people that don’t know or haven’t heard of us, they are just bewildered that a guy in makeup would walk onstage by himself with an accordion at a metal show, but I’ll tell you what, it gets everyone’s attention and makes them shut up. The camera phones start coming out. They start filming and then when the band joins me, we start our set, and by the end of the night, we’ve made a whole slew of new fans.

Michael is a well-known multi-instrumentalist and singer, but the accordion is his main weapon of choice. We asked what drew him to him to a non-traditional instrument and when did he figure out if it could work in rock context:

When I was younger, I played the piano. I play the piano in Sunflower Dead and we haven’t been able to bring it out on the stage alone yet. I play the piano, so I just wanted to pick something up that was challenging. I never has any kind of magnetism towards the guitar or the bass or drums. I just wanted to challenge myself, and I went to a used music store when I was a kid and bought an accordion. I picked the thing up and it felt like eerily right. I just started writing on it. I don’t know why, it just worked. I showering it to my guitar player at the time when I was a kid and he was like “Wow that is really cool.” I showed him how I was playing and he was like ” Wow. That is he creepiest thing I’ve ever heard.” I don’t know how it worked for me when we started Sunflower Dead. Jamie, my guitar player in the band said ” Why don’t you play that instrument you play, the accordion. It’s just so visual.” I was like “Cool.” It’s coming to the band, and when you put it together with the band and the makeup and the music, it just fits.

Do you use a special custom microphone? How do you mic that for a live a club setting, a club PA?

I have a mini accordion. It’s made by Roland. It’s made completely different from an acoustic accordion. The mic actually plugs directly into the accordion itself and I go direct into the PA system. It’s all MIDI. It’s like this little keyboard thing I have. It’s crazy! Roland did a really great job with mocking what an accordion does, but giving something with the versatility to create sound and just have it be very simple work. If I had the mic and the acoustic accordion with the band, that would be terrible.

There is a tactile thing about accordions, if you’ve ever played one. There’s a pressure and a feeling like a real piano. Does your instrument simulate that well or did you have to get used to it?

It worked really well. The feel is there, it’s amazing what you can do with these things. There’s no doubt about it, what Roland did and the feel of the instrument is incredible. I love it. I actually love it more than the acoustic accordion because of other things I can do with it. It’s quite an instrument. They’re not cheap, but I’ve beaten it up. I’ve broken it a couple of times already because I’m a little violent with it onstage, but hey, it’s all about a show, right?


It is all about the show, and that’s the thing. I know there’s an audience of people who appreciate theatricality, not just makeup and costumes. It’s putting on a show. It’s a display of performance art really. It comes from art. I wanted to talk to you a little bit about that and just making your music as art, not a band with a gimmick.

Sure. The thing about having an image, it’s funny. There are a million bands who try to be the whole image thing and if you really don’t have the art part of it to back it up, people just see through it very quickly and write it off. They’re like ” Oh, it’s a gimmick.” In fact, I believe we do have the art to back it up, but we still have to fight in Sunflower Dead to show people that no, it’s not just a gimmick. They are actually challenging you to pay attention with this image and what I’m doing artistically. It’s easy to write people off when they have makeup or look, but I believe that what we’re doing is challenging people a little bit to have fun with them, and then when they get it, they’re like okay cool. I see what’s going on here. That’s just my personal feelings on it.

KEITH CHACHKES

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Eyes Wide Open – Mick Moss of Antimatter


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Mick Moss has created a delicate, involving and contemplative sixth Antimatter album. Opening up, just as he does with many of his lyrics, to Ghost Cult, the English songwriter took the time to discuss the heart, soul and creation of ‘The Judas Table’ (Prophecy)

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The Judas Table absolutely needed to be recorded. Those songs had festered in my head for too long and I needed to clear the decks out.

“The second need was to get the songs recorded in a manner that was interesting to myself despite the fact that I had heard them again and again within the jukebox of my own brain. Job done. Both of them.”

While intrinsically melancholic art rock, Moss has brought together another album of personal, introspective reflection and revelation.

“It’s good to get things out, of course, but it’s not so much catharsis as hardcoding my realizations into lyrics so that I can live those empowering conclusions again and again. I actually want to revisit these realizations rather than to spit them out and be done with them. Hopefully if the listener can relate to my conclusions then they can use them to their own benefit.

I wouldn’t call it selfish, but I absolutely must think of only myself whilst working” states Moss when asked what his consideration when writing is. “The ‘listener’ is potentially everybody else in the whole world. Therefore, it would be impossible for me to work whilst always considering the listener in the back of my mind, as it would be impossible to please everybody, or worry about not pleasing everybody. I would go insane.”

That said, there is an acceptance that the nebulous “listener” plays a hidden role in the workings of most musical craftsmen.

“Admittedly, there are some incidents during the writing or construction process where I’ll come up with something that I feel is moving, and I’ll get excited and wonder if it will move the listeners the way it moves me.”

“During the writing and construction process of any piece of music, I always work to how my body and mind are reacting to what I’m writing (and) playing. This is how I navigate a piece from start to finish, trying to manipulate my inner feelings through the sounds that come back to me. So, yeah, it is an intention that the music is uplifting for myself. I then assume that if it can do that to me, it will do the same to some of the people who hear it.”

A similar assumption allows Moss to be fully expressive and personal in his lyrics; to exhibit a bravery in allowing his vulnerabilities and reflections to be exposed to others.
“It’s all I’ve ever done, so it’s not scary to me, no. Since my very first songs in 1996 I’ve been pouring my heart, fear, pain into my lyrics. Sometimes if I’m writing (something) too personal I can always wrap it up in metaphor, to protect myself I guess. But that’s something I’m doing less and less as I get older, and I’m making the lyrics more direct. I wrote the lyrics to ‘Epitaph’ from Planetary Confinement (The End) 30 minutes after I was notified of the death of a close family member, so I’m not sure if there’s anything too personal for me to write about.”

As far as Antimatter goes, Moss has always worked alone; he is neither distracted nor persuaded by the whims of others, but instead is able to hone and lead the path his music takes, keeping it a pure, personal vision. As such, there is a palpable bond between albums, with familial resemblances evident, a shared genetic make-up, alongside progression and development. The Judas Table, for example, bears the hallmark of its forebears but continues the evolutionary arc.
“Any new album carries over some traits from its predecessor. But there’s also a natural urge to go to new places that weren’t previously explored” Moss considers. “Plus, before Fear Of A Unique Identity (Prophecy) was recorded, the majority of Fear… and Judas… both existed in my head at the same time, so there’s going to be some links between the two there.

“After the frenetic arrangements of Fear…, I focused on simplicity. The brief that I set myself was to have everything nicely arranged and with no crazy tangents – although two songs did end up with a slight detour – (and) also to let a song tick over and explore that space with ethereal melody, as was successfully done with ‘Hole’ and ‘Little Piggy’.”

“There’s no real rule, except that I tend to know what I want to write about, and this flows out in a kind of stream-of-consciousness jam with myself. I then adapt the acoustically written songs to the full-band scenario based upon the drumbeats and dynamics that I hear in my head. I make a demo at my home studio and then record the album based on the demos; it’s a well-oiled way of working for me now, things just flow.

“Apart from the drums, which were recorded at (the) prestigious Parr Street Studios, Liverpool, I recorded the album in my home studio. I decided early on that, after the ‘Too Late’ single, which was partially recorded at home, I would do everything here where I would have the time needed to get everything just right rather than looking at the clock in a studio and having to pack up and leave at a specific time. It turned out great, actually, and has given me the courage to go on to do more here.”

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Mick Moss of Antimatter, 2015. Photo Credit: from www.facebook.com/antimatteronline

For those of us of a heavier, more rock/metal background, the likelihood is we were introduced to Antimatter due their association with Anathema, being the project Duncan Patterson turned to after leaving the progressive metallers, teaming up with Moss for the first three albums, with Moss continuing alone for the subsequent trio.

Interestingly, though, while they shared writing duties, they didn’t necessarily collaborate in the truer senses of the term. “When Duncan and myself worked together, we didn’t actually work together… I would craft half of an albums worth of complete songs and Duncan would do the same” confirms Moss, reflecting on any potential for expanding his song-writing to include collaborating with other artists.

“Ergo when he left, I didn’t lose a composing partner as I’d always worked 100% on my own material. The only thing that changed upon Duncan’s departure was that I then composed twice as many songs, which wasn’t a struggle as I already had a good archive of work by that point. In some ways it was actually better for me as then I had complete control over the album as a whole rather than it being two separate visions fused together.
“I can’t imagine myself ever working with somebody to write a song from zero, it’s such a personal experience and it takes a certain vision to get it finished. I would imagine that there would be quite some disagreements. And I certainly wouldn’t involve anybody else in the creation of what is known as ‘Antimatter’

“If I were to work with another person then it would be under a different moniker, such as the Sleeping Pulse project I launched with Luis Fazendeiro in 2014. Despite what I say about not wanting to compose with somebody, Sleeping Pulse was a fantastic opportunity to work with Luis’ existing music and then craft vocal melodies and lyrics over the top. A wonderful experience that allowed me to operate fully as a vocalist and lyricist, and to put all of my energy into those jobs alone without having to worry about all of the other instruments, like I do in Antimatter.”

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Antimatter, 2015. Photo Credit: Caroline Traitler

The Judas Table is a beautiful, reflective and uplifting album that works as an immersive experience, or, through its delicate melodies, as a calming influence. Aware of previous comments Moss had made, that, for him, success of an album isn’t measured in terms of personal profile or “fame”, just what would “success” for The Judas Table look or feel like, or is it something that has already been achieved in its creation?
“That’s a difficult question, as success can be judged in different ways.

“The album I made was better than the album in my head, so that alone is quite a success. Again, most reviews are positive, some are overwhelmingly positive, the fans have received it with love and enthusiasm, and the live sets are now stronger due to the inclusion of songs such as ‘Can Of Worms’, ‘Killer’, ‘Stillborn Empires’, so, again, I would declare it a success. How it does commercially is a different matter, and I have no way of knowing that at this time, but even if it sold just one copy I would still love the album completely.

“One by-product of taking the new songs out on the road, one thing I’m not sure I had really expected, was that the addition of this new material strengthened the Antimatter setlist like crazy.

“It was like a shot in the arm.

“The setlist we now have is like none I’ve ever had in the past, and one thing I’m thinking lately is I just want to enjoy this moment live for a year or so, really celebrate the place Antimatter is with these new songs in the repertoire.”

 

WORDS BY STEVE TOVEY


Puscifer – Money Shot


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While most of the rock world is patiently awaiting the next Tool album, Maynard James Keenan has released yet another gem from his (sort of) solo project known as Puscifer. Money Shot (Puscifer Entertainment) is the third full length release from MJK and has quickly shot up the list of my favorite albums of the year. This record provided proportionate doses of both your typical instrumentals with a more percussive feel as well as the electronic, manufactured sound. Probably one of the most important elements outside of Maynard is the returning second vocalist, Carina Round. As Ghost Cult’s own Keith Chachkes said of Carina, “She is the yin to Maynard’s yang.” Money Shot only adds evidence to that claim as Round and Keenan once again make magic.

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Puscifer, photo credit Tim Cadiente

I always found it hard to pick out any favorite tracks when listening to new albums from any of Maynard’s projects and this album followed in the same fashion. Each song on Money Shot is truly one of a kind with their own personalities almost. Opening track, ‘Galileo’ , kicks off the record with a very spacey feeling song which is suiting of its title. This song is slightly more electronic then rock but still showcases both sides of Puscifer in an enjoyable five minute opener. ‘Simultaneous’ is half spoken word/story over crescendo instrumentals and then spills into lyrics. I found the story itself to be the best part of the song. The story is being told by a man who tried holding a conversation with someone else who was mostly too wrapped up in the music on their walkman. It is not until the batteries stop dying that this person finally starts giving his undivided attention to our narrator. At which point, the man grabs hold of the narrator and tells him that world peace cannot be obtained until three people simultaneously look each other in the eye. ‘The Remedy’ is another solid cut from this album and which really resonated with me both musically and lyrically. Instrumentally, the riffs in this song, especially in the second half, get my hair to stand straight up each time I listen. The lyrics take a big shot at people nowadays that have that entitlement feeling about themselves. Specifically, one passage of the song has Maynard mentioning that a person is speaking “like someone who has never been… smacked in the fucking mouth. That’s OK, we have the remedy.” I am sure many listeners can think of a time they had to deal with some snotty brat that thought they were better than you. Now if only we could deliver such a remedy to said asshole such as the one mentioned in this song.

From start to finish, Puscifer delivers money shot after money shot in the form of aural enjoyment. There is enough variation across the album that there really is something for everyone here. Keenan and Co can continue to be proud of their work after yet another successful release. So, instead of pounding away at your keyboard on social media bitching about the next Tool album, maybe you should hit up YouTube and try out Puscifer.

9.0/10

TIM LEDIN

 


Gazpacho – Molok


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In the world of contemporary prog, very few bands take it to such artsy and fascinating landscapes as Norwegian’s Gazpacho, whether it’s in their musicality, their craftsmanship or their narrative. Hitting a career high last year with their brave and majestic Demon (Kscope) saw them perfectly meld a haunting, classical style with a continuous and suitably dark tale of a Demon. Over a year later and the follow up album sees them not sitting on their laurels, with further stylistic changes and an equally unconventional concept.

Molok (Kscope) takes the brain stalling idea of a man who decides, in the 1920s, that all worship of any God has become the worship of stone as God has retreated to such objects. Coupled with this head scratching idea is the fact that a frequency at the album’s close could spell the end of the world.

Rather than just simply coming up with a weird and wonderful story alone, Gazpacho compliment and match it with vibrant and extremely well executed atmospheres and sounds that once again fully breathe it to life. At times there is a much greater focus on a more tribal and dissident sound such as on ‘Algorithm’ which emphasizes large, traditional percussion throughout, whilst the likes of ‘ABC’ prove almost contrasting with a more soothing and dreamlike air. The title track even includes like-to-like recreations of Stone Age instruments, contributed by music archaeologist Gjermund Kolltveit.

As such, this may borderline on becoming pretentious and even elitist, but Gazpacho manage to encapsulate all this in a way that is still warming and welcoming. Those unfamiliar with art rock and prog could find it daunting, but otherwise this is very melodic and has plenty to latch on to whilst all the while proving dynamic and imaginative. Meant to be enjoyed as a whole rather than broken up, each new listen reveals further nuances and details. Jan Henrik Ohme’s voice also proves as hypnotic as ever, conveying melancholy, serenity and menace with aplomb, and the accompanying female vocals add an extra, welcome dimension.

As ever, a new Gazpacho album will reveal further secrets with each additional listen and thus trying to articulate it entirely is futile, but what is clear is that Molok is a rich and heavily detailed and thought out work which will prove more and more rewarding with time. Where Demon was the band’s benchmark, Molok has very easily matched it at the very least. This could well be the band’s greatest opus to date.

 

9.0/10

CHRIS TIPPELL


Antimatter – The Judas Table


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With Anathema bassist and song-writer Duncan Patterson having left the Antimatter project in the sole hands of former writing partner Mick Moss a decade ago, The Judas Table (Prophecy) is the sixth release under the Antimatter banner, and the third of Moss’ own making – the initial triumvirate featuring a split of compositions and recordings made by the pair mainly in isolation of each other – and continues the move to a more organic melancholy, leaving further behind the electronica that had featured in their earlier material.

Introverted and disappointed (though not disappointing), Moss uses The Judas Table as a cathartic vehicle to share his dissatisfaction with the people and situations he encounters in life, along with the betrayals and frustrations that he faces; “Just another dream that died…” he laments in ‘Stillborn Empires’.

Wholeheartedly earnest, there is no mistaking the feeling and conviction in Moss’ unassuming vocals, vulnerable on ‘Little Piggy’, a heartfelt song that builds from simple acoustic and vocal origins, or the more powerful, though still emanating a fractured soul, oration in the title track, his baritone meshing with a haunting female vocal and cello accompaniment.

The Judas Table invites reflection, it opens a forum to analyse loss and betrayal, and is a catalyst for melancholy, yet in a therapeutic way; there is something cleansing and uplifting about the introspection and realisation that occurs during the musings propagated by the subtle and underplayed despondent art rock Moss has produced. On ‘Hole’, the stark staging and gentle progression is as effective as Moss’ gets, sincere and sparse, just a voice and a guitar until the song spreads and breathy female vocals accompany a coda that slips away as delicately as it was constructed. Indeed, most of the songs here develop and sprout from clean guitar strums and soulful male vocals, building through adding strings and synths, and, at its core, are about the sharing of feelings, of sadness.

It goes without saying The Judas Table is not an album for all occasions, but its beauty and melancholy has a place and time with genuine and heartfelt emotions, it is a reserved and affecting soundtrack to reflection.

 

8.0/10

STEVE TOVEY

 


Tim Bowness – Stupid Things That Mean The World


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There is a modest earnestness to much of Tim Bowness’ third solo album Stupid Things That Mean The World (InsideOut), as the singer-songwriter continues to explore the direction and timbre of his more recent works. Openly stating that Stupid Things… is a continuation of its’ predecessor, Abandoned Dancehall Dreams (InsideOut), Bowness confirms the premise that practice makes (near) perfect, with an eclectic and wistful selection of songs whose charm isn’t just in the pleasant ear candy they first appear to be, but in the reflection and layers that unfurl with repeated listens.

With a warm, friendly production courtesy of The Pineapple Thief’s Bruce Soord, who also adds moments of lilting guitar and acoustic quality much like he did to Katatonia’s Sanctitude (KScope), on the surface Bowness’ solo work is centred around building a song that sounds simple, often flowering out of an acoustic guitar and unpretentious vocal combination, expanding to contain several strata of multiple, and very appropriate, instrumentation, such as the delicate pedal guitar that enhances ‘Know That You Were Loved’, or the swelling strings and keys that dance in and out of several of the tracks.

Bowness conveys honest emotion and reflection in his words throughout, each line delivered with grace and feeling. He doesn’t push the vocals, staying in a comfortable mid-range, but allows the fine touches of the many players (a veritable who’s who of progressive rocks’ illuminati) to add colour to his ideas and push the dynamics of this most excellently and carefully arranged album, with standout song ‘Sing For Me’ the most well-crafted of songs, rising to a fulfilling and emotive conclusion.

While being far from a melancholy album, indeed the overall sense is one that uplifts, most songs display tinges of regret, sorrow and introspective. Yet where Strange Things… is at its best is in the more experimental songs; the burnt caramel to the honeyed touch of the dream pop surroundings. ‘Press Reset’ is dark rock, ‘The Great Teenage Electric Dream’ shows its temper and the title track is slinky pop, all which adds up to show Strange Things That Mean The World is a welcome addition to the canon of a man who is No-Man no more, but stands as a valued solo artist in his own right.

 

7.5/10

STEVE TOVEY


Exclusive Stream: Nostalgist – Of Loves and Days Ago Album


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Nostalgist, photo by Shane Williams

On the verge of releasing their new album, Seattle post-punk shoegaze act Nostalgist have teamed up with Ghost Cult to present a full stream for Of Loves and Days Ago (Nostalgium Directive) due out on July 10th. To celebrate the release, the band is undertaking a West Coast tour starting this Friday, with a hometown show at Barboza with VibraGun and Winnebago. A full list of dates can be seen below. A haunting sonic throwback full of clever songcraft, hear Of Loves and Days Ago now:

 

Led by Asa Eisenhardt on vocals and guitar, Nostalgist also counts Connor Keogh on bass and Mark Knowles on drums in their ranks. Formed in late 2012, Of Loves and Days Ago is the follow up to 2013’s acclaimed Monochromantic EP, which featured Nick Bassett (Whirr, Nothing, Deafheaven) on lead guitar and engineered/mixed/mastered by Jack Shirley.

 

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Of Loves and Days Ago track listing

1. Cold Open

2. Pull of the Plow

3. Dreaming in Celluloid

4. The Derelict

5. Stillframe

6. An Unbroken Take

7. Blast of Silence

8. The Void at My Feet

 

 

Nostalgist tour dates:

July 10: Barboza – Seattle, WA w/ VibraGun, Winnebago

July 11: Rotture – Portland, OR 21+ 315 SE 3rd Avenue w/ Satsuma, Sabonis, Spirit Host

July 12: Old Nick’s- Eugene, OR w/Satsuma, Paleons, Josh Finch

July 13: Press Club- Sacramento, CA NMBRSTTN (Number Station), Fifi, Color of Closure

July 14: The Hemlock – San Francisco, CA w/ Lotus Thief, Whatfunlifewas

July 15: Third Eye Records- Long Beach, CA w/ Crisis Arm, Cruelty Code

July 16: Sweet Springs Saloon – San Luis Obispo, CA w/ Hollow Sunshine, Crisis Arm, Paperman

July 17: PTP La Cita PTP – Los Angeles, CA @ La Cita w/ Crisis Arm

Nostalgist online

Nostalgst on Facebook


Nostalgist Book West Coast Tour Ahead of New Album


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Seattle post-punk shoegaze act Nostalgist have booked a west coast tour to support their new full length Of Loves and Days Ago (Nostalgium Directive) due out on July 10th. A full list of dates can be seen below.

Led by Asa Eisenhardt on vocals and guitar, Nostalgist also counts Connor Keogh on bass and Mark Knowles on drums in their ranks. Formed in late 2012, Or Loves and Days Ago is the follow up to 2013’s acclaimed Monochromatic EP, which featured Nick Bassett (Whirr, Nothing, Deafheaven) on lead guitar and engineered/mixed/mastered by Jack Shirley.

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Nostalgist live, photo by Shane Williams


Of Love and Days Ago track listing

1. Cold Open

2. Pull of the Plow

3. Dreaming in Celluloid

4. The Derelict

5. Stillframe

6. An Unbroken Take

7. Blast of Silence

8. The Void at My Feet

 

 

Nostalgist tour dates:

July 10: Barboza – Seattle, WA w/ VibraGun, Winnebago

July 11: Rotture – Portland, OR 21+ 315 SE 3rd Avenue w/ Satsuma, Sabonis, Spirit Host

July 12: Old Nick’s- Eugene, OR w/Satsuma, Paleons, Josh Finch

July 13: Press Club- Sacramento, CA NMBRSTTN (Number Station), Fifi, Color of Closure

July 14: The Hemlock – San Francisco, CA w/ Lotus Thief, Whatfunlifewas

July 15: Third Eye Records- Long Beach, CA w/ Crisis Arm, Cruelty Code

July 16: Sweet Springs Saloon – San Luis Obispo, CA w/ Hollow Sunshine, Crisis Arm, Paperman

July 17: PTP La Cita PTP – Los Angeles, CA @ La Cita w/ Crisis Arm

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