DIVES released their new single titled ‘100 Times’ on June 17, 2020. We get a listen of the suave new track in all of its glory and shimmering originality. The track is a showcase of sorts and a perfect introduction track to what DIVES’ sound is and creativity can bring. The song is a strong blend of solid chord progressions and harmonies that soar and dive in unison causing that inevitable hit of the repeat button.
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ABOUT DIVES
Teenage angst has paid off well, DIVES are now ready to have it all. DIVES know their capabilities, their strengths, and the songs they want to write. On their first album, titled ‘Teenage Years Are Over’, they now become an essential integrant within Europe’s big indie-bands.
With their first EP, DIVES got off to a dream start: In Dresden, they played in front of 12,000 people, headlined the Viennese Popfest, toured with Courtney Barnett, accompanied the Vengaboys at the Viennese Ballhausplatz and played various shows as support to established artists (Franz Ferdinand, Bilderbuch). Three years have passed since their formation at pink noise Girls Rock Camp and ever since, they not only toured Central and Eastern Europe, crashed big stages and important industry festivals (Reeperbahn Festival, c/o pop), but also did not back away from well-known underground venues (8mm Bar, Ostpol Dresden).
On their debut Teenage Years Are Over, DIVES channeled their energies together with producer and label-mate Wolfgang Möstl (Voodoo Jürgens, Clara Luzia, Nino Aus Wien). Their album is going to be released on the Viennese label Siluh Records. DIVES earned their spurs on tour and now they only comply with their own rules. In doing so, they do not need permission or well-intentioned advice.
“Appreciate your concern, you’re gonna stink and burn.“
DIVES accompany Surf-Garage-Pop with emancipated lyrics. They don’t shy away from speaking their mind. There’s no crying over missed chances, no pointless vanity, and no fake pretending for the sake of being part of something. This mindset also shows in their thoroughly produced music videos, most recently for the song Chico for which they teamed up with director Kevin Pham. It accentuates the trio’s refined aesthetics while they are riding a speedboat over the Vienna’s Danube River. On their first, full-length record, DIVES wave good-bye to the initial doubts – „Are we good enough? Where do we want to see ourselves? What will happen if our youthful easiness is gone?“. They found their answers: On the stage, in their songs and finally in themselves as friends and companions.
This is their new single ‘100 Times’.
DIVES are Dora de Goederen, Tamara Leichtfried & Viktoria Kirner.
LINKS:
https://www.facebook.com/DIVESvienna
https://divesmusic.com
https://www.instagram.com/divesvienna
https://dives-vienna.bandcamp.com
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An Interview with Fea (The Week in #Indie Segment)
Fea is one of those bands who will get what they work for based on the caliber of their music. I can say this because it is evident all over the exclusive interview above. Formed by friends who developed into a family, Fea is one of those tight bands that are lockstep in sound and unified in ambition.
And, in this interview, we get the entire band! With the perspectives of all four, we get the story behind the band, their new album titled ‘No Novelties’, their upcoming video for ‘Girlband’ and, importantly, the methods and meaning behind the music. Fea shows they are not only a band that will last but will thrive.
Fea’s latest album, ‘No Novelties’, is out now via Blackheart Records.
Watch the full episode HERE.
LINKS:
https://fea210.com
https://blackheart.com/fea
https://www.instagram.com/fea210
https://twitter.com/fea210
https://www.facebook.com/fea210
https://open.spotify.com/artist/3nKEqmxHdIu4WbtE2kKvya?si=ApteZrsqR_q6lnjCxVbFNA -
An Interview with CREEM Magazine’s CEO John Martin
Jammerzine has an exclusive interview with CREEM CEO John Martin. To say that this is something I am proud of would be an understatement. My family grew up with CREEM. All the way out in Indiana we got CREEM. To say it was the Bible for music would be a misnomer, though. It was that whose who of people we may not have heard of but need to listen to. It was that directory of cool and suave and companion that let us know there was true music out there. While I was a little boy at the time and was relegated to Boy’s Life and could only read my cousin’s issues, I learned through CREEM that there were whole other lives out there in music and that, in more ways than one, that CREEM truly was ‘America’s only Rock N’ Roll magazine’.
In today’s interview, we talk with one of the minds behind the resurrection and continuation of an iconic story for music’s sake, John Martin. As CREEM’s CEO, John gives us a first hand account at how CREEM has come back to us as well as where CREEM is headed, and much, much more.
About CREEM Magazine
One of the most unlikely and successful media launches of the year, CREEM debuted its first magazine issue since 1989 in September, along with the CREEM Archive featuring every issue from the magazine’s original 20 year run. Vanity Fair revealed the first print cover for the new oversized subscription-only premium quarterly, featuring original art by the legendary Raymond Pettibon (responsible for Sonic Youth’s Goo album cover & others), along with stories on The Who, Terry Allen, Special Interest &KeiyaA, a reassessment of The Osmonds’ metal album and revival of their Stars Cars column with Slash. Also in September, CREEM produced a limited run of David Bowie special edition magazines to celebrate the release of Brett Morgen’s Moonage Daydream in partnership with NEON.
Founded in 1969 Detroit, CREEM grew from underground paper to national powerhouse – an essential source of music journalism for twenty years. It reflected and shaped the culture, cultivating some of the most legendary writing talent of the era: Lester Bangs, Cameron Crowe, Patti Smith, Robert Christgau and Jaan Uhelszki, who now returns as editor. The magazine’s original rise and fall is chronicled in the critically-acclaimed 2020 documentary CREEM: America’s Only Rock ‘n’ Roll Magazine, which earned praise everywhere from The New York Times to CBS This Morning.
Today, CREEM Entertainment is led by former VICE publisher John Martin as CEO, alongside Chairman JJ Kramer (son of original CREEM co-founder & publisher Barry Kramer). In addition to Uhelszki, the new CREEM editorial staff includes VP of Content Fred Pessaro formerly of VICE’s Noisey, Executive Editor Dan Morrissey from Entertainment Weekly, and Senior Editor Maria Sherman, following her work at NPR, Rolling Stone, BuzzFeed, Jezebel, Netflix, ELLE and her critically acclaimed book, LARGER THAN LIFE: A History of Boy Bands. Editorial Director Dave Carnie has worked with Jackass, ESPN, Big Brother, and Penthouse. Grace Scott joins as Associate Editor after her work with VICE & The Toronto Star, and Zachary Lipez as Editor at Large, following his work with Pitchfork, The Washington Post and others. This fall, CREEM welcomed Stephanie Augello as Photo Editor. Augello is an entertainment photographer and editor who has worked with Live Nation, Shutterstock Editorial, and ABC.
CREEM Entertainment is the modern-day reincarnation of Detroit’s legendaryCREEM Magazine. During its initial twenty-year run, CREEM launched the careers of countless iconic music journalists and bands, while never hesitating to lampoon those who took themselves too seriously. Today’s CREEM, powered by the next generation of cage-rattling truth tellers and provocateurs, delivers the best content, merchandise, and experiences to rock ‘n’ roll fans of all ages. Boy Howdy!
Featured image by Margarida Malarkey.
LINKS:
https://creemmag.com
https://www.twitter.com/creemmag
https://www.facebook.com/creemmag
https://www.instagram.com/creemmag -
An Interview with Lizzie & The Makers
Jammerzine has an exclusive interview with Lizzie Edwards, front-woman of the mega talented Lizzie & the Makers. Having just released their new album titled ‘Dear Onda Wahl’, produced by Grammy winner Mario McNulty (David Bowie, Prince) and Cure guitarist Reeves Gabrels (Tin Machine, Bowie), Lizzie & The Makers have poised themselves on becoming, what I would consider, an ‘arena act’. Just listen to ‘Dear Onda Wahl’ (playlist below).
In today’s interview, we talk about the writing and recording process of the album as well as that original style that Lizzie & The Makers instinctively have plus collaborating with such external talent and what the future holds.
Check out our other features with Lizzie & The Makers HERE.
About Lizzie & The Makers
Lizzie & The Makers’ sophomore studio album, Dear Onda Wahl, embroiders their potent Southern-tinged rock with art-rock, dream-pop, and ethereal elements to spawn something alltheir own. Due in April, it’s one of those rare records that combines single-minded artistry with broad commercial appeal.
Created around the dusky yet soaring timbre of force-of-nature frontwoman Lizzie Edwards, Dear Onda Wahl was produced by Grammy winner Mario McNulty (David Bowie, Prince) and Cure guitarist Reeves Gabrels (Tin Machine, Bowie). Their influence, alongside the textured six-string and pedal-steel expressions of Edwards’ writing partner (and Gabrels protégé) Greg McMullen, ensure an intriguingly adventurous, hugely dynamic – and occasionally otherworldly – take on the traditional.
“We’re definitely rock ‘n roll … [But] it’s almost like when we wrote these songs they went through a David Lynch portal, and came out a little bizarre,” mulled Edwards. “So I think we’ve been on this kind of ethereal tear, but our group is really rooted in Southern rock, and some English rock.”
Atop granite foundations of AC/DC and Black Sabbath, NYC’s Makers layer the grooving rock of the Allman Brothers and Pink Floyd’s melodic psychedelia. But then there are lurking hints of blues/country rootsiness, and McMullen’s accomplished love of the avant-garde. Defying her constant comparisons to Janis Joplin, the classically-trained Edwards summons a heartfelt, nuanced mezzo-soprano shaped by Memphis soul legend Ann Peebles, Heart’s Wilson sisters, and jazz icon Billie Holiday. She’s assertive, yet vulnerable; defiant, yet proudly flawed.
Edwards and McMullen almost accidentally formed The Makers (named for Maker’s Mark bourbon) back in 2011, when the singer was scrambling to assemble a last-minute band for a festival at Pete’s Candy Store in Brooklyn, where she was sound engineer and McMullen was a regular performer.
“We played a couple of shows, just casually, and then Greg and I started to write together,” Edwards recalled. “It was just a perfect match, and our first song I think is still one of our best.” Lizzie & The Makers’ debut album, Fire from the Heart of Man, appeared in 2015, followed by the Meanwhile … EP three years later. A 2017 concert collection, Live at Rockwood Music Hall, conveyed The Makers’ famously visceral stage show. But Dear Onda Wahl, recorded at Mission Sound Recording in Williamsburg, both captures and compliments the band like nothing before. “Definitely the stuff has been written for performance,” offered McMullen, who has also played in Gabrels’ solo band and alongside Greg Dulli in the Twilight Singers. “It’s been adapted as to how we will record it.”
The Makers are rounded-out by seasoned sidemen with prodigious résumés: bassist Brett Bass (Gregg Allman, Bernie Worrell); drummer Steve Williams (Sadé, Digable Planets); and keyboard player Rob Clores (Black Crowes, John Popper Band).
“We’re more of a live band than necessarily a band that was over-produced or was dependent on sounds created in the studio,” Edwards noted.
From the opening, unearthly throb of “Lover by Proxy,” it’s clear that Dear Onda Wahl is something different. While the bluesy riff is familiar, its tortured tone is darker, more contemporary, and the perfect foil for Edwards’ emotive delivery.
“The textures are much more lush [on Dear Onda Wahl],” McMullen explained. “We were allowed to layer things, and this time in the studio we actually experimented so much more than we have in the past.”
Standout and first single “Mermaid” winds wistful melody through a delicately choppy guitar before blossoming into its darkly brain-staining hook.
“One of the main influences would actually be David Lynch,” McMullen continued. “Lizzie and I were equally influenced by what he’s accomplished with Twin Peaks, and that third season was definitely something that I think was on both our minds when we were writing.”
Dear Onda Wahl’s title track is a play on words originally written by Edwards as “Deer on the Wall”; a metaphorical letter to a mounted hunting trophy at the bar where she worked. It’s a funky, organ-flecked small-hours search for meaning in a tumultuous life. The record closes with the haunting, seven-minute “Mojo Hand,” soaked in McMullen’s borderline sci-fi sonic sorcery and Edwards’ enunciated occultic metaphors.
“There’s a lot of little outer-space, edgy weird sounds incorporated into this record that we didn’t completely embrace on previous records,” said Edwards. “And in general, as songwriters, we just evolve.”
Dear Onda Wahl will be preceded in February by “Mermaid” and its accompanying music video, with a special Lizzie & The Makers live stream to mark the occasion.
LINKS:
https://www.lizzieandthemakers.com
https://facebook.com/lizzieandthemakers
https://twitter.com/lizziemakers
https://lizzieandthemakers1.bandcamp.com/
https://instagram.com/lizzieandthemakers
https://open.spotify.com/artist/1rXVzDjpFee7mq0CSa1kwT?si=pjR-7KfwSNaQvRchyhpMGA
https://www.youtube.com/channel/UCXnW5aJz4VnA1bINks-BoIg