Tag: mp3s

Comprised of Michael Young, Ryan Hayes, Ryan Cross, Glen Scheidt and Travis Girton, the Portland, OR-based indie rock quintet King Who will be releasing their Hutch Harris-produced sophomore full-length album Giant Eye through SELF Group on August 17, 2018 — and reportedly, the album finds the up-and-coming quintet expanding upon their sound as they increasingly incorporate elements of New Wave, post-punk and dream pop  while retaining the heavy bass of their full-length debut Us Lights. Interestingly, Giant Eye‘s first single, the slow-burning “Ice Cream” sonically finds the band drawing from shoegaze and dream pop as the song is centered around shimmering guitar chords, a propulsive rhythm section, a soaring hook and Micheal Young’s plaintive falsetto — and while the song draws from 120 Minutes-era all rock, it has a clean, modern production sheen that makes the song a bit anachronistic.

 

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With the release of 2016’s debut effort Language, the Brooklyn-based indie rock quartet Hypoluxo, comprised of Samuel Jacob Cogen (vocals, guitar), Cameron Riordan (guitar), Eric Jaso (bass) and Marco Hector Ocampo (drums), have  received attention for a sound and songwriting approach that possesses elements of shoegaze, indie rock and dream pop — but with rapidly changing time signatures.

Running on a Fence, the Brooklyn-based indie rock act’s sophomore album is slated for a September 21, 2018 release through Broken Circles Records, and the album reportedly reveals a band that has expanded upon their sound while retaining the infectious hooks and shimmering yet anachronistic quality that has won them attention; in fact, the album’s first single “Kentucky Smooth” sounds as though it were inspired by The Smiths, The Psychedelic Furs and others, as the track is centered around shimmering guitar chords, a propulsive rhythm section, Cogen’s baritone crooning and a wistful sense of regret at its core.

 

Comprised of core and founding members Charlie Hickey (guitar) and Andrew McCarty (drums), the New York-based alt rock act The Soft Underground formed back in 2010, and unsurprisingly the act’s core members quickly began to write, perform and record their own original music. Their creative process typically would have the duo writing and perfecting the instrumentation and arrangements, and then they would cast a guest vocalist, who would work perfectly for each song. Some of their collaborators have included Star & Micey’s Nick Redmond, The StoneCoats‘ Brannon Barnett, Lucero‘s, The Afghan Whigs‘ and Hank Williams, Jr.‘s Rick Steff, and the result was a highly accessible yet unique debut album Lost in Translation, which was released in 2015 to praise from The Big TakeoverMusic Street Journal and airplay from Alt Nation.

Slated for a July 27, 2018 release, the duo’s sophomore effort Morning World reportedly finds the duo writing what may arguably be their most personal album to date while continuing their penchant for eclectic variation. As the story goes, the duo spent the past two years laboriously working on the album, doing everything they could to ensure that they expanded their sound and songwriting in new directions; in fact, Morning World‘s latest single “Rachel,” is centered around scuzzy power chords, a propulsive rhythm section and a mosh pit friendly hook that will remind some listeners of mid 90s alt rock — in particular, Deftones, Stone Temple Pilots, Foo Fighters, and In Utero-era Nirvana but with a clean, hyper modern production sheen.

 

 

 

 

With the release of 2006’s full-length debut Olessi: Fragments of an Earth released through Stones Throw Records, the Los Angeles-based singer/songwriter, musician and producer Georgia Anne Muldrow quickly established herself as a key member of her hometown’s avant-garde hip-hop/jazz/soul scene; in fact, while on Stones Throw Records, Muldrow befriended and collaborated with Madlib, Oh No, MED, Wild Child, DJ Romes and her future partner Dudley Perkins, also known as Declaime.

Along with Perkins, Muldrow co-founded SomeOthaShip Connect Records in 2008 and through their label, the Los Angeles-based singer/songwriter, musician and producer released forward-thinking, genre-defying material under a number of monikers and  including Ms. One, Pattie Blingh & The Akebulan 5, Blackhouse, an electro fusion project with DJ Romes and the critically renowned jazz project Jyoti, which garnered Jazz Album of the Year honors at Gilles Peterson’s Worldwide Awards back in 2011 for Ocotea.  Since then Muldrow has developed a reputation as a musician’s musician, who has been praised and championed by Yasiin Bey, BilalErykah Badu with whom she collaborated of Badu’s New Amerykah Part Two and Robert Glasper, with whom she collaborated with on the Miles Ahead soundtrack.

Fittingly, Muldrow signed with Brainfeeder Records and her first Brainfeeder release is the Mike & Keys-produced “Overload,” a somewhat anxious yet swooning track centered around a slick and retro-futuristic and soulful production featuring stuttering beats, arpeggiated keys and an infectious hooked paired with Muldrow’s effortlessly soulful, Erykah Badu-like vocals — and while being clearly indebted to the neo-soul sound of the late 90s and early 00s, the song is about “the process of building loving relationships in spite of the malfunctions of Western Society.”

 

 

 

 

 

Over the last half of 2016, I had written quite a bit about the Philadelphia, PA-based indie rock quartet Oldermost, and as you may recall, the band led by its creative mastermind and primary songwriter Bradford Bucknam received attention from this site and elsewhere for a 70s AM radio rock sound that immediately brought to mind  Nick Drake, and Wish You Were Here-era Pink Floyd with the release of singles like “Honey With Tea”  “Finally Unsure” and a gorgeous cover of  Graham Nash’s I Used To Be A King,” that emphasized the song’s bittersweet nature.

Now, up until recently, some time had passed since I had written about the band, which had spent the better part of last year writing and recording their fourth, full-length album, How Could You Ever Be The Same?, which is slated for a July 13, 2018 release through AntiFragile Music. Reportedly, the album finds the band continuing to move towards more complex sonic territory while the material carefully blends neuroticism and mysticism. Album single “The Danger of Belief” was a rollicking and anthemic track centered around a twangy guitar line, a propulsive bass line and shuffling drumming that seemed to draw from Tom Petty while possessing the intimacy of old friends, who have the same arguments, know how to needle each other, and yet they wouldn’t have it any other way. “Same To Me,” the album’s second album is a wistful track that brings to mind, a dusty, beer soaked honky tonk at 3am or so, when you’re left with that last half pint of beer, that last bit of whiskey and the lingering ghosts of regret; in this case, the song focuses on how relationships subtly change as the people within them change — but oddly enough, they’re rooted in a comfortable routine, and old memories.

 

 

I’ll be pretty busy today, as I’ll be in Coney Island for an annual rite of summer here in New York City — The Mermaid Parade. I’m sure that there’ll be some Instagram posts until I actually get a chance to edit the photos — but in the meantime, let’s get to the business at hand, right? Now, over the past 18 months or so, I’ve written quite a bit about the Paris-born, London-based singer/songwriter Sophie Baudry, whose solo recording project Million Miles is the culmination of a life-long love affair with soul music.

After completing her studies at  Berklee College and a stint as a recording engineer and studio musician in New York, Baudry returned to London, where she felt an irresistible pull to write music inspired by Ray Charles and Bill Withers.  On an inspired whim, Baudry, took a trip to  Nashville, where she spent her first few days wandering, exploring and reaching out to strangers, as though she were saying “I ’m new here. I’m a songwriter and I’m looking for like-minded people to collaborate with.” As the story goes, Baudry wound up having chance meetings with local songwriters and producers Robin Eaton and Paul Eberson and within an hour or so of their meeting, they began writing material that eventually became the French-born, British-based singer/songwriter’s Million Miles debut EP, Berry Hill, which was recorded over the course of a year during multiple sessions at Robin Eaton’s Berry Hill home studio. And from EP singles “Can’t Get Around A Broken Heart” and “Love Like Yours,” Baudry quickly received attention across the blogosphere, as well as this site, for an easy-going yet deliberately crafted, Sunday afternoon, Soul Train-like soul that nodded equally at the aforementioned Bill Withers and Erykah Badu and Jill Scott.

Baudry’s latest single is the folksy and effortlessly soulful “If Only,” and while being a fitting vehicle for her equally effortless vocals, the hook-driven track is centered around a loose, jam-like arrangement of  funky, Bill Withers-ike strummed guitar, twinkling keys and gentle yet propulsive drumming and a funky bass line and while being an incredibly self-assured track that reveals an artist who is expanding upon her sound and approach, the song evokes the swooning pangs of meet-cute first love, but from the perspective of a narrator, who is over it and too busy to care — or so she tells herself. In some way, the song’s narrator takes on a tough veneer to protect herself from the inevitable. We’ve all been there at some point in our lives and as a result, the song manages to be warmly familiar sonically and thematically.

 

New Video: Acclaimed Singer/Songwriter Eliza Shaddad Releases 120 Minutes-like Visuals for Mesmerizing New Album Single

With the release of her first two EPs Run and Waters, the London-based singer/songwriter and guitarist Eliza Shaddad quickly rose to international prominence as she received praise from a number of major media outlets including The Fader, Nylon, Stereogum, The Line of Best Fit, The Independent, Clash, The 405, as well as airplay from BBC Radio 1, BBC Radio 1Xtra, Beats 1 Radio and countless others for a sound that some have compared to PJ Harvey, Cat Power and others. (Not bad company to be a part of, if you ask me!) Now, if you’ve been frequenting this site over the past couple of years, you may recall that I’ve written about the acclaimed British singer/songwriter, and as you may recall that Shaddad has arguably one of the more interesting backstories I’ve come across in quite some time. As the story goes, she’s the daughter of Sudanese and Scottish parents — and on her mother’s side, she’s the descendant of a long and very proud line of artists and poets that can be traced back to the 1800s; in fact, her great, great grandfather James Paterson, was a member of the Glasgow Boys, a group of extremely forward-thinking artists, best known for challenging the style and subjects of Victorian Scottish painting. She’s also spent time living in seven different countries and as a result, she speaks four languages. Along with that she’s earned a Masters in Philosophy and graduated from the Guildhall School with a degree in Jazz. Considering that background, it should be unsurprising that Shaddad’s work centers around constantly shifting and widening perspectives.

Additionally Shaddad has developed a reputation for pairing her creative work with significant causes. Along with fellow musician Samantha Lindo, she co-founded Girls Girls Girls, a female arts collective that has worked to empower women within the arts through special cross-disciplinary events across the UK. She has also raised awareness and funding for the anti-female genital mutilation charity Orchid Project.

The extremely busy Shaddad’s highly anticipated full-length debut Future is slated for release this fall, and the album, which will continue her ongoing (and longtime) collaboration with Chris Bond is slated for release later this year. The album’s second and latest single “My Body” is moody and hook-driven track centered around shoegazer-like atmospherics — in other words, shimmering guitar chords paired with Shaddad’s gorgeous vocals —  and trip hop’s dark and seductive grooves. The song evokes a plaintive  yet kind of uncertain need. Interestingly, as Shaddad explains in press notes, the song is about “Being betrayed by your body.  Knowing full well that you need to be alone, but doubting it every night.”

Directed by Joe McCrae, the recently released video was shot with several different cameras and employs the use of animation to show the transition between one’s conscious and subconscious while capturing the song’s — and in turn, its narrator’s — restlessness.

 

Currently comprised of founding members and siblings Victor Ziolkowski (drums, vocals) and David Ziolkowski (guitar) and newest member Alex Recide (bass), the Austin-based thrash punks Skeleton features members of several applauded Austin-based punk bands including Nosferatu, Residual Kid, Recide, Enemy One, Plax and Witewash. Since their formation back in 2014, the band has gone through several lineup changes — and initially, the band was deeply influenced by the local punk scene of the last decade paired with industrial and noise rock. Although they’ve generally been much darker than most of their peers, the band’s recent sound has been decided riff-heavy, as it’s been influenced by Kyuss, Dystopia, Bolt Thrower and 90s black metal.

The band has released two flexi disc EPs — I Hate I Skate and Breathing Problem Productions through Super Secret Records; however, their soon-to-be EP, which was recorded by OBN IIIs’, A Giant Dog’s and Bad Sports‘ Orville Neely III and mastered by Seth Gibbs will be their first proper 7 inch release, and reportedly, the EP solidifies a punk leaning sound as they move forward metal on their full-length effort. “War,” the EP’s latest single is a bruising and pummeling punk assault reminiscent of JOVM mainstays Ex-Cult and old school NYC hardcore, but with a furious, booze-fueled misanthropy at its core. And holy shit, does it kick ass, take names and pisses all over everything.

The members of Skelton will be touring throughout July and August with Skourge. Check out the tour dates below.

Tour Dates
07/25 – Houston, TX @ TBA

07/26 – Austin, TX @ The Electric Church +

07/27 – Dallas, TX @ TBA +

07/28 – OKC, OK @ 89th Street Collective +

07/29 – Springfield, MO @ TBA +

07/30 – Denver, CO @ 7th Circle +

07/31 – Salt Lake City, UT @ TBA +

08/01 – Bosie, ID @ TBA +

08/02 – Portland, OR @ TBA +

08/03 – Seattle, WA @ TBA +

08/04 – 05 – Olympia, WA @ Olympia Hardcore Fest +

08/07 – Santa Rosa, CA @ TBA

08/09 – San Jose, CA @ TBA

08/10 – Los Angeles, CA @ TBA

08/11 – Fullerton, CA @ TBA

08/12 – Phoenix, AZ @ TBA
08/13 – El Paso, TX @ TBA
+ with Skourge

 

Austin, TX trio  Skeleton share the first track from their forthcoming EP today via Revolver Magazine. Hear and share “War” HERE. (Direct Soundcloud.)
Skeleton features members of other celebrated Austin punk bands Nosferatu, Residual KidThe Real Cost, Recide, Enemy One, Plax, and Witewash.
The band hits to road this summer for several dates, including a spot on the Olympia Hardcore Fest. Please see current dates below.
 
Skeleton was formed in 2014 by Victor Ziolkowski and David Ziolkowski in Austin, TX. Having had evolved from many different line ups and variations of the band, it’s now performing with Victor on drums and vocals, David on guitar, and Alex Recide on bass.
The band was originally influenced by the punk scene in Austin of the last 8 years, bands like Recide, Iron Youth, and Total Abuse also paired with industrial/noise vibes of Throbbing Gristle. They have always stayed on the more evil or dark end of the spectrum and incorporate dramatic live performances and stage set designs. The band’s more recent sound derives from riff-heavy bands like Kyuss, Dystopia, and Bolt Thrower with the atmosphere of early 90’s black metal.
Skeleton has released 2 previous flexi disc EPs on labels Super Secret Records, I Hate I Skate, and Breathing Problem Productions. This is the band’s first 7 inch release, and solidifies the punk sound of the group as they move toward the upcoming LP, which will be fully metal. The 7 inch was all written and performed by Victor Ziolkowski (on drums, bass, guitar and vocals) and David Ziolkowski (on lead guitar, and bass) Recorded in Austin by Orville Neeley (OBN III’s, A Giant Dog, Bad Sports) and Mastered by Seth Gibbs.
The 4-song EP will be available on 7″ and download on June 30, 2018 out via Super Secret Records. Available for pre-order HERE.
SKELETON TOUR 2018:
07/25 – Houston, TX @ TBA

07/26 – Austin, TX @ The Electric Church +

07/27 – Dallas, TX @ TBA +

07/28 – OKC, OK @ 89th Street Collective +

07/29 – Springfield, MO @ TBA +

07/30 – Denver, CO @ 7th Circle +

07/31 – Salt Lake City, UT @ TBA +

08/01 – Bosie, ID @ TBA +

08/02 – Portland, OR @ TBA +

08/03 – Seattle, WA @ TBA +

08/04 – 05 – Olympia, WA @ Olympia Hardcore Fest +

08/07 – Santa Rosa, CA @ TBA

08/09 – San Jose, CA @ TBA

08/10 – Los Angeles, CA @ TBA

08/11 – Fullerton, CA @ TBA

08/12 – Phoenix, AZ @ TBA
08/13 – El Paso, TX @ TBA
+ with Skourge

Perhaps best known as a founding member, primary songwriter and frontwoman of renowned indie rock act Howling Bells, along with Glenn Moule (drums), her brother Joel (lead guitar) and Gary Daines (bass guitar), the Sydney, Australia-born, London-based singer/songwriter and guitarist Juanita Stein has developed a reputation as a solo artist of note with the release of last year’s solo debut America, an album that thematically focused on the iconography and cultural landscapes of a country that had always fascinated her from afar.

Slated for an August 31, 2018 release through Nude Records, Stein’s sophomore album, Until The Lights Fade will further cement her long-held reputation for crafting twangy and old-timey country-tinged indie rock — but this time, the album thematically speaking is concerned with thoughts, feelings, stories and characters rooted far closer to home. “I feel like the two albums are different sides of the same coin,” Stein explain. “If America was the starting point of a journey — the musical equivalent of me spreading my wings, but also treading carefully, trying to figure myself out having come from such an intense period of camaraderie in the band; then this record is me starting to gain a bit more traction, feeling more confident in where I’m coming from and what is I’m doing.” When the opportunity arose last year to spend a week in Austin, TX with Stuart Sikes, who has worked with Cat Power, The White Stripes, Loretta Lynn, Stein grabbed it. “When you reach a certain point in life and moments like that appear, you have to go with it. Up ’til now, everything I’ve done has been planned and laboured over, but this album was very impromptu, very spur of the moment — a couple of the musicians I was working with, I had only met for the first time that week. It was like nothing I’d ever done before.” Naturally, that impromptu nature of the recording sessions wound up influencing the material’s overall sound — and with album single “Easy Street,” there’s a ramshackle and free-flowing vibe that underlies the material’s deliberate attention to craft that brings to mind 70s AM radio rock, thanks in part to the song’s anthemic hooks, twangy power chords. As Stein says of the song, “‘Easy Street’ was written very immediately. Everything about it felt intuitive and direct. Touring the songs off America for the last couple of years has given me some unique insight into people and their situations. You’re clocking up some good miles across various cities and countries, you see people getting by, doing what they can, being inventive with their realities. Hope/desperation isn’t limited to geography, everyone’s looking for an easy way out essentially. This song is about someone running from their reality and trying to find a better life for themselves.”

Adding to a growing profile as a solo artist, Stein had a recent run of dates opening for The Killers that included a SXSW stop — and since then she’s toured with renowned Roxy Music frontman Bryan Ferry, made some stops across the international touring circuit that included Latitude Festival, Green Man Festival, and Black Deer Festival. Building up buzz for her sophomore effort, Stein will be playing a number of dates across the UK. Check out the tour dates below.

Tour Dates 
24th     June     Black Deer Festival, Tunbridge Wells
8th       July      TRNSMT Festival, Glasgow
14th     July      Latitude Festival, Southwold
20th     July      Spain, Benicassim Festival
24th     July      Finland, Helsinki Arena (with The Killers)
26th     July      Luxembourg, Esch-sur-Alzette, Rockhal (with The Killers)
18th     August Green Man Festival, Crickhowell

Massage is a Los Angeles-based indie rock act comprised id of Alex Naidus (guitar, vocals), who was once a member of Pains of Being Pure at Heart, Michael Felix (drums), Andrew Romano (guitar, vocals), David Rager (bass) and Gabrielle Ferrer (keys, vocals), and in a relatively short period of time, the band has received attention for crafting a jangling guitar pop sound that as the band’s Andrew Romano says in press notes was “inspired by a new generation of Australian bands like Twerps and Boomgates and Dick Driver, who are ostensibly doing a very retrograde thing — I mean they’re mostly white guys playing guitar rock — but somehow finding a sweet spot that Americans, who tend towards the muscular and melodramatic, always seem to miss: messier and more casual, but also catchier somehow.”

The band’s full-length debut Oh Boy is slated for a July 27, 2018 release through Tear Jerk Records, and the album’s latest single, album title track “Oh Boy,” will further cement their growing reputation for writing shimmering guitar pop and gorgeous melodies — but with a loose, ramshackle vibe. As the band’s Romano says of the song “‘Oh Boy’ is our California version of that ramshackle vibe. When I wrote it, I was listening to a lot of 16 Lovers Lane-era Go-Betweens — ground zero for today’s Aussie scene — and I think that their influence may have come through in all the droning chords and the domestic imagery. The last lines of the song were dummy lyrics that suck. I realized what they were about — how honest they were about things I hadn’t even realized I was feeling; about family and fatherhood and settling down and ambition — and the rest of the words were written in response. Sometimes a song tells you what it wants to be.”