Great Grandpa began in Seattle in 2014 when guitarist & vocalist Patrick Goodwin
recruited bassist Carrie Miller, drummer Cam LaFlam, and vocalist Alex Menne to form a
humble rock band. Inspired by the pop-sensible alternative rock of the 90’s, and offset by
a mutual love for noise and math rock, the group set forth to write and record their first
During recording, guitarist Dylan Hanwright joined the group, solidifying the lineup. Great
Grandpa began performing in the Seattle area in late 2014, frequenting the city’s DIY
venues. In March of 2015, their debut EP Can Opener was released on Broken World
Media. The EP was met with considerable praise, and has been described as “warm,
slightly off-kilter grunge pop”, and “knotty, twisted, and warm rock music that’s as
melodically satisfying as it is, at times, confounding”.
Great Grandpa began writing their debut LP soon after, and found themselves touring
the western US and performing extensively in the Seattle area. Written in 2015 and
2016, Great Grandpa’s debut LP Plastic Cough continues to explore the sonic territory
visited in Can Opener, exhibiting infectious melodies across a range of backdrops, from
quiet bedroom-pop to explosive, anthemic rock. Plastic Cough is out July 7th via Double
Death Matches of a Grade School Nightmare
Kind of like the cool, mysterious person you’ve been eyeing all night in the corner of a dimly lit bar, you can’t quite figure out Nanami Ozone. At least not at first. A romantic yet dismal sort of overcast hangs over the entirety of all that the band does, but especially so on No, their sophomore full-length release. Sincere yet brooding lyricism pairs with gloomy, hazy guitar-driven rock creating a feeling of deep passion. This passion is not love though. Nanami Ozone does not make music for love. Their songs are not sentimental, starry-eyed ballads for fleeting moments of fondness. Nanami Ozone makes music for the complexities and emotions which accompany love: lust, confusion, desire, fixation, hurt. Simultaneously perfect for late, pink midsummer sunsets, as well as chilly, introspective winter evenings spent at home; the album is equal parts solicitous and pensive.
This Phoenix, Arizona post-rock quartet keep listeners on their toes as they mix dreamy atmospheric sounds with subtle fuzzy noise. Rich, resonant bass and delicate, driving percussion prevent songs from droning off into oblivion; courtesy of bassist Jordan Owen and drummer Chris Gerber. Dual guitarist/vocalists Sophie Opich and Colson Miller trade off as they deliver droney distorted guitars and vocals calm, cool, and collected enough to come off as almost apathetic if it weren’t for the stirring feeling of earnestness that lay just below the surface. Some moments feel fraught, almost like a dull anxiety– found on “Affection” and “Something to You”, which both convey a profound sense of yearning for more. Emotional odes to the past “Erase Time” and “Think of Me None” showcase a distinct tenderness.
Just as idiosyncrasies make love interesting, it’s the idiosyncrasies that make Nanami Ozone’s music interesting. Not quite pop, not quite punk, not quite shoegaze. The band breathes new life into subdued indie pop music as they add elements of emotive rock and components of impassioned and dark shoegaze. What results is music crafting with the intention of being turned up and felt throughout the listener’s entire body.