The Night Beats are an American Psychedelic, Garage and Soul group based out of Seattle, Washington. The group consists of Lee Blackwell (Lead Guitar, Vocals), James Traeger (Drums) and Tarek Wegner (Bass). Night Beats incorporate sounds of early R&B, Texas Psychedelic Rock, UK Blues, Folk and Soul.
Danny Lee "Blackwell" originally from Dallas, Texas founded Night Beats in 2009 when James Traeger moved from Austin, Texas to Seattle, Washington. Named as an homage to Sam Cooke's Magnum Opus the then -piece picked up Tarek Wegner who was living in Seattle. The Night Beats toured extensively early on completing multiple North American tours during 2010 and were signed within weeks of self releasing their debut EP, the H-Bomb EP. Picked up by Chicago's Trouble in Mind Records (Ty Segall, Fresh and Only's, Hex Dispensers, etc.). They have toured with groups such as The Black Angels (band) (in the UK, Europe and U.S.), Roky Erickson, The Jesus and Mary Chain, The Strange Boys, Black Lips and The Growlers.
Their H-Bomb 7" topped several college radio charts competing with other Artists' full-length efforts. (September 6, 2010) In 2011, they released a split between The UFO Club and Night Beats on Austin's Reverberation Appreciation Society label. In April 2011, the Seattle-based art collective Portable Shrines along with Translinguistic Other released Portable Shrines Magic Sound Theater Vol. 1 on the Light In The Attic Records label, a deluxe double LP featuring rare and exclusive tracks from Night Beats, Eternal Tapestry, Prince Rama, AFCGT, and other established and up and coming psychedelic acts curated by Seattle's Portable Shrines Collective. On June 28, 2011 Trouble In Mind released the Night Beats Self Titled Debut LP. In June 2012, They released a single on Volcom Vinyl Club.
The Growlers es una banda formada en Dana Point, California en 2006, luego se trasladó a Costa Mesa , Condado de Orange .La banda está compuesta por Brooks Nielsen (voz), Matt Taylor (guitarra), Montoya Scott (batería) Anthony Braun Perry (bajo) y Kyle Straka (teclados, guitarra).La banda es conocida por su uso intensivo de los efectos, incluidos los efectos de reverberación de la voz, sobre todo, y se mezcla el sonido del rock californiano de finales de los '60 's, con una pesada carga de Psychedelia que da a luz a lo que ellos llaman Beach Goth.
Grupo Ruso que empezo como un proyecto solista de Kris Kane pero poco a poco se fueron uniendo los demas integrantes del grupo que fueron aportando arreglos a los temas y asi quedo conformado Project:Komakino; los integrantes son: Kris Kane (Vocalista y guitarra), 0skar.M (Bateria), Jamie McQuade (Bajo) y Andrew Hiles (Teclados); hasta el momento solo sacaron un Lp el año 2008( the struggle for utopia)
banda Sueca formada en Estocolmo en el año 2006, la banda esta integrada por Johan(voz y guitarra acustica), Les(guitarra principal), Stefan (voz,guitarra y bajo) y Nick(teclados y bateria)estan muy influenciados por The Cure, asi como tambien de Joy Division, Echo and The Bunnymen y en general el post punk , la prensa a dicho que su sonido es la mezcla perfecta entre the cure y interpol,
Post punk de Barcelona, con integrantes de bandas como Jauria, Infame, Drömdead, Los Dolares, Etacarinae, Alert alert!, Miraz…
“Melodic post-punk with an fuck-you attitude. Think of the early Polish post-punk depression, but with danceable touch”
”Are a band are a Nashville, United States based psychedelic trio which looks back to the roots of the genre: wonderful vocal harmonies, keeping their songs short & concise, ornamenting their music with basic yet effective guitar effects and absolutely wonderful snakelike Farfisa organ lines. It’s 1960’s all over again.”
A new act making waves in SF is a little group called The Chaw. They have some connection to The Sea Life, and have a show coming up at the quintessential indie venue in the city, Bottom of the Hill. group plays tight, slightly psychedelic garage rock, but what really stands out is the frontman's vocals. It's as if Jim Morrison rose from the grave, a bit more sober and on less acid, and decided to pick up where he left off. Morrison decided to then ditch the organ, and gave each member of the Doors a reverb and crunchy distortion pedal. The Chaw walk that perilous line between being out-there and challenging, while still maintaining the implacable enthusiasm and chops to bring an entire bar to attention.
When you’re talking about new dark classicist stuff that rides the goth/post-punk border, style and songwriting must be kept in harmony. There needs to be drama and flair in the delivery (otherwise we’d be listening to Pavement revivalists, not fellow Chameleons fans), but if you cling too close to yr influences without delivering at least a couple of memorable tunes, all you do is drive listeners back to the source material. On their debut LP, Philadelphia newcomers Night Sins keep the theatrics at an even keel, and allow their influences to shine through without ever overshadowing their accomplished tunes.
Songwriting-wise, straightforward post-punk bass shoulders most of New Grave‘s weight. While the synths aren’t deeply produced, they change up to suit moods and songs, setting them apart from each other but without ever straying too far from a minimalist ethos. The no-frills presentation allows the bitter simplicity of the material to punch through and leave its own mark: it’s all personal relationships and vendettas amplified by the static which a bad winter can add.
It’s against this simple staging which songwriter Kevin Kimball pits himself, managing to evoke some Eldritch-like whispers without ever actually mimicking his voice in that manner we’ve heard umpteen times, and there’s the odd tic of Ronny Moorings and Simon Jones of And Also The Trees in there as well. While Kimball never uses the restrained instrumentation as an excuse to showboat, he plays his cards just right: the lilting vocal melodies on the chorus of “Spectral Bliss” are simple enough, but click the song over the line.
Although Night Sins’ direct musical influences don’t stray too far from some agreed-upon classics (Seventeen Seconds, the Sisters’ waifier moments), they never lift too heavily from any of them at any one time to invite distracting super-imposed comparisons when it comes to their compositions. The scene recriminations of “Playing Dead” feel too fucked up to be staged, while the determined fatalism of “Wild Eyes” rolls out of Kimball’s mouth as though murder were the only logical conclusion.
Far more calm and icy than US predecessors like The Opposite Sex or Turn Pale, in their more poker-faced moments Night Sins recall the enigmatic also-rans of I Love You But I’ve Chosen Darkness, or the rain-slicked guile of Canada’s own dearly departed The Floor, but more than any other band I think Soft Kill are perhaps the most apt comparison. Like those cool customers, Night Sins seem to be taking up genre motifs as simply the handiest and most adaptable tools for the job, neither disavowing their roots nor straying from the task at hand. It’s a cold job, but someone’s gotta do it.