Yes, I am writing again about another band I have recently reviewed! Considering that I am beginning to think no one really reads this blog anyway, does it really matter? And if someone is reading, you are probably wondering: why even write if I don't think anyone is reading it anyway? Well, because I like to write, and even if no one is reading this, I will keep on writing, so I may as well write about whatever I want!
Now that I've gotten that out of the way, I can talk about the new video from Luna. The second video from their covers album A Sentimental Education, Luna pays tribute to The Velvet Underground, and the timeless theme of unrequited love.
Where the previous video was filmed in black-and-white, this one is done in vibrant color. A conceptual video set in a high school, we follow a young boy as he attempts to win the heart of the girl he loves. We see that his crush is a couple of years older than he is, so clearly the girl sees him only as a friend, as she goes off with other boys closer to her own age. In the hallways, a band plays: they all look like younger versions of Luna! It is cute to see how they must have looked in high school.
As the video progresses, we watch the boy's various tactics to get the girl to notice him. He has a knack for making cute flip books, starring a dog character, whom we see in stuffed animal form. These little books entertain her, but clearly the cute older boy has her full interest. At first, it appears that the two boys do not like each other (or that the elder is wary of the younger), but the girl comes along, encouraging them to join her as they go out to the school football field, where the band is playing and everyone is having a good time. The stuffed animal makes an appearance too, but I can't spoil the ending, can I?
Normally this is more of a metal-based blog, but I love all forms of rock music, so it isn't too uncommon for me to explore other sides of the rock spectrum; such as “alternative” rock, or “indie” rock. I have never been one of those metalheads that subscribed to the notion that grunge rock was “the enemy”, or that I had to dislike one to enjoy the other.
Admittedly, what is considered modern alternative rock is not quite suited to my personal tastes, but the same can be said of most mainstream music. Being on the latter end of Gen-X, I am not exactly young or hip anymore (not that I have ever been—hip, anyway!), and I have always leaned more towards bands that were low on the radar, or stuff that was too “complicated” or “weird” for mass consumption. That being said, I do have a penchant for the alternative rock from the ’80s and ’90s. That distinct sound of those bands gives me a nostalgic, happy feeling, which instantly transports me to the days when I was young (and still un-hip).
So when I hear a band like Luna, who has been around since the days when alternative rock ruled the world—yet managed to stay underground and “low on the radar”—it is like discovering a cool gift left over from my ’90s adolescence. It's like rummaging through the attic of your childhood home and coming across a Christmas present from years past, still wrapped, that somehow got lost in the holiday shuffle and relegated to dusty bins and dark closet corners after being found by a parent under the couch during the next year's spring cleaning, long past the time when giving such a token has passed. Yet when you open the discarded gift all these years later, you find that it has not only retained the innocence and charm of its time, but it has been hidden away for so long that it feels new. It is both familiar and exciting all at once.
Over the years, Luna pressed on through the phases and fads of the different musical cycles, maintaining a strong underground following up until they disbanded in the mid-2000s. For nearly 10 years, the members of Luna went on to do their own things, until reforming once again in 2014. The year 2017 saw the band's first new releases since reuniting: an instrumental EP, and a covers album, A Sentimental Education, where the band pays tribute to everyone from David Bowie and Bob Dylan, to Fleetwood Mac and Yes.
For this week's video feature, Luna pays homage to The Cure, art-rock titans who have long crossed over to such levels of success that they don't need to be labeled. Covering such a legendary band is a tall order to fill, but Luna's take on “Fire in Cairo” is a smooth, mellow contrast to the poppy, new-wave tempo of the original. When bands do cover songs, I tend to like the ones that are done in a different way than the original, yet manages to both convey the unique sound of the band covering it, while also maintaing the integrity of the original.
The video itself is filmed in black-and-white, featuring actress Rose McGowan. It looks like film noir from the ’40s, with soft lighting and striking angles. The video begins with Rose looking at various drawings of herself (sent by fans, perhaps?), pinned to a wall. There are other photos and sketches as well, as she smiles and points to the ones that stand out. The next scene shows Luna, playing at a club called “Gold Digger's”. Rose is admitted through the back entrance while the band performs onstage. Rose stands unobtrusively against a wall, enjoying the show. Before long, she starts to mingle with the crowd, then with the band after the show. Everyone is shown laughing, talking, and drinking. Rose makes a friend, who we see visiting Rose at her house in the next scene. A few more shots of Rose in flattering light, and then the video ends. I am guessing this must be a chronicle of a day in the life of “show-biz” people, but I could be way off!
If you are a regular visitor to this blog, you might notice that there are certain regional music scenes that I cover more than others. One of these is the Baltimore-Washington metropolitan area, which fosters quite an abundant music scene: A Sound of Thunder, Thrillkiller (formed by ex-members of another Baltimore band, Aries), Master Sword, Omnislash, Iris Divine (who I will be reviewing next week!), and this week's feature, We Love the Underground.
I can't help that I keep featuring bands from this area, but there is truly something special going on out there that deserves notice. The amount of talent pouring out of that region is almost insane. Very much like the Seattle scene in the early ’90s, there hasn't been a band from Baltimore over the past several years that I've heard yet that I didn't like.
While there is a certain sound that identifies this scene, each band is so different; none of them sound alike, yet they all play off each other in this big community of professional camaraderie. That is probably what I find most fascinating about these bands (outside of the music, of course): they are all friends, the bands constantly work together (guesting on each other's projects, filling in at gigs for injured bandmembers), and encourage one another in their success. I do not see any type of professional rivalry, jealousy, or competition. All of the bands build each other up and promote one another nearly as much as their own projects. While this is not a rarity among local music scenes, I have never seen it operate at such a level as with this region. Perhaps this is part of their appeal. Maybe it adds that extra flair to their music. As I am an outsider that lives far away, I would prefer that it remains a mystery to me.
So once again, while making my twice-a-week musical journey around the globe, I make yet another stop in Baltimore; this time to review the video for “Kids in the Park” from We Love the Underground. As soon as the video begins, we see one of the bandmembers representing hometown love by wearing a Baltimore t-shirt. The vocals remind me a little of the late Scott Weiland (this is a compliment, by the way!), but more aggressive. Just a straight-up rock band. I like it.
The video itself is not much more than the band jamming in some kind of empty garage or rehearsal space. Very straightforward, just like their music.
For more information on We Love the Underground, visit their official website.
One of my favorite newer bands to come out of the L.A. rock scene over the last couple of years, this is not the first time I have written about The Spider Accomplice, and I am pretty sure it won't be my last. A refreshing mix of alternative rock, quirky folk, and everything in-between, The Spider Accomplice beautifully captures the diverse and unique spirit of L.A.: a place that waves its freak flag like no other, and a place that any free spirit would be proud to call home.
When I listen to TSA's music, I do not feel homesick; immediately I am transported and VK Lynne's voice takes me on a beach cruise with the windows down and the temperature at a perfect 75 degrees. It is relaxing, unimposing, and inviting; much like the nature of Southern California. We don't ask for outside acceptance or approval; we just want to do our own thing.
The Spider Accomplice is all about “doing their own thing”, and doing it well. In fact, their new video for their brand-new song “User”, shows TSA in their element, and all the various ways in which they are indeed “doing their own thing”. We see them in the midst of their music-making process, as an occasional lyric scrolls across the screen. As we see, it isn't always a glamorous procedure: there are missed cues, there are technical difficulties, and a lot of waiting around. But even during the most tedious moments, they all appear to be having fun, and each have their own unique methods of stress-relief.
For more information on The Spider Accomplice, visit their official website.
For this week's entry, I am a little excited because my musical travels take me to Ayr, Scotland! I have a particular love and appreciation for Scottish culture, though (to my knowledge) I do not believe I can claim any Scottish heritage. From the music of Fish, to the Outlander books by Diana Gabaldon—I have a deep respect for the Scots, and it is one of the many places I would love to visit someday.
The Fall of Eve describes themselves as “alternative rock/metal”, but I would also add symphonic/gothic rock or metal to that definition as well. Not much is written about the band on their Facebook page, but it appears they have made an album or two, and now have a brand-new EP to promote.
They also have several music videos on their YouTube channel, but this one that I am reviewing is their most recent. “If Even Angels Fall” fittingly takes place in a church, where we see a woman in white slowly walking down some steps. The song's intro is soothing, like the chimes of a music box. The church looks old and decayed: a dusty piano with missing keys; dried-up, cracked paint peeling off the walls...you get the idea. As the band starts to play and picks up the tempo, they are seen at the cathedral altar, with lights strung around the amps reminiscent of Christmas lights, and stained-glass windows in the background. The woman in white is shown breaking apart her rosary beads in a symbolic gesture, as she turns away from the altar.
As the video progresses, she shows more signs of breaking her faith, like tossing a white tunic over a balcony. But she appears to regret her decision, returning back to the altar with her white hooded shawl, hands clasped in prayer. The lyrics of the song conveys the sentiment, “if even angels fall, there's no hope for us at all”. We see the woman in white in the darkened church, holding a lantern as she seeks and finds the music box playing the song's opening notes as we are brought back full circle.
As my musical travels take me around the world, every now and then I come across a stop right here in the U.S. that makes me take notice. This week it's Brooklyn-based The Amatory Murder, whose brand of pop-flavored alternative is a fun throwback to ’90s rock.
The bands latest video, “U & I”, is a fun, catchy, upbeat song that is markedly different from their darker, more gothic sound; but its still got plenty of attitude! The video alternates between clips of the band either walking along the beach, or jamming on their instruments by the same shore. Later on, they are seen rocking out in a small room before returning to a cool shot of their guitarist ripping a killer guitar solo on the giant rocks along the beach.
Musically, the electronic elements in the music lend a youthful vibe, making this a tune that would sound perfect in a teen movie during the big party scene. (This is a compliment, by the way!) For all my enjoyment of everything rock and metal, I do appreciate the occasional pop-infused song, and this tune has got plenty to keep your toes tapping and your head banging.
For more information on The Amatory Murder, visit their official website.
Sometimes, when searching all over for new music to feature here every week, I come across a find that is close to home, and such is the case this week with Los Angeles-based band Hail Sagan, who consists of vocalist Sagan Amery (the band's namesake, I am guessing!), Powerman 5000 guitarist Nick Quijano, and a rhythm section called “The Nothing”.
Mixing sounds of gothic rock, punk, and alternative, the video for the song “Dark Cloud” is a rallying cry against abuse, harassment, and bullying. The video shows images of the band rocking out on the song while Sagan sits at her crystal ball, which invokes images of people screaming, crying, inflicting self-harm, and replaying incidents of abusive situations. At the end of the video, The Nothing is seen approaching the victims with the same dark skull masks that they wear, seeming to suggest that the people in the video are therefore empowered and are not alone anymore. On the band's YouTube and official website, information to contact various centers such as the National Suicide Hotline and the National Domestic Violence Hotline can be found.
To listen to more of the band's music or to purchase official merchandise, visit the official Hail Sagan website.
