#Alec O’Hanley

[nofatclips-home]

Tom Verlaine by Alvvays, live on KEXP

[thebowerypresents]

Alex G and Alvvays – BRIC Celebrate Brooklyn! at the Lena Horne Bandshell – August 22, 2023

Lo-fi folk-rock singer-songwriter Alex G and dream-pop outfit Alvvays have teamed up for a late-summer joint headlining tour that just kicked off in style last night in Prospect Park.

(Alex G and Alvvays play the Lena Horne Bandshell again tonight.)

(Alex G and Alvvays play the Dell Music Center in Philly on Saturday.)

Photos courtesy of Sachyn Mital | www.sachynmital.com

[nwdsc]

(Blue Rev | Alvvaysから)

Blue Rev by Alvvays

Alvvays never intended to take five years to finish their third album, the nervy joyride that is the compulsively lovable Blue Rev. In fact, the band began writing and cutting its first bits soon after releasing 2017’s Antisocialites, that stunning sophomore record that confirmed the Toronto quintet’s status atop a new generation of winning and whip-smart indie rock. Global lockdowns notwithstanding, circumstances both ordinary and entirely unpredictable stunted those sessions. Alvvays toured more than expected, a surefire interruption for a band that doesn’t write on the road. A watchful thief then broke into singer Molly Rankin’s apartment and swiped a recorder full of demos, one day before a basement flood nearly ruined all the band’s gear. They subsequently lost a rhythm section and, due to border closures, couldn’t rehearse for months with their masterful new one, drummer Sheridan Riley and bassist Abbey Blackwell. At least the five-year wait was worthwhile: Blue Rev doesn’t simply reassert what’s always been great about Alvvays but instead reimagines it. They have, in part and sum, never been better. There are 14 songs on Blue Rev, making it not only the longest Alvvays album but also the most harmonically rich and lyrically provocative. There are newly aggressive moments here—the gleeful and snarling guitar solo at the heart of opener “Pharmacist,” or the explosive cacophony near the middle of “Many Mirrors.” And there are some purely beautiful spans, too—the church- organ fantasia of “Fourth Figure,” or the blue-skies bridge of “Belinda Says.” But the power and magic of Blue Rev stems from Alvvays’ ability to bridge ostensible binaries, to fuse elements that seem antithetical in single songs—cynicism and empathy, anger and play, clatter and melody, the soft and the steely. The luminous poser kiss-off of “Velveteen,” the lovelorn confusion of “Tile by Tile,” the panicked but somehow reassuring rush of “After the Earthquake”. The songs of Blue Rev thrive on immediacy and intricacy, so good on first listen that the subsequent spins where you hear all the details are an inevitability. This perfectly dovetailed sound stems from an unorthodox—and, for Alvvays, wholly surprising—recording process, unlike anything they’ve ever done. Alvvays are fans of fastidious demos, making maps of new tunes so complete they might as well have topographical contour lines. But in October 2021, when they arrived at a Los Angeles studio with fellow Canadian Shawn Everett, he urged them to forget the careful planning they’d done and just play the stuff, straight to tape. On the second day, they ripped through Blue Rev front-to-back twice, pausing only 15 seconds between songs and only 30 minutes between full album takes. And then, as Everett has done on recent albums by The War on Drugs and Kacey Musgraves, he spent an obsessive amount of time alongside Alvvays filling in the cracks, roughing up the surfaces, and mixing the results. This hybridized approach allowed the band to harness each song’s absolute core, then grace it with texture and depth. Notice the way, for instance, that “Tom Verlaine” bursts into a jittery jangle; then marvel at the drums and drum machines ricocheting off one another, the harmonies that crisscross, and the stacks of guitar that rise between riff and hiss, subtle but essential layers that reveal themselves in time. Every element of Alvvays leveled up in the long interim between albums: Riley is a classic dynamo of a drummer, with the power of a rock deity and the finesse of a jazz pedigree. Their roommate, in-demand bassist Blackwell, finds the center of a song and entrenches it. Keyboardist Kerri MacLellan joined Rankin and guitarist Alec O’Hanley to write more this time, reinforcing the band’s collective quest to break patterns heard on their first two albums. The results are beyond question: Blue Rev has more twists and surprises than Alvvays’ cumulative past, and the band seems to revel in these taken chances. This record is fun and often funny, from the hilarious reply-guy bash of “Very Online Guy” to the parodic grind of “Pomeranian Spinster.” Alvvays’ self-titled debut, released when much of the band was still in its early 20s, offered speculation about a distant future—marriage, professionalism, interplanetary citizenship. Antisocialites wrestled with the woes of the now, especially the anxieties of inching toward adulthood. Named for the sugary alcoholic beverage Rankin and MacLellan used to drink as teens on rural Cape Breton, Blue Rev looks both back at that country past and forward at an uncertain world, reckoning with what we lose whenever we make a choice about what we want to become. The spinster with her Pomeranians or Belinda with her babies? The kid fleeing Bristol by train or the loyalist stunned to see old friends return? “How do I gauge whether this is stasis or change?” Rankin sings during the first verse of the plangent and infectious “Easy on Your Own?” In that moment, she pulls the ties tight between past, present, and future to ask hard questions about who we’re going to become, and how. Sure, it arrives a few years later than expected, but the answer for Alvvays is actually simple: They’ve changed gradually, growing on Blue Rev into one of their generation’s most complete and riveting rock bands. クレジット2022年10月7日リリース Molly Rankin : Vocals, Guitar, Production Alec O’Hanley : Guitar, Keyboards, Bass, Production, Mixing, Engineering Kerri MacLellan : Keyboards, Vocals Sheridan Riley : Drums Abbey Blackwell : Bass Chris Dadge : Drums Moshe Fisher-Rozenberg : Drums Drew Jurecka - Cello, Viola Joseph Shabason - Flute, Baritone Saxophone Phil Hartunian - Guitar Shawn Everett : Production, Mixing, Engineering Additional Engineering : Stephen Koszler, Phil Hotz, Robbie Lackritz, Nyles Spencer, Julian Decorte, Amy Fort, Ivan Wayman Design / Layout by Scott Fitzpatrick, MR + AO Photography by Janet Vanzutphen Additional Work by Nora MacLeod + KM All Songs Written by MR + AO

[vmonteiro23a]

UNDER THE RADAR: Alvvays Share Video for New Song “Very Online Guy”: Watch

UNDER THE RADAR: Alvvays Share Video for New Song “Very Online Guy”: Watch

UNDER THE RADAR: Alvvays Share Video for New Song “Very Online Guy���: Watch Alvvays have shared a new song from their new album, Blue Rev: “Very Online Guy”.“ Very Online Guy” was co-directed by Richardson alongside the band’s own Molly Rankin and Alec O’Hanley. In a press release, the band said, “This was easily the funnest thing we’ve ever shot. Enjoy our clunky low-bit collage of aliased key…

[exileinguyville]

Alvvays photographed by Arden Wray, 2017

[musicpromoapp]

Alvvays Share New Songs “Belinda Says” and “Very Online Guy”: Listen

Alvvays Share New Songs “Belinda Says” and “Very Online Guy”: Listen

Alvvays have shared two new songs from their new album, Blue Rev: “Belinda Says” and “Very Online Guy.” Colby Richardson created the visualizer for “Belinda Says” while members of Alvvays contributed 16mm film loops. “Very Online Guy” was co-directed by Richardson alongside the band’s own Molly Rankin and Alec O’Hanley. In a press release, the band said, “This was easily the funnest thing we’ve…

[scarletnews]

Alvvays Share New Songs “Belinda Says” and “Very Online Guy”: Listen

Alvvays Share New Songs “Belinda Says” and “Very Online Guy”: Listen

Band members Molly Rankin and Alec O’Hanley helped direct a music video for the latter as well

[fantasy-vibes-with-the-magi]

Alvvays Share New Songs “Belinda Says” and “Very Online Guy”: Listen

Band members Molly Rankin and Alec O’Hanley helped direct a music video for the latter as well from RSS: News https://ift.tt/0BhjCFY

[neonscopecommunity]

Alvvays Share New Songs “Belinda Says” and “Very Online Guy”: Listen

Band members Molly Rankin and Alec O’Hanley helped direct a music video for the latter as well from RSS: News https://ift.tt/C1tnTQH via IFTTT

[lyrics2world]

Pharmacist Lyrics - Alvvays

Pharmacist Lyrics – Alvvays

Pharmacist Lyrics by Alvvays is the latest English song lyrics written by Molly Rankin, Alec O’Hanley and produced by Shawn Everett, Molly Rankin, LOXE, Alec O’Hanley. Pharmacist Song details Song: Pharmacist Singer: Alvvays Written: Molly Rankin, Alec O’Hanley Producer: Shawn Everett, Molly Rankin, LOXE, Alec O’Hanley Pharmacist Lyrics I know you’re back I saw your sister at the…

[piasgermany]

[Album] Alvvays kündigen neues Album "Blue Rev" an!

Alvvays aus Toronto kündigen das neue Album "Blue Rev" an, das am 7. Oktober 2022 über Transgressive erscheinen wird und auf "Antisocialites" aus 2017 folgt.

Das dritte Album der Band, das von Shawn Everett (Adele, Kacey Musgraves, The Killers) mitproduziert wurde, ist ein spannendes neues Werk der kanadischen Gruppe - eine Sammlung von vierzehn neuen Songs, die sich mit ihren emotionalen Gefühls-Collagen in einem kunterbunten Indie-Rock-Spektrum ausleben.

Als erste Single teilt Alvvays den neuen Track "Pharmacist". In dem verträumten, flirrenden Dream-Pop-& Shoegaze-Mix wird das vertraute Zusammenspiel zwischen Molly Rankin (Gesang, Gitarre), Kerri Maclellan (Gesange, Keyboard), Alec O’Hanley (Gitarre), Brian Murphy (Bass) und Phil MacIsaac (Schlagzeug) wieder deutlich, die zum Teil bereits zu Highschool-Zeiten vor über zehn Jahren begannen, gemeinsam miteinander Musik zu machen.

Tracklist "Blue Rev": 01. Pharmacist 02. Easy On Your Own? 03. After The Earthquake 04. Tom Verlaine 05. Pressed 06. Many Mirrors 07. Very Online Guy 08. Velveteen 09. Tile By Tile 10. Pomeranian Spinster 11. Belinda Says 12. Bored In Bristol 13. Lottery Noises 14. Fourth Figure

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[setlistmemories]

Alvvays October 21, 2017 at the Valley Bar, Phoenix AZ [Touring for their Antisocialites album]

I almost didn’t go to this show. I prepared for it well, asking months in advance for the night off from my part time job... but I either forgot to purchase a ticket before it sold out or bought one and misplaced it--either way, a terrible predicament to be in when 1) You love the band, 2) You love the band’s first album and 3) You love the band’s current album. Sophomore albums, when they achieve equal or greater status than the former are rare and far between, but for me, Alvvays accomplished that with ‘Antisocialites.’ I really fell hard when I first heard “In Undertow.” After hearing the chorus... There was no turning back--pun intended.

So how was I able to get a ticket to Alvvays sold out show at Valley Bar? Thanks to my Canadian concert going buddy, Andrew! A Day before the show, he reached out and asked if I still needed a ticket as he had not 1 but 2 tickets to release. I was just getting comfy with the fact that I won’t be going taking small solace in facts like it being a packed like sardines sold out show at Valley Bar--that I’d already seen them... wait what, I can go, yay, packed like sardines is alright by me!

After a lovely opening from fellow Canadian acts, Nap Eyes, it was time for Alvvays. They started with “Saved by a Waif,” and then played the song I was waiting for: “In Undertow.” I was in utter delight!

There are song lyrics that lift higher at times or during performances, that hit me hard and one of them was from “Not My Baby.” In the song, Molly croons:

“And it’s true I’ve been checking out lately...I don’t care/Because I’m really not there/I’m really not there.”

...which reminded me of a poem I wrote in high school called and about ‘Teen Angst’... in which I wrote: 

“I don’t care... care about what they wear, what they share, and oh! who’ve they’ve got next in line. They’re blaming me now, asking: “Why don’t I care?” Sitting there, I can’t look them in the eye, but honestly I can say: “I really don't know.”

Another song that hit me even harder was “Forget about life." It feels forlorn but yet camaraderie abounds in it for a shoot the breeze none special special moment one can have with a friend... a moment that you only notice as special afterwards.

They played so many favorites from the... ”Atop A Cake,” “Party Police,” “Ones who love you,” and “Archie, Marry me,” a song Molly prefaced was dedicated to all the tiny people in the crowd who can’t see the stage, saying they can rise up to great levels--or something to that effect. As a short person myself, I smiled and genuinely loved this moment... but I could see as I had front row views though I sympathized with my fellow short folk.

“Dreams Tonite,” following “Marry Me, Archie” was like watching a double feature of the films ‘Before Sunrise’ and ‘Before Sunset.’

Also, I made note of another great bus song... the other being Jay Som’s... just a note I made while the band played Antisocialite’s second officially released song. One thing’s for sure, songs about Bus’s are trending favorably this year in the Indie music scene... as there’s still time before 2017 runs out, Indie bands write a song about a Bus and you, too, may hit it big... ha. Bad joke or music trend truth?

One downside to the show was this annoying fan that kept on calling out I love you Alvvays, I love this band... I’ll Alvvays love you. It started to get old and then he went too far and yelled “Have my Babies!” Hey, persistently poor concert going fellow, they have a song title answer for that: “Not My Baby.” I also noted a sole security guard flanks right in front between the 21 and under 21′s which was strange but post show found out that recently a fan ran up on stage and attempted to kiss Molly while she performed “Party Police,” maybe he thought her lyrics “you could just stay hear with me...” were meant for him, but what he did was totally uncalled for and disruptive. Though Molly is a tough cookie, still, behavior like that is never appropriate. Though our Phoenix crowd annoyer kept it to words, it was uncalled for behavior. We all love the band and their music. just being in the room is enough proof of that. Also, asking a band to play a song that they already played 6 minutes ago is way lame as guitarist Alec O’Hanley stated matter of fact with a hint of heat in his delivery. 

Despite this, the band came out for a single song encore to give us one last taste of their music.

The last time Alvvays played here, it was a Pub Rock, and what I remember most was Molly’s quips, her positivity--there was a local opener that was hard on themselves on stage and I remember her saying to not be so hard on themselves and that they did a good job in her eyes. I was hoping for more banter like that, more relaxed, but her quips and reponses were the best they could be. I loved when she chatted asking if we have fall here or was it all a lie, we yelled back lie.

I hope the rest of their tour is free from bad concert going behavior and that they roll around these parts again soon.

Special Note: Shout out to my concert going buddy’s Robden and Laura for grabbing and gifting me the setlist even though I know they would love to add it to their own collections. I appreciate that you gave it to me, very very, much!

To listen to an abbreviated setlist performed at the Valley bar, go here: https://open.spotify.com/user/irisa27/playlist/1vw0xAPW552dvgQUWFdp7x

[tinymixtapes]

Music Review: Alvvays - Antisocialites

Alvvays Antisocialites [Polyvinyl; 2017] Rating: 3.5/5 Their first one was the guitar album, the record that compounded Best Coast reverb with the verve of forgotten noisemakers Vivian Girls and the sloppy vulnerability of forsaken jangle-poppers The Replacements. Alvvays established the band as the latest in a long lineage of indie rock acts that understand the fleeting nature of the pop hook, but yield to it all the same. Singles like “Next of Kin” proved that Buffalo Springfield guitar work and Feelies chord progressions are an inspired combination. “Archie, Marry Me” reiterated that love songs sound more sincere when the addressee has a name. Although they arrived long après la lettre, Alvvays aligned themselves with some of indie pop’s most notable vanguards on that eponymous record. But here on Antisocialites, in which the Ontarian dream-punks return for a second offering of the melody-conscious, vapor-bathed flights of fancy that garnered the group’s initial wave of online buzz, the guitars don’t behave so wantonly, nor are they as pronounced. Favoring less obtrusive arrangements wherein Molly Rankin’s and Alec O’Hanley’s co-dependent arpeggiation serves more as filigree than foundation, the band proffer a synth-heavier collection of songs that, while catchier and more self-aware, apostatize from the sun-faded guitar sound that buttressed Alvvays. Antisocialites by Alvvays Cleaner though their sound may be, Alvvays refrain from compromising the sui generis worldview that informed the lyrics of Alvvays. Antisocialites engenders a world of misfit romantics whose understanding of destiny involves meeting their soulmates in chance encounters on the streets (“If I saw you on the street, would I have you in my dreams tonight?”). A world in which one’s blood type can preclude his or her compatibility with others (“Your Type”). A world in which Jim Reid can be an honest-to-god rock star, for Christ’s sake! But in spite of these indulgences in quaint fantasy, Rankin’s lyrics remain grounded by insight as she explores deteriorating relationships with deft demotics and a maturing sense of introspection. Antisocialites may not be a manifest step forward for Alvvays. Quieter than its predecessor on many of the songs, the album sacrifices immediacy for Rankin’s occasionally mawkish but otherwise astute poetics. But the tradeoff is worth it; Rankin, while reporting on failed romances from a firsthand perspective, arrives at the question we’d all benefit from asking ourselves: “When you get old and faded out, will you want your friends?” http://j.mp/2fLvFUP

[spikelarock]

Alvvays - In Undertow [Official Video] - “In Undertow” is taken from our new album, Antisocialites, out September 8, 2017. Order LP/CD/Tape/Digital: http://bit.ly/2vfC9kj Directed by Joe Garrity Produced by Alex Mallonee Edited by Joe Garrity and Alec O’Hanley Production Designer: Lejla Catovic Art Director: Justin Buschardt Director of Photography: Inder Mann Steadicam Operator: Erik Goldstein First Assistant Camera: Pat Raymond Gaffer: Ian Nessier Set Builder: Josh Heintze Production Coordinator: Leanna McMillan Key Production Assistant: Daniel Louse Pre-production VFX Supervisor: Roger An Post-production: ROGUE Technical Director: Colby Cannon Welsh Visual Effects Producer: James Tunick 3D Generalist: Justin Weiss 2D Designer: Isabell Hacker Colorist: Alex MacLean Special Thanks: JKLM Be Electric Studios IMC Lab Jump Into The Light Wiena Lin Joe Stevens - https://youtu.be/T1n72aCdwdU