Tag: Dallas TX

Tracing their origins to a chance meeting at DIY show in 2015, the Brooklyn-based post rock electronic band and experimental performance art Reliant Tom is centered around its core creative duo, Western Massachusetts-born, Brooklyn-based composer Monte Weber and Dallas, TX-born, Brooklyn-based choreographer and vocalist Claire Cuny. The duo’s collaboration is a seamless synthesis of their individual talents and interests – sound design, wearable technology, modern dance and hook-driven, yet genre-defying songwriting.

“Reliant Tom gives me the outlet to explore both pulse driven works while maintaining the other musical elements which I find fascinating — timbre, aleatoric processes, and interactive technologies,” Weber explains. Adds Cuny, “Our ultimate goal with Reliant Tom is to be a multi-media performance experience that straddles the line between pop and experimental music — and philosophizing about what that even means, and is that even possible as ‘experimental pop’?”

Thematically, the duo’s two previous releases, 2016’s self-released, self-titled EP and 2018’s critically applauded, full-length debut effort Bad Orange, touch upon the pitfalls of digital communication and the generally blasé nature of modern social interaction – through the guise of avant-pop and avant-punk influenced musical devices and arrangements featuring electric guitar, vocals, a hybrid electro-acoustic drum kit, synthesizers and Weber’s Kontrol Instrument, which he developed while studying at the Paris-based Institute for Research and Coordination in Acoustics/Music as a way to make electronic music more tactile and immersive in its performance.

Slated for a Spring 2020 release through Chicago-based Diversion Records, Reliant Tom’s sophomore effort Rewind & Play is a decidedly bold and self-assured step forward: Cuny’s sultry and expressive vocals while being prominently placed front and center, effortlessly glide over lush yet spacious arrangements of shimmering acoustic guitars, atmospheric electronics and twinkling keys with the material possessing a cinematic air that recalls Dummy-era Portishead, Tales of Us-era Goldfrapp, Radiohead circa OK Computer and others. And while continuing to be tech heavy in their means of sonic production, their thematic exploration of communication and interaction in the digital age takes a back seat. This time taking a more human approach, the material may arguably be the most mature yet accessible, most emotionally honest and vulnerable of their growing catalog, as the album’s central theme is a documentation of Cuny’s descent into grief and depression after her father suddenly and unexpectedly passed away in front of her — on the release of day of Reliant Tom’s debut album.

“Nevermind the Garbage,” Rewind & Play‘s aching and brooding first single is centered around a cyclical arrangement of shimmering and wobbly guitars, twinkling piano and atmospheric synths that makes the song swoon from the dark and overwhelming weight  of loss and grief — and the knowledge that while you will find some way to push forward, that deep down you’ll recognize that your life will never quite be the same. “The song is about trying to return to a semi-normal routine by learning to manage the grief and anxiety that overcame me after the sudden loss of my father,” the band’s Claire Cuny explains. “My state was complex and somewhat guilt ridden because all I could feel was sadness. Even though I was at a good point in my life, with a loving partner, and reminded daily how fortunate I was when seeing the more severe hardships of other people such as chronic health issues and homelessness… all I could feel was despair, not the love or gratitude – but when you’re in the depth of your darkness it’s hard to feel much else.”

As a recently published Harvard Business Review article has suggested, we’re collectively experiencing a universal sense of overwhelming grief and uncertainty. Let’s be honest here, things are pretty bleak: on a daily basis, we’re hearing about hundreds upon hundreds of people dying from a communicable disease that any one of us could catch — and could possibly be carrying unknowingly. In New York, my home borough of Queens has been hit the hardest with the most cases and most deaths. Most of those poor souls have been heading to Elmhurst Hospital, and it means that the victims of COVID-19 live and/or work in (all or parts of) the neighborhoods of Astoria, Sunnyside, Woodside, Woodhaven, East Elmhurst, Elmhurst, Corona, Rego Park and Forest Hills. We’re talking about neighbors, coworkers, associates, the grocer, your bodega guy, your FedEx guy and so on. And there’s this sense among us that things will never quite be the same once this is over. How will we move forward? I don’t know. But what I can say is that the song’s creators never would have thought that such an achingly personal song would have such a deeper, universal meaning.

Tiger Darrow is a Dallas-born, Brooklyn-based singer/songwriter, multi-instrumentalist and producer, perhaps best known for her roles in the Spy Kids franchise and Shark Boy and Lava Girl. Since the release of those movies, Darrow has grown up and pursued a career in music — first behind the scenes writing for other artists and then eventually as a solo artist, influenced by St. Vincent, Sufjan Stevens, Bulow, and Lana Del Rey.

Darrow has opened for the likes of Edie Brickell and The New Bohemians, The Eagles, and Erykah Badu and she’s also played as a sideperson for Durand Jones and The Indications, Zack Villere, Camille Trust and Wakey! Wakey! Her latest single “Brother’s Girl” is a atmospheric yet slickly produced, radio friendly bop centered around Darrow’s sultry crooning and skittering trap beats — and while evoking an unfulfilled longing, the song features an ironic plot twist: the song’s narrator describes falling for her brother’s girl. Sounds like an episode of Jerry Springer, indeed!

With the release of 2017’s breakthrough album Nightmare Logic, the Dallas, TX-based metal act Power Trip — Riley Gale (vocals), Blake Ibanez (guitar), Chris Ulsh (drums), Nick Stewart (guitar) and Chris Whetzel (bass) — exploded into the national scene the album received breathless praise from The New Yorker and Pitchfork‘s Best New Music and NPR and landed number 1s on the best of/year-end lists of Rolling StoneBillboard, Stereogum, AV Club, BandcampLA WeeklySpin, Vinyl Me PleaseDallas Observer and countless others. Adding to a huge year for the band, they were featured on the cover of Revolver and Decibelreceived Best Metal Album of the Year from Loudwire and received song placement with the WWE.

Since the release of Nightmare Logic, the Dallas-based metal quintet have been touring relentlessly, headlining shows across North America, the European Union and Japan. The band recently announced the date and lineup for their second annual metal festival, Evil Beat and the festival, which will be held at South Side Ballroom on January 11, 2020 will feature Carcass, Vio-lence, Razor, Deafheaven, Sheer Mag, Drab Majesty, Prurient, Warthog, Torche, Wiccans, Red Death, True Widow, Special Interest, Mil Spec, Dress Code  — and of course, the night’s local heroes, the aforementioned Power Trip. This year will also a feature a kick-off the night before (details to come). Along with that “Hornet’s Nest,” which originally debuted as part of Adult Swim’s Single Series and has since become a fan favorite will finally see a digital and vinyl release. As for the single, it’s a headbanger’s delight — furiously howled vocals, scorching guitar riffs, thunderous drumming and mosh pit friendly hooks. And while sonically being indebted to Slayer and Metallica, Power Trip’s latest single catches them at their most ornery and explosive.

The members of Power Trip will be embarking on a fall co-headlining tour with High on Fire that includes a two night stay at Elsewhere — November 21, 2019 and November 2019. After their Evil Beat festival, the band will go on a lengthy spring UK and European run with Lamb of God and Kreator. Check out the tour dates below.

Tour  Dates: 

2019

10/12: Manchester, TN – Exit 111

11/03: Yogyakarta, ID – Jogjarockarta Festival

11/07: Austin, TX – Levitation at Mohawk #

11/09: San Antonio, TX – Paper Tiger #

11/10: Houston, TX – Foamhenge #

11/11: Pensacola, FL – Vinyl Music Hall

11/12: Tampa, FL – The Orpheum #

11/14: Atlanta, GA – The Masquerade #

11/15: Charlotte, NC – Amos’ Southend #

11/16: Richmond, VA – The Broadberry #

11/17: Baltimore, MD – Baltimore Sound Stage #

11/19: Philadelphia, PA – Union Transfer #

11/20: Asbury Park, NJ – Asbury Lanes #

11/21: Brooklyn, NY – Elsewhere #

11/22: Brooklyn, NY – Elsewhere #

11/23: Hartford, CT – Webster Theatre #

11/24: Montreal, QC – Club Soda #

11/25: Toronto, ON – Danforth Music Hall #

11/26: Detroit, MI – Majestic Theatre #

11/27: Chicago, IL – Metro #

11/29: Denver, CO – The Oriental Theater #

11/30: Salt Lake City, UT – Metro Music Hall #

12/02: Vancouver, BC – Rickshaw Theatre #

120/3: Seattle, WA – Neumos #

12/04: Portland, OR – Wonder Ballroom #

12/06: Berkeley, CA – The UC Theatre #

12/07: Los Angeles, CA – The Regent Theater #

12/08: Santa Ana, CA – The Observatory #
# w/ High on Fire, Devil Master, Creeping Death

2020

01/11: Dallas, TX – Evil Beat Vol 2 at South Side Ballroom

02/02: Tokyo, JP – Liquid Room

03/27: Stockholm, SE – Fryshuset Arenan ^

03/28: Copenhagen, DK – Forum Black Box ^

03/30: Oulu, FI – Teatria ^

03/31: Helsinki, FI – Ice Hall Black Box ^

04/02: Kraków, PL – Tauron Arena ^

04/03: Berlin, DE – Columbiahalle ^

04/04: Oberhausen, DE – Turbinenhalle ^

04/05: Wiesbaden, DE – Schlachthof ^

04/07: Zurich, CH – Samsung Hall ^

04/08: Munich, DE – Zenith ^

04/09: Ludwigsburg, DE – MHP Arena ^

04/11: Hamburg, DE – Sporthalle ^

04/14: Barcelona, ES – Razzmatazz ^

04/15: Madrid, ES – La Riviera ^

04/17: Paris, FR – L’Olympia ^

04/18: Saarbrücken, DE – Saarlandhalle ^

04/19: Brussels, BE – Ancienne Belgique ^

04/21: Bristol, UK – O2 Academy Bristol ^

04/22: Manchester, UK- Manchester Academy ^

04/23: Glasgow, UK – O2 Academy Glasgow ^

04/24: Birmingham, UK – O2 Academy Birmingham ^

^ w/ Lamb of God and Kreator

New Video: Watch Acclaimed Indie Rock Act Night Beats Take on The Sonics

Deriving its name from Sam Cooke’s Night Beat album, the Seattle, WA-based psych rock/garage rock act Night Beats was formed by its Dallas, TX-born, Seattle, WA-based founding member and creative mastermind Danny “Lee Blackwell” Rajan Billingsley back in 2009 when Billingsley relocated to Seattle to study comparative religion at the University of Washington. That same year, Billingsley self-recorded the Night Beats debut EP, Street (Atomic), which was released through Holy Twist Records. 

After trying out a couple of different lineups, Billingsley recruited his high school friend and former B.B. Mercy drummer James Traeger to join the band. Traeger relocated from Austin, TX, where he was studying at the time to join Billingsley. The band played for a while as a duo before recruiting Tacoma, WA-born Tarek Wegner (bass), who once played with The Drug Purse and Paris Spleen to join the band. Early in their history, the band toured across North America extensively — and within weeks of releasing the H-Bomb EP the band was signed by Chicago-based label Trouble in Mind Records, who re-released the album in the fall of 2010. The re-released EP wound up topping several college radio while helping the band develop a reputation for a sound that incorporates elements of early R&B, psych rock, blues rock, funk and soul. (Unsurprisingly, the band has toured with the likes of The Black Angels, Roky Erickson, The Zombies, The Jesus and Mary Chain, The Strange Boys, Black Lips, Black Rebel Motorcycle Club and The Growlers.) 

The following year, the band released a split EP with The UFO Club through Austin-based label The Reverberation Appreciation Society, which they followed up with their self-titled debut album. They also released a 2012 split single with TRMRS, which was released through Volcom Vinyl Club. 2013 saw the release of their sophomore album Sonic Bloom through The Reverberation Appreciation Society. The band supported the album with touring across North America, Europe, Israel, South Africa and Australia. 

2014 saw the band go through the first of a series of lineup changes. Tarek Wegner left the band and eventually released an EP What Colors Last, as well as a full-length effort Soul Fuckers, which was supported by a West Coast tour with Tomorrow’s Tulips. Meanwhile, Night Beats signed to London-based label Heavenly Recordings, who released the band’s acclaimed Robert Levon Been co-produced third album Who Sold My Generation in 2016. The album also featured Been, who’s best known for his work with Black Rebel Motorcycle Club contributing bass. Jakob Bowden was recruited to tour in support of the album. 

The last half of 2016 saw the band go on an UK and European Union tour without James Traeger. Throughout 2017, Evan Synder toured with the band. During a 2018 US tour opening for Black Rebel Motorcycle Club, Jonah Swilley sat in on drums with the band. Last May saw the band touring Spain with Evan Synder playing drums. Bowden wasn’t with the band either. 

This year has been a rather busy year for Billingsley. Night Beats’ Dan Auerbach-produced Myth Of A Man was released in January — and the album found the band’s founder playing with a backing band of session musicians, who had worked with the likes of Elvis Presley and Aretha Franklin. Perhaps as a way of explaining Traeger’s and Bowden’s absence from the album, the official press release simply said that the album was “written during a particularly destructive period of the band.” Additionally, Billingsley along with an all-star backing cast featuring The Mystery Lights’ Mike Brandon, Black Lips’ Cole Alexander and Warbly Jets’ Julien O’neil recorded and released a Record Store Day album, Night Beats Perform The Sonics’ Boom, an exact track-by-track over of The Sonics classic (and beloved) 1966 album Boom. 

Night Beats Perform The Sonics’ Boom finds Billingsley and an indie rock All-Star backing band treading a line between faithful cover meant to keep the legacy of The Sonics’ classic album alive for contemporary listeners while imbuing the material with a fuzzy  and soulful take. Album single “Let The Good Times Roll” manages to sound almost like it were released sometime between 1966-1968 but with a gritty, mod rock vibe reminiscent of The Who Sings My Generation-era The Who. 

Directed, shot, and edited by James Oswald on what looks like grainy Super 8mm film, the recently released video follows Billingsley and his backing band on tour, split between the yellow and white lines of endless blacktop, the band playing sweaty and passionate  shows in front of rapturous fans, and intimate backstage footage featuring the band getting themselves together before playing. As someone, who has covered and seen thousands of shows, the video captures the spirit and soul of a show in a way that feels warmly familiar. 

   

New Video: The Rocket Summer Releases a Slick and Symbolic Visual for Breezy Summer Anthem “Peace Signs”

Bryce Avary is a Dallas, TX-based multi-instrumentalist, singer/songwriter and producer, who’s the creative mastermind behind the acclaimed solo indie rock/indie pop project The Rocket Summer. His growing catalog includes six previously released full-length albums and a couple of EPs — including 2010’s Of Men and Angels, which landed at #1 on the Top Album spot on iTunes and 2012’s Life Will Write the Words, which landed at #58 on the Billboard 200 and #12 on the Billboard Top Modern Rock/Alternative Albums Chart, as well as #12 on the Top Independent Albums Charts.  

Avary’s forthcoming Rocket Summer album Sweet Shivers is slated for an August 2, 2019 release and the album’s third and latest single is the anthemic “Peace Signs.” Centered around a breezy and summery groove, and an enormous Silversun Pickups-like hook, the song is one part ardent plea for peace and one part ironically detached satire, meant to play loudly while cruising in your car. 

Directed by Dillon Slack and Ben Busch, the recently released, slickly shot video follows Avary in a white convertible, wearing oversized, burnt-orange sunglasses, hair blowing in the wind and driving towards the beach — with two masked figures as passengers, who represent contrasting emotions.  

Live Footage: Alice Merton Performs Viral Hit “No Roots” on “The Tonight Show Starring Jimmy Fallon”

Alice Merton is a Canadian-born, Berlin, Germany-based singer/songwriter and pop artist, who has lived a rather nomadic life, as she was raised in Canada, finished high school in Germany and then with the rest of her family, relocated to England. Of course, music was a major part of her life, no matter where on Earth she was; she started taking classical piano lessons when she was five and by the time she was nine, she was introduced to vocal training. As the story goes, after spending the better part of a decade being classically trained, Merton discovered contemporary songwriting during one of her high school courses in Germany. And from that point forward, she went on to study songwriting and began pursuing her dream of becoming a professional singer/songwriter.

Naturally, while in school Merton would up working with a number or producers on projects and as you can imagine, finding the right producer, who can both compliment and challenge a singer/songwriter as a true collaborator is a rarity. And when she met Berlin-based producer Nicolas Rebscher, Merton quickly recognized that she finally found her musical match; in fact, the duo have managed to specialize in an anachronistic  sound that features Merton’s soulful pop belter vocals over a slick production consisting of analog synths, classic soul music-inspired instrumentation paired with hook driven, contemporary songwriting. 

Merton’s swaggering and bluesy debut single “No Roots,” features Merton’s self-assured and soulful pop belter vocals paired with a Rebscher production that features enormous, tweeter and woofer rocking beats, a sinuous bass line, brief blasts of funk guitar, squiggly blasts of synths and a rousingly anthemic hook that nods at Amy Winehouse, Lorde, Taylor Swift and others but while managing to feature a narrator that simultaneously expresses a wizened and resilient spirit; but just underneath there’s a visceral ache over a life frequently thrown in disarray with sudden moves before the narrator could get adjusted to a new place, and the realization that she’s never quite belonged. 

Already “No Roots” has won the up-and-coming Merton an immense amount of attention across the European Union, Stateside and elsewhere, as the song has already seen millions of streams on Spotify and YouTube, and has recently been added to the playlists of several Stateside Adult Alternative Album radio stations, including stations in Los Angeles, Austin, Dallas, San Francisco, Minneapolis, the NYC area, as well as Sirius Alt Nation. Adding to a growing profile, thanks in part to the success of her debut single, Merton recently signed to renowned indie label Mom + Pop Music. Recently Merton, along with her backing band recently made their national television debut on The Tonight Show Starring Jimmy Fallon, where she performed her viral hit. 

Alice Merton is a Canadian-born, Berlin, Germany-based singer/songwriter and pop artist, who has lived a rather nomadic life, as she was raised in Canada, finished high school in Germany and then with the rest of her family, relocated to England. Of course, music was a major part of her life, no matter where on earth she was — she started taking classical piano lessons when she was five and by the time she was nine, she was introduced to vocal training. As the story goes, after spending the better part of a decade under classical training, Merton discovered songwriting through one of her high school courses while in Germany. And from that point forward, she went on to study songwriting and began pursuing her dream of becoming a professional singer/songwriter.

Naturally, during her studies Merton worked with a number of producers and finding the right producer who both compliments and challenges a singer/songwriter in the way that a true collaborator — and in turn, a great producer — should do, is a rarity, and when she met Berlin-based producer Nicolas Rebscher, Merton quickly recognized that she found her musical match; in fact, the collaborative duo have specialized in pairing vintage, analog synthesizers with organic arrangements based around propulsive drum and bass. Unsurprisingly then, on Merton’s swaggering and (somewhat) bluesy debut single “No Roots,” Merton’s self-assured and soulful pop belter vocals are paired with a Rebscher production that features enormous, tweeter and woofer rocking beats, a sinuous bass line, brief blasts of funk guitar, squiggly blasts of synths and a rousingly anthemic hook. And in some way, the song is a slick meshing of both the familiar and the unfamiliar, as the song sonically nods (a little bit) at Amy Winehouse, Lorde, Taylor Swift and a lengthy list of major pop star contemporaries; however, the song has a visceral ache, as it based on her own personal experiences, recognizing that her life was frequently thrown in disarray, she’s never been able to claim one place as a home.

Already “No Roots” has won the up-and-coming Merton an immense amount of attention both across the European Union and the States and elsewhere, as the song has already seen millions of streams on Spotify and YouTube, and has recently been added to the playlists of several Stateside Adult Alternative Album radio stations, including stations in Los Angeles, Austin, Dallas, San Francisco, Minneapolis, the NYC area, as well as Sirius Alt Nation. And as a result of the action the single has seen, merton recently signed with Mom + Pop Music; but along with that, I suspect that over the next few months that we’ll be hearing this single quite a bit, and more from Merton, who seems destined to be a pop star.

 

 

Merton has a series of live dates across Germany throughout the end of August and the fall, and is planning stops across North America and elsewhere so be on the lookout; in the meantime, European friends, check out the live dates below.
TOUR DATES:

 

08/25 Gamescon – Cologne, Germany

08/26 Laternenfest – Halle, Germany

09/9 Rennbahn Berlin Hoppegarten – Berlin, Germany

09/10 Lollapalooza Berlin – Berlin, Germany

09/14 SWR3 New Pop Festival – Baden Baden, Germany

09/15 NDR 2 Soundcheck Festival – Göttingen, Germany

9/20-23 Reeperbahn Festival – Hamburg, Germany

11/17 New Fall Festival – Düsseldorf, Germany