Beyond excited to exclusively premiere a new
video from the Danish dream pop artist Keith Canisius. We’ve been fans
of his for over a decade, starting with his mid-aughts dream pop project
Rumskib. He started recording under his own name a few years later, and our
love for his output only intensified. His most recent LP, 2016’s We Are
The Dreamers, is an aural joy to behold. “Milky Way” is taken from the
aforementioned LP, and his new video for the song merges visual bliss with sonic
bliss, resulting in an all-out blissfest that we recommend everyone immerse
themselves in immediately.
Portland-based noise pop trio Lubecdelivers a sound
that is both blissful and chaotic. Their ability to create a visceral pop song
through angular guitar lines, showers of fuzz and crashing drums is nothing short
of impressive. They ensnared our hearts with their debut LP, The Thrall, in 2014.
The equally exciting follow up, Cosmic Debt, was
one of our favorite albums of 2016. We couldn’t be happier to share with you the
following interview with Eddie Charlton, guitarist and vocalist of the endlessly
delightful project Lubec.
you tell us what the band has been working on and what you've got forthcoming
in the near future (new releases, tour, etc.)?
We’re going to be playing up in Vancouver, B.C. and Seattle in April and then
the East Coast in July. We’ve toured the East Coast before and it was
spectacular and this time I’d really love to work a bit with our label, Disposable America – they’re positive and active in the DIY scene in the Northeast. It
will be really fun.
Also, we’re recording a set of songs for a new EP
that will hopefully be out in time for that tour. We’re going to be working with
our buddy Dylan Wall again. He produced our last album and I’m excited to hear
what comes of that.
Taffy have created a thoroughly buoyant, utterly effervescent album with their
latest full-length, Nyctophilia—a name which refers to love of night, a passion
we and, we suspect, many of our readers can identify with. Here’s the new
video for “Murkiii”, the record’s penultimate track. Plot
summary: boy abducts girl in strange environs. Girl kills boy. Girl and boy kiss lots and lots while having big fun in Vegas, with occasional
stabs of the erstwhile murder weapon. Extreme cuteness with bondage subtext.
Scottish band Wozniak is not cut from the same
cloth as other bands deemed shoegaze. Their music escapes the constraints of
traditional gaze and expands upon the form in a good way. Past recordings made
me think they were an instrumental group, but that is not strictly true.
Thundering walls of feedback and beautiful noise surround their work, but
vocals are employed simply, placed where they best make sense. This is the
band’s debut album, recorded with Craig Ross at the Depot Studios in Edinburgh
throughout 2016. It eclipses their previous work (all of it good) in multiple
ways. I hear different elements in their sound, ranging from sweeping post rock
to noise pop (think Sonic Youth circa Daydream Nation) to Krautrock. They are
not afraid to experiment, and that produces a sonic tapestry that is truly
unique. A darkness pervades this recording, but there is enough light to offset
“Shader” ushers listeners in and holds us in
thrall. It is a glistening but deeply dark four minutes of roaring guitar and
thrumming bass. It is on this track that I imagine a bit of Sonic Youth
creeping in, but that may be explained away by the ferocious instrumental
attack. “Ghosting” is watery dream pop, delicate tendrils of sound encasing you
as it unwinds. It is slightly tentative and more hopeful, but do not err in
thinking it will stay this way. For about 90 seconds, it is all peaceful and
laid back, then the energy ramps up and swallows you whole. At times, it
retreats and allows in glimmers of light. “Super Panther” has the cadence of
majestic post rock, and then it erupts and showers psychedelic bliss on our
heads. The bass is mesmerizing, and the guitars shimmer like a mirage.
“Perihelion” is the first single, and it is blistering space rock that
stretches out its arms to past the seven minute mark. Vocals are supplied by
guitarist Sarah Cuthbert-Kerr and float through sweetly.
“Scottish Dancer” is another epic tune, both in
scope and in length. It starts off like Flying Saucer Attack has joined in, but
it morphs into widescreen psychedelia. Sarah’s ethereal, barely there vocals
lend an air of mystery to this excellent tune, with a great, strong main melody
anchoring it to terra firma. I love the way the bass meanders along with the
singer, taking its time to build to incendiary levels. “Natsuko” sounds
instantly familiar and immediately accessible, and clocks in at just under four
minutes. Its dreamy layers ripple with beauty and it ends all too soon.
“Erebus” has a wicked cool bass line and dark guitar shadings. Some of the
instruments I cannot identify, so I am not sure if guitar is being repurposed
to sound like something else. In any event, it’s an interesting listen. “Crush”
has another welcome vocal turn from Sarah, and she should step up to the mic more
often, because it ornaments the music nicely. “Death Suit” is the final tune in
this suite, and it’s an eight minute barn burner. It has that otherworldly,
exotic feel I used to get whenever I heard Black Sun Ensemble years ago. In
summary, I enjoyed listening to this record, which offers up something unique
in an already crowded field.
Courage Reels is available as a download and
limited edition CD on Morningside Youngteam Records as of April 21st. Go out
and feast your ears on this one!