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L.S. DUNES

Amen Dunes

Death Jokes

    With 'Death Jokes', for the first time since the project's incarnation in 2006, the spiritual reflections and meditations of Amen Dunes are turned away from himself, and out sharply towards the world. The album is also a drastic turn musically and thematically, rooted in the electronic music of raves and of rap music he grew up with but never imagined himself able to make, playing like a scathing electronic essay on America’s culture of violence, dominance, and destructive individualism.

    The work on 'Death Jokes' began just weeks before the first word of the pandemic came in the winter of 2019; it was completed three years later as we began to emerge from the worst. The album's meaning morphed as the pandemic went on, first a reflection on our attachment to form, and to ourselves, and then shifting into a solemn indictment of our culture’s blind spots as we misjudge and attack, veiled self-centeredness and self-importance masquerading as morality.


    TRACK LISTING

    1. Death Jokes
    2. Ian
    3. Joyrider
    4. What I Want
    5. Rugby Child
    6. Boys
    7. Exodus
    8. Predator
    9. Solo Tape
    10. Purple Land
    11. I Don’t Mind
    12. Mary Anne
    13. Round The World
    14. Poor Cops 

    L.S. Dunes

    Past Lives

      Luminaries from rock's thriving post-punk, and hardcore scenes, guitarist Frank Iero (My Chemical Romance), guitarist Travis Stever (Coheed and Cambria), vocalist Anthony Green (Circa Survive), bassist Tim Payne (Thursday), and drummer Tucker Rule (Thursday/Yellowcard) have joined forces to create L.S. DUNES.

      Unshackled from the expectations and aesthetics of their already successful careers, L.S. DUNES super-charge their heavy anthems with punk energy into a sound unlike anything that has come before it. From the gripping, theatrical opener "2022," and the crunchy, frenetic earworm "Like Forever," to the pummeling, expansive "Permanent Rebellion,” and the disarming album closer, "Sleep Cult," Past Lives is an electrifying and emotional ride.

      Past Lives was produced by Will Yip (Turnstile, Circa Survive, Quicksand) and recorded at his Studio 4 Recording in Philadelphia, PA. Going deep on issues of fearlessness, dependency, nonconformity, and impermanence, writing for the album was a collaborative effort

      TRACK LISTING

      1. 2022 (4:30)
      2. Antibodies (3:29)
      3. Grey Veins (4:26)
      4. Like Forever (3:20)
      5. Blender (4:29)
      6. Past Lives (4:10)
      7. It Takes Time (3:26)
      8. Bombsquad (3:51)
      9. Permanant Rebellion (3:13)
      10. Grifter (4:42)
      11. Sleep Cult (3:45)

      In creating Freedom, McMahon brought in a powerful set of collaborators and old friends. Along with core band members, including Parker Kindred (Antony & The Johnsons, Jeff Buckley) on drums, came Chris Coady (Beach House) as producer, and Delicate Steve on guitars. This is the first Amen Dunes record that looks back to the electronic influences of McMahon’s youth with the aid of revered underground musician Panoram from Rome, who finds his place as a significant, if subtle, contributor to the record. The bulk of the songs were recorded at Electric Lady in New York, and finished at Sunset Sound in Los Angeles, where McMahon, Nick Zinner, and session bass player Gus Seyffert (Beck, Bedouine) fleshed out the recordings.

      On the surface, Freedom is a reflection on growing up, childhood friends who ended up in prison or worse, male identity, McMahon’s father, and his mother, who was diagnosed with terminal cancer at the beginning of recording. The characters that populate the musical world of the album are a colourful mix of reality and fantasy. Each character portrait is a representation of McMahon, of masculinity, and of his past.

      Yet, if anything, these eleven songs are a relinquishing of all of them through exposition; a gradual reorientation of being away from the acquired definitions of self we all cling to and towards something closer to what's stated in the Agnes Martin quote that opens the record, “I don’t have any ideas myself; I have a vacant mind” and in the swirling, pitched down utterances of “That's all not me” that close it.

      “Miki Dora was arguably the most gifted and innovative surfer of his generation and the foremost opponent of surfing’s commercialization. He was also a lifelong criminal and retrograde: a true embodiment of the distorted male psyche. He was a living contradiction; both a symbol of free-living and inspiration, and of the false heroics American culture has always celebrated. With lyrics of regret and redemption at the end of one’s youth, the song is about Dora, and McMahon, but ultimately it is a reflection on all manifestations of mythical heroic maleness and its illusions.” – Damon McMahon.


      TRACK LISTING

      1. Intro
      2. Blue Rose
      3. Time
      4. Skipping School
      5. Calling Paul The Suffering
      6. Miki Dora
      7. Satudarah
      8. Believe
      9. Dracula
      10. Freedom
      11. L.A.

      Over the past three years, the Santa Barbarian comrades that make up Gardens & Villa - Chris Lynch, Adam Rasmussen, Levi Hayden, Shane McKillop, and Dusty Ineman - went from playing local bills to being veterans of the road. After releasing their self-titled debut on Secretly Canadian in 2011, they pushed their van’s odometer into the six-digit range, zigzagging North America and Europe with over 350 shows in just two years. Gardens & Villa emerged a wiser, crystallized version of themselves.

      Those experiences planted the seeds for the band’s new batch of cohesive, personal, and beautifully layered pop songs - homegrown in the confines of the band’s beachside practice space. When it came time to record, they searched out acclaimed producer Tim Goldsworthy (Cut Copy, DFA Records, LCD Soundsystem, Hercules & Love Affair) and these five surftown natives found themselves travelling to the unlikely locale of Benton Harbor, MI (pop. 10,040) in January. There they landed at the Key Club, located deep in the recesses of a converted locksmith’s building where they would record what would become their second full length, ‘Dunes’.

      Gardens & Villa burrowed into the Key Club’s retro-themed studio and living space, only leaving the facility five times over the next month. The disconnection between Santa Barbara’s familiar sunny beaches and Michigan’s snow-covered lakeshore led to the group’s creative unravelling in the studio. The band lost track of the hours, days, and weeks as blinking analogue machines captured the intense journey. In the process, ‘Dunes’ was poured through Sly Stone’s original custom-built Flickinger recording console.

      With just a week left before deadline, Gardens & Villa sought a brief refuge from the studio where their progress had stalled. They went on a trip, traversing winding roads past frozen tundra and barren trees into the wilderness of the nearby state park’s tall dunes. The group climbed to the top and collapsed into a combination of sand and snow

      Simultaneously reminded of home as well as their distance from it, their jaws dropped as they turned to see Lake Michigan’s majestic and surreal expanse stretching toward the horizon. Supported by Goldsworthy’s guidance, the band went back to the studio and ultimately emerged with a record beaming with dystopian energy, subconscious lyrics, and uncompromising sincerity.

      Lynch has seamlessly integrated his bansuri flutes and Rasmussen has fleshed out his looming synths alongside shades of 80s cult films soundscapes that lurk just underneath the songs in an unnoticeable yetomnipresent fashion.

      Like the awe-inspiring clarity of sitting atop Michigan’s dunes, the band’s forthcoming record shares a clear and evocative vision of where Gardens & Villa’s members have travelled, what they’ve learned, and what lies ahead.

      STAFF COMMENTS

      Ryan says: 'Dunes' is a wonderful mishmash of synth-pop, funk & psyche tendencies. The sound is much bigger than their previous LP. This is great.

      TRACK LISTING

      Domino
      Colony Glen
      Bullet Train
      Chrysanthemums
      Echosassy
      Purple Mesas
      Avalanche
      Minnesota
      Thunder Glove
      Love Theme

      Dunes

      Noctiluca

        Dunes are a mysteriously ethereal and minimal trio from Los Angeles.

        Appropriating pop and experimental music into a familiar swirl, while retaining a fresh outlook and approach, Dunes inhabit a space of tweaking, twisting, imagining moments and emotions from the past, destined to end up as their future.

        Stephanie Chan, formerly of Austin, Texas bands Finally Punk and The Carrots plays guitar and sings in Dunes. She creates surreal and dreamy narratives with her lyrics and uniquely beautiful, powerful voice.

        Mark Greshowak plays baritone guitar and sometimes bass. He used to write songs and tour with Seattle area band Talbot Tagora, and now he and Stephanie weave their melodies back and forth, making lush tones for the eardrums.

        Kate Hall played drums in Mika Miko before holding down the rhythmic duties and also singing for Dunes.

        Watchers

        Dunes Phase

          After numerous tours and press adulation for their party-starting debut "To The Rooftops", Chicago's Watchers return with more short, sharp shots of groove-fuelled power and inspiration. The "Dunes Phase" finds the band expanding upon their unique brand of tightly wound avant-rock and infectious dance-funk. Throwing down snatches of early XTC, Pop Group, no wave, soul, dub, and psychedelia with an endless sense of experimentation, Watchers chart a nimble course through the secret history of pop music.


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