HALF-GIFTS: Shoegaze

Showing posts with label Shoegaze. Show all posts

7/05/2017

Review: cat in the case. - "SUMMER"

cat in the case. - SUMMER

(2017 Self-Released)

Winter is to Christmas as summer is to shoegaze: the essence of the season refined into a surge of pure, youthful idealism. While Christmas, situated at the year's end, signifies a period of nostalgic reflection for most, shoegaze snaps forward as if the winter holiday season were a stretched-back rubber band. It's a time for taking road trips, baking beneath UV rays, and grilling massive quantities of protein -- a time to expend energy with reckless abandon. The debut EP by Taiwanese quintet cat in the case, appropriately titled SUMMER, portrays the annual rubber band at the peak of its sailing arc: the dregs of July.

The band's appreciation for dream pop and the dog days is so sincere, it borders on the surreal, taking the form of ice-pop trees sprouting from gradient beaches and carbonated chord progressions that bubble on the ocean's surface, clinging to gummy inner tubes. "Hey Summer," sings cat in the case's uncredited vocalist on the record's title track, as if to gently tap nature on its shoulder. "Your teeth are shining. And guess what I say? I love you." Gritty thrusts of lead guitar are exclamation points at the end of this beach-pop adoration. The tune resembles a Seapony cut mixed and mastered by Slowdive -- a crust of delicate twinkle that hides a trench of reverb beneath.

Sandwiched in the middle of the 3-track EP is "Bog Down", a dance with dissonance that pairs a rather menacing verse with a yelp-y chorus that climbs up its rope of tremelo-picked melody. Closer "Something New" slows SUMMER's tempo, looking to the mid-00s output of Airiel for its sonic cues. The track's guitars hover like humidity -- echoing vocals drip sweat on their surface. The song is a swirling drill bit, boring a hole into the summer sky. In its place, cat in the case hang their undiluted sense of wonder, throbbing like a red, polygonal sun.

9/06/2016

Interview: Rei Clone

Rei Clone // Denton, Texas Shoegaze

What brought Rei Clone together as a band? Did you have a clear idea of the sound you wanted to strive for when first starting out?

Yes, we did have a set sound that we wanted to achieve. From the outset we were heavily influenced by 90's shoegaze like Slowdive, Chapterhouse, and mbv. When our violinist Nirmal joined we realized that we could kind of put our own twist on it though. We also knew from the beginning that we wanted female vocals in the mix so that was a factor in selecting members.

What was your first completed composition? Which installment in your discography are you the most proud of? How do you feel you've evolved artistically since your self-titled debut?

Our very first composition for the band was "Junketsu." That one was written and more or less completed before we had a final lineup. As far as which one we're most proud of, I can't speak for everyone (this is Zach speaking) but I think we're most proud of "Ready to Die." It's a simple song but everybody's individual contribution made it the uplifting and dense piece it is now. Artistically we've become more experimental from our first ep. Tracks like "Dreaming of Nagato" and "Facehugger" are examples. We try to have a balance of noise, punk, and dense layering on all releases but we try and experiment more with structuring and harmonies with each song. We also are trying to do more things with synth as of late. We sort of established that with "Sleeping Christian" and "Cat Planet Suicide" which both have some synth parts on them.

"Cat Planet Suicide" is such a solid cut! Very gelatinous. Rei Clone is pretty outspoken on the 'web about their love for anime - you're self-described "otaku shoegazers", your titles reference various series and characters, and you've even included a sample from K-On (I think) in the intro to "senketsu". Do you feel like anime influences your music as much as it does the band's visual aesthetic?

Abe speaking. That sample is actually from The Melancholy of Haruhi Suzumiya, and yes, watching anime really inspires me when I write music.
I take a lot of influence from j-pop and j-rock, even though I don't think it is super evident in our music all of the time.

Hmm, I could have sworn I'd recognized that clip! I do see some of the J-rock influence in the density of the music and swooping chord changes.
How does your sound translate to a live setting? What bands have you shared bills with that have really impressed you?

We try to sound as good live as we do recorded, though our live shows have their own special qualities to them. As far as our favorite bands to play with, the list goes on, but to name a few:
Smith + Robot
Bad Times
Whimper
Ghost Data
Big Hand//Big Knife
Better Now
Chris Lopez
Ringo Deathstarr
All bands we have played with/adore.

Also, when playing live, we really want an ocean of noise. It should really surround you.

How were you able to get in contact with Smoked Cheese Records about putting out Wet? Smoked Solid Dairy has been a favorite hardcore outfit of mine for some time.

Ive known Alec (ssd front man) since I was in high school. I used to write concert reviews for his website (txpunk.net). He has supported me ever since my first real project, Anger House. Once we discovered we both loved anime, it all exploded from there. I am very grateful for his support and friendship.

What series are favorites among Rei Clone's members?

Still Abe replying, I can't speak for everyone but:
Melancholy of Haruhi Suzumiya
Beck
Kill La Kill
Steins Gate
Desert Punk
Evangelion
Dragon Ball
Cat Planet Cuties
Squid Girl
Seinfield
Ghost in the Shell
Akira
The list could go on

Seinfeld is essential 😎
Any plans in the works for future Rei Clone material?

Absolutely. We are very far from being done. We have more EPs and a full.length coming out in the future. Probably sometime next year. Touring as well.

12/23/2015

Review: Chestnut Bakery - "Diaries"

Chestnut Bakery - Diaries

(2015 BoringProductions/Full Label)

The internet has mysterious ways of bending the dimensions of time and space, most interestingly in terms of culture/subculture - in the realm of music it offers such a glut of material for enthusiasts to chew on and digest via Bandcamp/Soundcloud/Discogs that the areas and ideas within this cultural dominion that I focus on seem to be in a constant solvent state. This acidic breakdown encourages scenes to fracture into tiny pockets of influence, creating an accessible space for bold individuals to experiment with new sounds and letting fans get to know band members better as individuals (to the point where New England jangle-pop outfit Real Estate houses three solo artists who released material this year). Rapid as this solvency may be, there is always a gluey, adhesive force of equal power that scrambles to attach the scattered debris back to the Cultural Web, building infinitely smaller, more niche nodes within the web's outer border, keeping its fluctuation of size in check. This regeneration forms fascinating, small-scale collectives like Full Label, a Cantonese digital-only imprint dedicated to reviving the elegantly fragile indie-pop of early 90s UK-based label Sarah Records. The latest (and most polished) twee transmission from the Guangdong province is Diaries: the debut effort of Chestnut Bakery that's as warm and feathery as its cover art and band's name suggests. It's western-influenced guitar pop that's actually a improvement over its British source material - a modern marvel that it exists and a greater on that I'm hearing it from the comfort of my own home a hemisphere away.

The quartet hails from Shenzhen, China's equivalent of Silicon Valley, and has dubbed themselves "the most 90s shoegaze band in [the country]", a claim that they back up with substantial evidence: Diaries acts as a sampler platter of late 20th century dream pop textures. The band uses a generous hand with reverb on "Saturday Afternoon", flooding the atmosphere with glistening guitar while letting its nimble basslines handle the brunt of expression - the gentle twang of strummed six-strings paired with frontwoman Rye's hushed delivery recall a creamier version of The Sundays' prickly punch of c86 pop. 7-minute centerpiece "Moon Palace" explores the dreamy psychedelia of Slowdive - perhaps even Julee Cruise(?) - slowly building from a muffled, phase-shifted drone to a post-rock fireworks display of explosive lead guitar theatrics. "Tunnel Party" and "Cream Soda" ratchet up the distortion, crafting Melberg-ian punk soundscapes. Though much of Diaries is noticeably derivative, I find the amount of the Cultural Web's surface area that it covers to be quite impressive: though Chestnut Bakery holds firm to a single guitar tone and overall aesthetic, no two songs of theirs sound quite alike. That's what makes Diaries such a satisfying and polished debut. Definitely worth a listen and multiple replays.

11/17/2013

Single: seventeen years - "ocean slut"

seventeen years - "ocean slut"

(Half-Gifts Records 2013)

"ocean slut" is the third track off of the forthcoming EP, Teased Hair, by seventeen years, the solo project of Daytime Party's Tony Freijat. The track opens with a rumbling post-punk guitar riff that is soon blanketed by heavy, crackling fuzz. Freijat's vocals are filtered and understated like those of Cole Smith from DIIV. There's even a hint of early 2000's emo that's a bit more prevalent in other tracks on the EP. This tune is sneakily catchy, and will slowly worm its way into your current list of favorite songs. Listen below.