WICKED GARDEN Releases Official Music Video for “Over and Done”!

over cover

Las Vegas, NV based rock band WICKED GARDEN has released the official music video for their new single, “Over and Done.” With the track recorded, produced and mastered by Jason Constantine at Constantine Studios, “Over and Done” was directed and edited by Nicholas Muzio at Die-Hearts Productions and starring Shannon Haffa as “The Girlfriend”


“’Over and Done’ is about the end of a relationship, and not necessarily a bad one. It’s just run it’s course. The video is just us goofing off. Everythings too serious these days, so we decided to have fun with it. It’s a breakup during the barbecue from hell.” – Dominick Muzio (Lead Singer/Guitarist)


Wicked Garden is a Las Vegas based indie rock group that has been releasing original music that has received worldwide attention since 2018. Their last single “Home,Too Far” was released to critical acclaim and reached top 10 status on multiple charts and stations. The band released their debut Cd ‘Post Dystopian Leisure Music” in 2019, and has been issuing singles while working on a follow up. Wicked Garden has received over half a million streams and plays across various music services and their videos have been featured on channels worldwide.


ASHES TO OMENS Release Official Music Video for “War Cry”

Official War Cry Promo Image

Athens, GA based Hard Rock Band ASHES TO OMENS has released the official music video for their new single, “War Cry.” Released on 10/2, the single addresses the experience of overcoming anxiety, depression, and suicidal thoughts during difficult times and has already garnered critical praise as “a powerful song with persuasive lyrics, and dynamic instrumentals. It’s forceful message comes at a much needed time with our social climate and pandemic situation encompassing the globe.” (Famous And Made).


” ‘War Cry’ is about bringing awareness to depression, PTSD, anxiety, mental illness and suicide prevention. It’s about staying strong when you can’t be and knowing that you’re not alone and that you don’t have to suffer in silence.” – ASHES TO OMENS

Click to Download / Stream “War Cry” Online


Based out of Athens, GA, Ashes to Omens formed in late July 2017 as a 4 piece and have influences from Breaking Benjamin, Nothing More, Audioslave, Iron Maiden and more. Not long after their formation, vocalist James Branton was diagnosed with Thyroid cancer and underwent treatment for it.

The band quickly released their debut single “The Screws”, in August of 2017 and accompanied by a music video in February 2018. After overcoming cancer, Branton added a 2nd guitarist to the band and they became a 5 piece. Their self-titled debut album hit the indie charts in June 2018 and catapulted them to the number one position for Rock on Reverbnation in Athens where they held for over a year.

Not long after the release of their debut ep, they began work on their 2nd album. The first release was “The Conflict Within”. It was featured in Georgia Music Spotlight as being “energetic, straight ahead hard rock”. Full of monolithic mid-tempo hard rock riffs, anthemic (Slash-esque) guitar solos, and gritty, commanding vocals with the ideal level of attitude and energy for the genre. As well as getting a stellar review of their most recent single, “The Conflict Within” in Rawckus Magazine.

In July-August 2018, the band opened for legendary Cinderella frontman, Tom Keifer to a sold out crowd at Innovation Amphitheater to an over-whelmingly positive response and left with the crowd on their feet. They have also shared the stage with several national acts, including REHABHallowpoint (Missouri) and Demon In Me (Cali) and Lullwater. They are currently tracking their 2nd album with the incredible Led Belly Studios in Dawsonville, GA with engineer, Matt Washburn. Ledbelly is responsible for several releases from national acts MastadonArtemis PyledriverLegion X and many more. The album will be produced ,mixed and mastered by Justin Davis of American Music out of Seattle, Washington. Justin is known for his amazing work with Lullwater’s most recent album.

On October 2nd of 2020 the band released “War Cry”, a song about overcoming anxiety, depression and suicidal thoughts during difficult times. It will be released independently. Early listening by blogs and radio stations have already given it stellar reviews.


NO FLAG (RAOUL KERR – BLOODYWOOD) Set to Unite with “Raise No Flag”!

No description available.

India based Indie Hip Hop band NO FLAG, led by bombastic rap artist Raoul Kerr (Bloodywood), has released the third and final single, “Raise No Flag,” off of their debut EP, The Guerrilla Games.


The movement uses music videos to unite people for a cause, with the help of individuals and organizations that offer real world solutions, and the strength of an audience ready to help; No Flag is ultimately going to go beyond the music to create a long lasting, real world impact.

Their latest video “Raise No Flag” is a rallying cry for the world to continue to work together after we overcome COVID19. It’s an international call to arms against the climate emergency and every global injustice faced by humanity today. It also marks the Official Launch of the No Flag movement.

No Flag - Guerilla Games 01 - Press 05

The Guerrilla Games is a three track EP by Raoul Kerr. It derives its name from “guerrilla warfare” which is “the engagement in a war fought by small groups of irregular soldiers against typically larger regular forces”. In the context of the EP it describes the nature of the No Flag movement as a digital army of people across the world that is using pop culture, the internet and focused mass action to dismantle the current system that serves a few, in order to create a new system that benefits everyone.

The first track, “Exhale,” draws attention to the air pollution crisis of New Delhi and is an appeal to the government to take serious action.


The second track, “The Nation Needs To Know,” uses a rabid news anchor to highlight the systemwide corruption of India that extends beyond politics, and is a call to action for everybody to take responsibility and build a better nation.

The Nation Needs to Know

The third and final track, “Raise No Flag,” marks the launch of the No Flag movement. It is a rallying cry for the world to continue to work together after we defeat COVID19 as well as an international call to arms against the climate emergency and every global injustice faced by humanity today. The EP highlights different levels of an individual’s responsibility. The three songs progress from issues at state level, to national and then international level. The message is that we have to work together at all three levels in order to comprehensively reshape the world. This EP is a blueprint for the movement.

Click to Download / Stream ‘The Guerrilla Games” Online

No Flag Clothing / Merchandise:

No Flag - Outdoor Photoshoot Grid 17

Launched off the back of The Guerrilla games EP, No Flag’s clothing and merchandise include the black and white No Flag Original, and limited editions in the form of the Guerrilla Games edition and One Love edition.

The No Flag Original is a 100% certified, environmentally responsible t-shirt and certified by Fair Trade and the Global Organic Textile Standard, made using Fair Trade, organic cotton which is grown using natural seeds and no toxic chemicals such as chemical fertilizers or pesticides. This results in energy and water saving, maintenance of soil health and less financial burdens on the farmers. It also ensures they are paid fair prices for their crops, along with an additional premium that they can use to build infrastructure for their communities or invest in new technology for their fields.

The factories that manufactured the t-shirts are also certified by Fair Trade, meaning better wages, no child labor or unsafe working conditions.

The No Flag Original was manufactured by an environmentally responsible t-shirt company: No Nasties.

Both limited editions (Guerrilla Games and One Love) are made from Fair trade organic cotton as well and are stepping stones on the way to a completely environmentally responsible line up. All of t-shirts are packaged in an organic cotton pouch which is sealed in a recycled paper box. The logo on the box is printed using water based ink.

Fair trade is an arrangement designed to help producers in developing countries achieve sustainable and equitable trade relationships. Members of the fair trade movement add the payment of higher prices to exporters, as well as improved social and environmental standards.

The Global Organic Textile Standard (GOTS) is recognized as the world’s leading processing standard for textiles made from organic fibers. It defines high-level environmental criteria along the entire organic textiles supply chain and requires compliance with social criteria as well.


The No Flag Original


Guerrilla Games


One Love


KRANTZ Release Animated Music Video for Uplifting New Single, “Try Living Every Day”

Try Living Everyday Cover

Nashville, TN based Indie singer-songwriter KRANTZ has released the official music video for their inspiring new single, “Try Living Every Day.” Originally premiered on mxdwn, “Try Living Every Day” tells a poignant story of positivity and encouragement.

“I wrote this about a buddy at first, but ended up feeling like I was singing about myself,” said Krantz. “I’ve missed a lot of fun trips, big events, or even just get togethers with friends because I was afraid to take the day off from working. I just thought I had to make money and that was the most important thing, but came to realize I was missing what would have been great times in my life just to have more in my bank account. I’m not saying don’t work a job or anything like that, just don’t become a slave to it and make sure ya live everyday to the fullest. Pep talk over…” – KRANTZ


“The song opens with a dramatic hip-hop style beat and a simple piano figure, though as the synths enter it takes a bit of a swing into more left-field, psychedelic sounds not unlike The Flaming Lips. The song is told in a narrative style, describing “He came into the world / With vision quite obscured / His childhood was kind.”

The animated video follows the events of the song, featuring a pregnant woman, a newborn baby and a preschool age child watching television. Eventually he grows into a man who’s first priority is money and stability, something that’s hammered into us from a young age but in an age of increasing wealth disparity, becomes a life and soul-sucking mission for everyone but the richest of the rich.” – MATT MATASCI – mxdwn

2020 Krantz 2061

After leaving his home state of Iowa, traveling the world, touring over 200 days per year with a band called The Effects* and opening for acts such as the Kings of LeonShinedownForeigner, and the Toadies, Jeffrey Krantz made the decision to “live the dream” and eventually landed in Nashville. There, he recorded his first self-produced solo album titled “KRANTZ” in between tapings of MTV’s music competition, American Supergroup, where he eventually became a finalist in the competition. While working nonstop at the Honky Tonks of Music City to reach his musical dream, Jeffrey Krantz kept writing, touring, and released “The Pennock Tapes” (2017) and his second album, “Misty Morning Dew.” The band “Krantz” brings a psychedelic/pop/rock edge equipped with an in-your-face attitude, intertwining meaningful lyrics, and authentic, no-holds rock and roll. As an alternative rock band in a land of country music, Krantz embraces a refreshing take on golden age rock acts, combining classic musical elements of The Beatles and T. Rex with more modern sounds of bands like Weezer and Green Day, creating whimsical and catchy melodies that are certain make your feet dance and heart throb.

IMG 0973


Believe It: Royal Canoe’s Ruthlessly Experimental Alternative LP

Despite a surprisingly lengthy career so far, Canada’s Royal Canoe has still been reserved in publicity, but their newest record Today We’re Believers aims to change that. By embracing a spacey and spiritual sound, Royal Canoe takes the vibes from modern indie and almost obsessively deconstructs and reconstructs them. Royal Canoe diverges from the catchy pop hooks and takes a chance by developing music with intense texture. It’s confidently experimental, but not in a way that alienates the typical listener; Today We’re Believers is a record from a band that simply can’t sit still and that desire to stay moving and exploring is what makes the record such a joy to listen to.

Today We’re Believers does a whole lot. There aren’t too many songs that would be considered “radio-friendly” (at least not on the level of their peers like Young the Giant or AWOLNATION), but admirably, Royal Canoe prove their chops with constant experimentation and soundscapey atmosphere. No song on Today We’re Believers sounds the same; the band jumps from genre to genre, taking every class of music and tossing it into a blender. Like the classification-defying project Gorillaz (specifically during the Plastic Beach era), the members of Royal Canoe don’t limit themselves to what their radio-flooding peers are doing. At one point you’ll hear the exotic “Hold on to the Metal” with its toned and tuned guitars, the next you’ll hear a smooth effect-laden electronic groove on “Just Enough.” This sense of impatience actually works to the group’s advantage; Today We’re Believers has a lot of life, all stemming from the band’s desire to keep things interesting and surprising.

The capitalization on electronics lets the group integrate diverse sounds throughout the record. “Light” demonstrates a warped, almost otherworldly vocal mix and escalating pitches in its second half. The buzzy synths of “Bathtubs” blend seamlessly with the constant motions of vocal effects. Royal Canoe have the makings of indie pop success with their Moby-esque mastery of electronic sounds and groove-laden uses of traditional instrumentation. The use of the synthesizers and the blip-bloops of early 2000’s electronica keep their music from getting stale. It’s unabashedly retro, but also captivatingly current; it strikes a balance and settles into a comfortable spot between the past and present.

But are the songs interesting? For the most part, yes. There are a few missteps, like the slightly drawn-out “Stemming”, but Royal Canoe nail the sense of experimentation that their field has brought to life. The most noticeable issue comes from the moments when the experimentation tones itself down and the more traditional musical elements appear. “If I Had a House” has a surprisingly intense vocal punch, but without a sense of quirkiness and “outside the box” drive, the song doesn’t reach the potential of other songs on the album. “Button Fumbla” is a jumbly and upbeat song with infectious bass beats, and while it also has a broad creativity to it, it is another example of Royal Canoe falling into the pitfalls of their radio-friendly peers.

With so many bands trying to capitalize on pleasing crowds, all with a sense of minimalism in their musicianship, it’s very nice to see Royal Canoe take that slimmed-down, straight-ahead approach so seriously. The tracks are constantly shifting in aesthetic and influence, but the fluctuation isn’t distracting. In fact, it’s more enticing than anything; you’re bound to find a favorite across the twelve tracks. Is it perfect? No. Despite having a handle on the electronic elements, Royal Canoe are still trying to get a grip on the traditional elements like guitars and finding a vocal niche. They are by no means bad, but they are still unrefined. There’s still room to grow there. The indie scene is moving closer and closer to not being “indie” anymore; as these originally toned-down musicians attract bigger and bigger crowds, embracing experimentation is harder and harder to do. Royal Canoe take a step down a promising path with Today We’re Believers. If it’s a sign of the band’s musical vision for the future, this is a band that we’re bound to hear more about in the coming months. Keep an eye out for Royal Canoe, and in the meantime, listen to the clever and creative Today We’re Believers.

Leland Jacobs – “Soul EP”

“Soul EP” is a three-track debut by Atlanta based singer-songwriter Leland Jacobs.  The sound is 90’s alternative rock with a modern flair. It was released on June 25th. The EP is for fans of Foo Fighters, Third Eye Blind, Kings of Leon and the like.


The EP opener is haunting and creepy, with virtuosic RnB technician’s vocals, driving drums, bass and gritty, spiky electric guitars as the backdrop.  The mix is full and clean, but resists the urge to become too polished. Despite being straightforward, tight pop-rock, it thankfully sounds more like the Foos than Daughtry.  The vocals are jumpy and minor key, mixing in and out of operatic and falsetto.  It’s about a girl, specifically the cataclysmic effects that have been had on the narrator by her, the classic fall-back songwriters’ topic, but there is a weird darkness there that leads the emotional response of the song away from straight-up storybook love and more into weird, complicated territory (like when he sings “I can taste the salt and blood of you on my hands.”)

“In my Blood”

A little more midtempo, but still a rocker at its core. Again very cleanly recorded modern rock band sound.  The voice is more confident and less creeped out and confused as it is in “Soul.” He’s a rocket headed to the sun, according to the lyrics. The similarity to mainstream rockers of the 1990’s and early 2000’s  can’t be ignored, in particular Dave Grohl and Josh Homme of Queens of the Stone Age.  Sonically Jacobs could pass for these guys’ little brother—still a romantic youngster, yet to be hardened into heavy rocking therapy-blasts and willing to pour out sentimentality in his middle ground heavy rock and roll to whatever youthful heartstrings will receive it.

“Crimson & Snow”

The words to this one, another pounding modern-rock-station ballad, (very suitable—as is all the music on “Soul,”—for 105.9, the X, for all you Pittsburghers familiar with the station) are vague broad strokes of deep winter city-walking emotions and again, involve blood, a recurring theme.  It’s hard to tell, but I think this one might be about getting hit by a car. In the story of the song he bleeds out onto concrete, once white with snow, now red all over.

Rogue Wave at Mr. Smalls June 23

Rogue Wave is making their live return after three years and will be headlining at Mr. Small’s Theatre onJune 23.  They’re on tour June/July supporting their new LP Nightingale Floors (out June 4th via Vagrant Records).  Nightingale Floors is the fifth studio album from the band, who formed in Oakland in 2002.  It’s full of the melodic indie-pop that Rogue Wave does best, and sees them exploring meditations on live and death – largely influenced by the loss of frontman Zach Schwartz’s father during the writing of the LP.  May sound heavy, but it’s not at all: Zach used the experience to more deeply appreciate life, and Rogue Wave is sounding more confident than ever.

Teen Vogue Premieres The New Supercute! Video For ‘Love Love Leave Love’/March 21 at Mr. Smalls Pittsburgh

Check Out The Video For ‘Love Love Leave Love’ At Teen Vogue!!!

Meet New York City’s fastest-rising-all-girl-indie-bubblegum-group — SUPERCUTE!

Rachel Trachtenburg (of the Trachtenburg Family Slideshow Players) founded SUPERCUTE!in 2009 with friend Julia Cumming. Trachtenburg, veteran of the indie rock scene at 19, has been playing drums in her family band since she was six years old. Ever since she was a kid, she had dreams of creating her own girl group when she got older. This dream came true in 2009; SUPERCUTE!supported UK artist Kate Nash on a U.S tour, followed by a 11 country European tour in 2010, wowing audiences with what the New York Timescalls “incisive, tidy, clever bubblegum pop.”

SUPERCUTE! writes and performs amazingly witty, catchy and refreshing songs on such subjects as animal rights (“The Pigeon Song”), and their joy for sweets (“Candy City” and “Dumb Dumbs”). They also have a knack for brilliantly re-framing ‘70s rock classics such as Pink Floyd’s “Pigs (Three Different Ones)” and Led Zeppelin’s “Misty Mountain Hop”.Their video for “Not To Write About Boys” has been spotlighted by well-known websites Stereogum andBoing Boing. The girls of SUPERCUTE! raised their own money via KickStarter to record their first full length album produced by Kate Nash in London. The album showcases the dreamypsychedelic,dark direction that their sound has evolved into, incorporating complex instrumentation and harmonies that have become one of the group’s signatures. The combination of SUPERCUTE!’sunderground attitude and Nash’s pop intellect created the album “DON’T PoP MY BUBBLE’’ to be released on Secret Code Records distributed byThe Frenchkiss Label Group.

Since SUPERCUTE!’s inception, the band has created quite the stir, garnering an impressive array of raves from respected media outlets like The New York TimesThe New York Post, Time Out New York and The New Yorker. They’ve been blogged about by Teen Vogue, featured in a full 2-page spread in Bust, and were named Deli Magazine’s“Band of the Month” for April 2010. They have played alongside artists such as Adam Green, The ShaggsJohn Spencer Blues ExplosionThe N’ere DowellsIra GlassJaneane GarofaloR. Stevie Moore, and Jeffrey Lewis. They have also performed at SXSW, the CMJ conference, at the 92nd Street, and at such big venues as theMuseum of Modern Art (MoMA), New York’s Bowery BallroomMusic Hall of Williamsburg, Minneapolis’s First Avenue and the Los Angeles’sEl Rey Theater.

In the spring of 2013, SUPERCUTE! will tour the east coast with Kate Nash, premiering the tunes off their new album. There are plans of more touring when the album is released June 11th 2013.


Tour Dates With Kate Nash:


Mar 12th – Boston, MA – Paradise Rock Club
Mar 13th – Montreal, QC – Cabaret Du Mile-End
Mar 15th – Toronto, ON – Horseshoe Tavern
Mar 16th – Ferndale, MI – Magic Bag
Mar 17th – Grand Rapids, MI – Pyramid Scheme
Mar 18th – Chicago, IL – The Empty Bottle
Mar 20th – Columbus, OH – The Basement
Mar 21st – Millvale, PA – Mr Small’s Theatre
Mar 23rd – Washington, DC – Black Cat
Mar 24th – Philadelphia, PA – Johnny Brenda’s
Mar 26th – New York, NY – Bowery Ballroom
Mar 28th – Brooklyn, NY – Music Hall Of Williamsburg

Praise For Supercute!:

“The next Supremes”— Kate Nash

“It’s, you know, supercute stuff (especially since it’s sung over a single keyboard melody), but the girls throw in some hilarious details, like during the band’s mid-song argument, their insults are: “You shop at Old Navy / You wish you were indie.”— Stereogum

“Quickly winning fans the world over with their sweet, low-fi, feminist brand of bubblegum pop” — Portable TV

“Hook-rich folk pop”–Village Voice

“[Rachel] is a powerhouse personality, with tons of creative talent and drive – think Wednesday Addams’ precocious smarts mixed with Rainbow Bright’s kaleidoscopic color sense and the 1970s earthy vibe of one of her idols, Joni Mitchell.”— Style Like U

Day Joy’s “Go To Sleep” Will Let You Do Anything But

Florida based duo Day Joy have just released a new LP titled Go To Sleep, Mess.  My only advice is not to fall asleep too quickly. While the tone and mood of this debut work is gently mellow and calming, it is absolutely riddled with delicate production nuances and rich textural harmonies. A midst the swooning and sweeping instrumental backdrop, Day Joy pulls you into a deeply personal, heartfelt, and genuinely sincere musical experience that is both revealing and enveloping.  Day Joy makes beautiful lush dream folk landscapes caressed with crooning and heart felt melodies and deep poetic lyricism.

Hailing from Orlando, FL the now five sometimes six piece was originally a two person project started by Peter Michael Perceval and Michael Serrin. Peter and Michael met in college years ago where they acoustically wrote all the songs via late nights on porches and rooftops that are just now coming to fruition and being released on Small Plates Records on their debut LP Go To Sleep, Mess. Quite aptly, they were recently hailed as one of the top 10 Florida Bands You Should Listen To NOW by Paste Magazine alongside their friends and other up and comers Levek and Hundred Waters.

Orlando, Florida’s Day Joy glimmers on a lucid dream, borne on a conscious wind, as they both adhere to the tried and true dream-pop formula and also break its clamorous mold. Carried by the pensive vocals of original members Michael Serrin and Peter Perceval, they began as a duo writing acoustic song structures for psychedelic dreams on rooftops and porches amidst late-night Floridian sunsets. As they now encompass a five–and sometimes six–piece collaboration of banjos, ukeleles, synthesizers and steady percussions, they will be releasing their debut album, Go To Sleep, Mess, on Small Plates Records.

Mirroring the mystifying image of the Floridian landscape that surrounds them, they have sought to provide a similar tone and intimate experience as their fellow Floridian friends, such as Hundred Waters and Levek. With humble origins, and brimming effectual sounds to share, Day Joy offers a reflective experience and a sobering reverence that only these South Eastern dream poppers would know how.

Day Joy have reached an emotional depth on this record that doesn’t come off as pretentious, but rather intimate and unmasked. While this album isn’t quite in the same territory as Bon Iver, there is a parallel in that I haven’t heard a debut that sounds this engaging while at the same time being so subjectively personal since I first listened to For Emma, Forever Ago. Fans of Bon Iver, The Acorn, Iron & Wine, Fleet Foxes, and the like should check this one out. Listen | Day Joy: Go To Sleep, Mess

Click Here To Watch “Go To Sleep, Mess” On Paste

Click Here To Pre-Order Go To Sleep, Mess LP 

Tour Dates

02.15 – Will’s Pub – Orlando, FL
02.16 – New World Brewery – Tampa, FL
02.19 – Burrow Bar – Jacksonville, FL
02.21 – Caledonia Lounge – Athens, GA
02.22 – Drunken Unicorn – Atlanta, GA
02.23 – Apothecary – Asheville, NC *
02.25 – Blind Tiger – Greensboro, NC *
02.27 – Kings Barcade – Raleigh, NC *
02.28 – Metropolitan – Annapolis, MD
03.01 – Pianos – New York, NY
03.03 – The Outer Space – Hamden, CT
03.05 – Glasslands – Brooklyn, NY
03.07 – Empty Bottle – Chicago, IL
03.08 – Rozz Tox – Rock Island, IL

* w/ Casual Curious
(More Dates To Be Announced)

Wooden Indian Burial Ground’s New Album Out October 30


Hailing from Portland, Oregon, the band became one of the must see acts at this year’s CMJ. Happy to take influence from grey skies, early sci-fi novels, fuzz pedals and homemade drone boxes, WIBG formed as a duo in Portland, Oregon in 2008. Soon after, they took sail in a rickety ship called “The Blue Whale”, making a glorious racket across the United States and releasing an 11 track album of drunken-funeral-folk tunes in 2009 entitled My Bones They Are Naked. Since the band has grown in numbers and signed with Mon Amie Records of Brooklyn, NY in 2011. A two song, 16 minute/45 rpm/10” entitled “Sunbeams and the Cosmic Ascent to Nowheresville” is now available, and a self titled LP will be released on cassette on October 4, 2012, and on vinyl on October 30, 2012.


Hometown Favorite Rusted Root’s New Album The Movement Out October 30

Having gone to high school with Mike Glabicki before he was the leader and vox for Rusted Root, I can tell you first hand that we always knew Mike would be well-known either as a musician or as an artist. 3 million albums sold worldwide since their formation in Pittsburgh by said singer/guitarist Glabicki in the early ‘90s, Rusted Root’s ‘world music’ has taken many dips, turns, peaks, and valleys. After debuting in 1992 with the self released ‘Cruel Sun’, Rusted Root signed with Mercury Records and released the 1994 platinum selling breakthrough When I Woke, which featured the hit songs Send Me On My Way, Ecstasy and Martyr. Not long after, the band scored on tours with Toad the Wet Sprocket, Santana, The Grateful Dead, Dave Matthews Band, The Allman Brothers Band, HORDE Festival and, perhaps most notably, the highly coveted support role on the landmark Jimmy Page/Robert Plant reunion tour. Since then they have released ‘When I Woke’, ‘Remember’, ‘Rusted Root’, ‘Welcome to the Party’, and ‘Stereo Rodeo’ and on October 30, 2012 RR will release ‘The Movement’.
The newest release starts off with ‘Monkey Pants’ which is certainly a highlight. It’s fun, bright, upbeat and has that Talking Heads vibe that Root sometimes is reminiscent of. ‘Cover Me Up’ takes the listener into a more chill, world music beat, with those tinges of early Rusted Root that Rootheads so love. ‘The Movement’ may be an even better example of the traditional RR sound and is an absolute standout track. ‘In Our Sun’ actually reminds this reviewer of some of The Doors experiments and it fits in very nicely with the wide range of the disc. ‘Up and All Around’ is funky with a less world music vibe, maybe even more of a classic rock n roll atmosphere to it.
Glabicki’s voice has versatility and originality and he manages to pull off many different voicing here. The entire band has moments to shine on ‘The Movement’ and Root truly stays loyal to form while also not churning out the same old stuff. It’s nice to see Mike and his bandmates still at it and producing such quality material. Highly recommended for loyal Rusted Root fans and ‘newbies’ alike.

Make sure you check out their well known dynamic live show at Palace Theater Greensburg 11/10/12 and Carnegie Music Hall 12/21/12

Freelance Whales Sophomore LP, Diluvia Named #1 Heatseekers Album

Stream Diluvia Here

After two years and over a dozen tours, Freelance Whales were feeling road-worn and eager to rediscover their creative process. They had been building on the grassroots appeal of their earthy debut, Weathervanes, for tens of thousands of miles. To tare the scale, the band embarked on a many faceted journey during which they found themselves isolated in West Kill, sprawled with their instruments in Hoboken, and packed into studios in Brooklyn and Manhattan. What resulted from nearly a year’s worth of creative productivity is the group’s second full-length, Diluvia.

Whereas Weathervanes was delivered from the perspective of a child infatuated with ayoung female ghost, Diluvia is a record about the possible survival – or peril – of space- faring humans and other arguably fantastical scenarios. Curiosity over these unknowns has evolved into notions of space exploration, ancient astronauts, dreams, and natural and artificial selection, with new songs building to expansive, atmospheric destinations. Working to evoke both prehistoric and pseudo-futuristic sensations, the record invites listeners to indulge in more elastic thought, perhaps, than it’s predecessor.

Diluvia, which was recorded over two months in New York City with producer Shane Stoneback, also finds Freelance Whales – Judah Dadone (vocals, guitar, banjo, synthesizers), Doris Cellar (bass, vocals), Chuck Criss (guitar, synthesizers, vocals), Jacob Hyman (drums, vocals), and Kevin Read (guitar, vocals) – exploring new instrumental experiences by blurring their trademark “organic” instruments with liberaluse of electronics and more aggressive rhythm. They may sound bigger, but Freelance Whales are no less committed to capturing intimacy though their music. Diluvia is an experiment in finding the confluence between science and emotion. Their hypothesis is that such a cathartic place exists, for both themselves and their fans, and it can be found somewhere in their new music.

Recent Press Quotes

NPR: “Diluvia is the opposite of effortless: Its songs sound worked-over and impeccable, yet ultimately land in a place of unfettered joy.”

Consequence of Sound: “In the vein of lead single “Locked Out”, the second single, “Spitting Image”, is another demonstration of the band’s newly expanded sound, a grand, electronica-leaning cut of pure ecstasy.”

A.V Club: “With this grower, Freelance Whales have avoided the sophomore slump and grown into one of indie rock’s most intriguing new acts”.

Pretty Much Amazing: “Diluvia might feature euphoric horns and choral chanting, but the impeccable songwriting and complete lack of posturing counter most accusations of sentimentality. The record soars from grandeur to modesty, from symphony to minimalism, rarely committing to either extreme for long.”

Filter Magazine : “While the band’s trademark sound only previously flirted with electronics, the LP’s lead single, “Locked Out”, turns that relationship in full-fledged marriage”.

Pretty Much Amazing : “First single “Locked Out,” Freelance Whales show that they’ve perked their ears up to their surroundings and are heading in an interesting direction.”

Stereogum : “Locked Out” is exactly the sort of layered, romantic stuff that the band built its name on”

Jinja Safari Releases “Mermaids” Track

Click Here To Listen To “Mermaids” Track

CMJ Dates

Thursday 10/18 – 9pm
Neon Gold presents PopShop CMJ @ Santos Party House

Friday 10/19
The Standard (East) w/ Kishi Bashi and Citizens

Friday 10/19 – 11pm
NME / The Great Escape CMJ showcase @ Cakeshop

Saturday 10/20 – 1am
The Aussie BBQ @ The Delancey (downstairs)

Saturday 10/20 – 8:30 pm
Irving Plaza supporting Electric Guest

It was simple beginning, as all tales should start.

Marcus Azon & Pepa Knight met over a campfire party of mutual friends, beside the sub-tropical forests of Australia’s eastern coastline. Pepa, as a 22 year old producer whose long hours experimenting with bizarre eastern instruments yielded a vast inventory of sonic adventures that he alone had heard, collected & banked away soaring melodic tapestry.

Marcus – with hidden note-book & bedroom wall covered with handwritten lyrics, held a sparking curiosity of his Grandmother’s African home, the east Ugandan town of Jinja. Pooling together their childhood friends – quicker than you could say ‘Lost Boys, Assemble’, the rag-tag team of Jinja Safari was born. Alister ‘Nugget’ Roach grew up with Marcus in Tasmania and jumped out of a troupe busking up the coast to join Jinja Safari – armed only some spare half-taped together percussion trinkets. Joe Stranger & Jacob Borg (bass &drums, respectively) had both attended high school with Pepa and were prepared to take time out from their weekend jobs to bring a some ideas to life.

And here is where their luck turned, and their simple story gets dense & exciting… Jinja Safari quickly dove into the national consciousness and yielded 5 high-rotation singles across national radio, knitting together music replete with manipulations of eastern
psychedelic jams, lilting choral art-rock, collages of sampled field-recordings, acrobatic vocal harmonies and dense polyrhythmic drum adventures.

Being self-recorded & produced, Jinja Safari was able to release a near constant stream of music that increasingly built upon the foundations of a bubble universe, reflections of modern youth pitched into a framework of escapism and commonality. With one of the hands-down most encapsulating & incredible live shows in the country, it doesn’t take long to give yourself over to a Jinja Safari show: the beat of a drum, a rouge attitude and five rat-bags clambering over a stage. After 6 months of existence, they had been nominated as ‘Best Live Act’ in the Sydney Music Arts & Culture awards.

Within their first twelve months of stepping foot onto a stage, Jinja Safari had been plucked from the coast and selected for supports with Born Ruffians, Menomena, The Joy Formidable as well as a
long line of major national festival appearances including Splendour In The Grass, Big Day Out, Good Vibrations & Falls Festival.

Recently grazing London for the first time on special invitation from BBC1’s Rob Da Bank to play his rowdy Isle Of White weekender, Bestival, Jinja Safari have also seen spot performances in & around UK, including a key support for LA sisters Haim.

Reactions from the massive, sold out Australia theatre rooms across multiple national tours indicate their audience shares common traits – anyone who thrives from dancing in the dirt, howling at the sky & cheering-on able young men climbing 80’ stage scaffolding (much to the dismay of festival promoters worldwide).

The adventure has just begun. Welcome to the Safari.


The witching hour approaches, dear citrus-heads. We’re not talking about Halloween, but another occasion for mask-donning and mischief-making. That’s right, Black Moth Super Rainbow’s new record, Cobra Juicy, is out on October 23rd via his new label, Rad Cult. You can listen to it now at Paste Magazine. It makes for the perfect soundtrack to plotting.

STREAM COBRA JUICY HERE: http://www.pastemagazine.com/blogs/av/2012/10/album-stream-black-moth-super-rainbow—cobra-juic.html


“[Cobra Juicy] finds Fec showing off his sharpened gift for gooey hooks – not to mention some pretty sweet guitar.” – SPIN

“His most realized album yet.” – Creative Loafing Atlanta

“Cobra Juicy feels and sounds like the best kind of bad decision-it’s partially nostalgic, partially trippy, and fully seductive.” – The Valley Advocate

“The buzzy hooks on this album outstrip anything they’ve done in the past.” – Consequence of Sound

Friday, Oct. 26 – Asheville, NC @ Moogfest
Saturday, Oct. 27 – Savannah, GA @ Graveface Fest
Monday, Oct. 29 – Orlando, FL @ The Social
Tuesday, Oct. 30 – Miami, FL @ The Stage
Wednesday, Oct. 31 – Tampa, FL @ Crowbar
Thursday, Nov. 1 – Tallahassee, FL @ Club Downunder
Friday, Nov. 2 – New Orleans, LA @ One Eyed Jacks
Saturday, Nov. 3 – Austin, TX @ The Mohawk
Sunday, Nov. 4 – Austin, TX @ Fun Fun Fun Fest
Tuesday, Nov. 6 – Dallas, TX @ The Loft
Wednesday, Nov. 7 – Nashville, TN @ Exit/In
Thursday, Nov. 8 – Louisville, KY @ Zanzabar
Friday, Nov. 9 – Columbus, OH @ Skully’s
Saturday, Nov. 10 – Millvale, PA @ Mr. Smalls Theatre
Monday, Dec. 3 – Boston, MA @ Paradise
Wednesday, Dec. 5 – New York, NY @ Bowery Ballroom
Thursday, Dec. 6 – Brooklyn, NY @ Music Hall of Williamsburg
Friday, Dec. 7 – Philadelphia, PA @ Union Transfer
Saturday, Dec. 8 – Washington, DC @ U Street Music Hall

BMSR Online:

Team Spirit Signs To VICE Records

VICE Records and Warner Bros are pleased to announce the recent signing of rock ‘n’ roll foursome Team Spirit. Founded by NYC’s own Ayad Al Adhamy. the band is set to shred at this year’s CMJ festival with five shows over the course of the fest. Following CMJ, Team Spirit will hit the road with White Denim and Maps & Atlases, bringing their sounds to fans in the Midwest on the Bonaroo365 Tour.

Ayad on forming Team Spirit: “I looked over at my guitar collecting dust in the corner and decided I’d had enough. I picked it up, fell back in love, and Team Spirit was born.”

Needing a band, he got in touch with his old shred-metal college roommate Roman Tobias.

Pettigrew (who had spent the last few years in Los Angeles founding a cult… seriously) and recruited Cosmo Kilburn Di Giulio after finding and nearly losing him following a night of drinking in a country music bar. They rounded off the lineup with ball-kickin’ drummer Mike Addesso.

Ayad describes Team Spirit as “Bursting with soulpower – a cocktail of Motown basslines, Thin Lizzy-esque dueling guitars, 90s sing-along hooks, glam beats, and Chuck Berry feet.”

Click here to watch the signing ceremony with VICE and Team Spirit (with blood ink)

Tour Dates

CMJ Tour Dates
10.15 – Conflict of Interest – Rebel NYC 10.00pm
10.16 – Banners – Pianos Upstairs 12.30am
10.17 – TAYFPR Showcase Pianos Downstairs 5:00pm
10.17 – Noisey CMJ Showcase – Santos Party House Downstairs 10.45pm
10.20 – FUZZ – Swat Bar – 12:00am

Bonaroo365 Tour w/White Denim & Maps and Atlases
10.24 – Lawrence, KS – Granada Theater
10.25 – Lincoln, NE – Bourbon Theater
10.26 – Madison, WI – University of Wisconsin
10.28 – Chicago, IL – Lincoln Hall

Thee Oh Sees Premiere “Lupine Dominus” Video

Click Here To Watch “Lupine Dominus” On Pitchfork

What’s the first thing that comes to mind when someone mentions Thee Oh Sees? Probably their riot-sparking live show, right? Visions of a guitar-chewing, speaker-smothering, tongue-wagging John Dwyer careening across your cranium, chased by a wild-eyed wrecking crew that drives every last hook home like it’s a nail in the coffin of what you thought it meant to make 21st century rock ’n’ roll?

Yeah, that sounds about right. But it misses a more important point—how impossible Thee Oh Sees have been been to pin down since Dwyer launched it in the late ‘90s as a solo break from such sorely missed underground bands as Pink and Brown and Coachwhips. (While Dwyer often records songs on his own, Thee Oh Sees is now a four-piece featuring keyboardist/singer Brigid Dawson, guitarist Petey Dammit, and drummer Mike Shoun)

That restlessness extends to everything from the towering, 13-minute title track of 2010’s Warm Smile LP to the mercurial moods of 2008’s The Master’s Bedroom Is Worth Spending a Night In. And then there’s the Bay Area band’s recent track record, including a scrappy tour split with Total Control, the home-brewed symphonies of Castlemania and the high wire hooks of Carrion Crawler/The Dream, which dropped a second drum set among sunburnt organs, dovetailing guitars and rail-jumping rhythms.

Blast any of the above and it’s hard not to see the psych-steeped parallels between Dwyer’s manic music and his canvas-splattering artwork, which looks like it was torn from a shelf of twisted underground comics. Colorful and confounding in a way that’s more than welcome, then. In fact, it’s downright refreshing, like a slap in the face at 5 in the morning. Of if you prefer a slightly more subtle musical awakening, there’s always Putrifiers, the latest in a long line of Oh Sees LPs that expands the group’s sound well past your friendly neighborhood garage band. So while the space odyssey nods of “Wax Face” actually sound like they’re meant to melt your ears straight off, the record’s full of deviant detours, from the poison-tipped string parts and Eno-esque engineering of “So Nice” to the groove-locked Krautrock inclinations of “Lupine Dominus.”

The most noticeable element may be Dwyer’s melodies, however, as they reveal a softer side to his songwriting, one that makes perfect sense considering just how disparate his dust-clearing influences are. Scott Walker, the Velvet Underground, The Zombies and the experimental Japanese act Les Rallizes Denudes are but a small taste of what informed Thee Oh Sees this time around, as Dwyer returned to the multi-instrumental ways of Castlemania—full band sessions for another record are already underway—and rounded out a fuller, drier sound with drummer/engineer Chris Woodhouse and such special guests as Mikal Cronin (sax), Heidi Maureen Alexander (trumpet, vocals) and K Dylan Edrich (viola).

Which leaves one question: are The Oh Sees going to bring it down a notch live now as well?

“I will still strike an audience in the brain,” Dwyer assures us all, although he admits, “Maybe every now and then it would be okay if we relaxed a little.”

New Slim Twig LP A Hound at the Hem

Stream “A Hound at the Hem”

Slim Twig’s new LP A Hound at the Hem is being released November 6th on Calico Corp and Pleasance Records. Billed as a hard psych flipside to the gentler approach of his previous LP Sof Sike, the album is a baroquely arranged tribute to both Nabokov’s Lolita and Serge Gainsbourg’s A Histoir De Melody Nelson.

The album is a collaborative work primarily with Louis Percival, but includes contributions from many notable Toronto artists including Carl Didur, Tim Westberg and Meg Remy of U.S. Girls. Conceived two years ago and recorded on Toronto Island last year, A Hound at the Hem actually pre-dates Sof Sike. Born out of an intense musical process, Slim Twig considers A Hound at the Hem to be his “finest (and certainly densest) musical achievement to date”.

Out of the murky and demented inspiration of Slim Twig’s previous releases we can now hear the sound of a promising young songwriter. Although as idiosyncratic as ever, these new songs showcase an interest in classic songwriting, a fondness for psych-era Rolling Stones, an affinity with the queer power pop of R. Stevie Moore – in short, an odd friendliness (of sorts).

Slim Twig has torn through enough ideas and styles to finance a fistful of bands since releasing his first EPs in 2008. These earlier explorations include the prescient flirtation with an avant-rockabilly sensibility on Vernacular Violence (2008), and his full-length debut, Contempt!, a re-appropriation of off-kilter sampling techniques gleaned from the RZA and Madlib, and presented in a decidedly un-Hip Hop-like format. The latter record stands out as one of the most strangely singular records released on a major Canadian indie label, and as an unsung pre-cursor to the solo, sample-based, oddball pop that by 2012, has become commonplace.

Pre-order A Hound at the Hem Here!

Scott Lucas & the Married Men “There Ain’t No Grave (Gonna Hold My Body Down)”

Click Here To Watch “There Ain’t No Grave (Gonna Hold My Body Down)” On Brooklyn Vegan

Scott Lucas & the Married Men will release an iTunes single bundle for their chilling version of the traditional song “There Ain’t No Grave (Gonna Hold My Body Down)” today. The song is the second single from their sophomore album, Blood Half Moon, which was released in June on The End Records. The track has been used throughout the late summer and fall in the promotional spots for the second season of AMC’s Sunday night drama “Hell On Wheels.” Scott Lucas will perform a solo acoustic set of Married Men songs and other stuff during CMJ when he opens for Local H at the Bell House in Brooklyn on 10/18.

The iTunes bundle for “There Ain’t No Grave (Gonna Hold My Body Down)” includes three versions of the song — the eight-minute album track, the four-minute single edit and a haunting, nine-minute live version, as well as the official music video. The live version was recorded to 2-track on “Live From Studio 10” and originally broadcast on Vocalo 89.5FM on May 30th. It was recorded by Adam Yoffe at the Jim and Kay Mabie Performance Studio at Chicago Public Media.

The video for the “There Ain’t No Grave (Gonna Hold My Body Down)” will make its big screen debut later this month, when it is shown at Chicago’s historic Music Box Theatre during the Music Box of Horrors film festival October 13-14. The video will run multiple times throughout the 24-hour horror movie marathon. It will also be shown the weekend before Halloween during the theatre’s Midnight Madness screening of “The Rocky Horror Picture Show” on October 26th.

Lucas, a horror film and old movie “buff,” directed the video, which features creepy black and white footage edited from the 1932 film “Vampyr.” Fans can get a sneak peek of the clip at Brooklyn Vegan Chicago today: LINK

“A screening of our video at the Music Box? For the horror marathon?!?,” Lucas remarked. “I think we’ve arrived. Now get me on Letterman and I can retire.”

Additionally, Scott Lucas & the Married Men’s Daytrotter session, recorded while they were on tour in July, has just been posted. The band played a handful of songs for Daytrotter, including “There Ain’t No Grave (Gonna Hold My Body Down),” “Steady Gaze” and “Stolen Umbrellas,” a song from their first album. Check it out here.

Lucas is best known as the singer/guitarist for the two-man, Chicago rock band Local H. But for his solo records, he has broadened his musical scope and greatly expanded his lineup, pulling together a collective of musicians — the Married Men — that currently numbers seven and includes violin, accordion and organ. The result is quite different than Local H and a perfect fit for Lucas’ more personal, introspective songs. Reviewers have compared the band to Wilco, American Music Club, the Waterboys and Nick Cave. Lucas calls the group’s evolving sound “country-ish, alt-rock for people who like metal.”

Scott Lucas & the Married Men are:

Scott Lucas — vocals and guitar
Jason Batchko — organ and piano
Aaron Duggins – accordion
Rebecca Brooke — violin
Peter Muschong – guitar and vocals
Randy Payne – drums and percussion
Tom Szidon – bass and vocals

Press Quotes

“Blood Half Moon,” this six-piece band’s second outing, showcases songcraft that’s often superb, ranging from the cheerful country-pop skip of “Steady Gaze” to the world-weariness of “Out of the Boat,” concluding with eight minutes of cacophonous, droning defiance in “There Ain’t No Grave (Gonna Hold My Body Down)… Nearly every song is an epic…” – Thomas Conner, Chicago Sun-Times

“Blood Half Moon might just be the rock record of 2012.” – All Music Guide

“The collective’s third release, Blood Half Moon, is their best yet, a haunting eight-track gathering of tunes that perfectly melds the intensity of Local H with the gentle twang of the Married Men… The opening salvo of ‘Lover the Lullaby’ and ‘Blood Half Moons’ are pretty close to perfect…” – Jeffrey Sisk, The Daily News

“Be sure to arrive early for Lucas, whose upcoming album, Blood Half Moon (June 5), is impressive stuff, one that fits equally well beside early Wilco or latter-day Nick Cave (see the eerie take on the traditional “There Ain’t No Grave Gonna Hold My Body Down.” – Stephen Gossett, Flavorpill


Today (and all our tomorrows), it’s time to start living in sTYle! That’s right, people. October 9th is here, which means the monster energies of Ty Segall’s Twins are officially erupting! For those sleeping through the last few months, Twins is Ty’s dominating new long-player and the follow-up to last year’s solo venture, Goodbye Bread. With Twins now coming at you from every which way, Ty is breaking out a few new moves. After blazing through a month-long tour of sold out dates across the U.S. last month, Ty is gonna try and play to more people all at once than he just did at all the shows he just played combined YEAH – a mere one week from TYday, he’ll be making his late night TV debut on CONAN! All you folks with cable be sure to tune in to TBS at 11/10c on Tuesday, October 16th (and for all you others, be sure to scour the interwebs quickly after). And if television isn’t your format, there’s more Ty dates from here to Eternity (Eternity, Italy that is). See below!

Ty Segall’s Twins purchase link: http://www.dragcity.com/products/twins

Ty Segall performs in The Current studios (aired 10/8/12):

Ty Segall’s “The Hill” stream: http://snd.sc/O1RzuY

“Fortunately, the evidence continues to suggest he’s not even close to spreading himself too thin.”
— Stuart Berman, The Grid

“What’s remarkable about Segall’s output is that quality is not a hostage to quantity. Everything he does is good: melodic, enervated and loud. Twins, though, is a record that goes out of its way to court the floating rock vote, upping the melodies and toning down Segall’s more wayward psychedelic digressions.” – Kitty Empire, The Observer

“With releases shooting out of his hands quicker than a fuzzed-up power chord, on Twins the San Franciscan has produced another tangle of urgent hip-thrusters, messy scissor kickers and would-be long-lost Nuggets selections from 1966. . . Most important, however, is the pure joy of these tracks and how instantly likeable they are.” – Priya Elan, MOJO

“Guitars are thickened by fuzz, white noise whites, but the wyrd folk-toned ‘The Hill’ and acoustic ‘Gold On The Shore’ prove Segall is much more than a single-note nostalgic.” – Sharon O’Connell, Uncut

TY SEGALL TOUR DATES (new dates in bold)
Sun. Oct. 14 – San Francisco, CA @ Treasure Island Festival
Wed. Nov. 7 – London, UK @ The Garage
Thu. Nov. 8 – Manchester, UK @ Deaf Institut
Fri. Nov. 9 – Glasgow, UK @ Art School
Sat. Nov. 10 – Athens, GR @ An Club
Mon. Nov. 12 – Lyon, FR @ Clacson
Tue. Nov. 13 – Amiens, FR @ La Lune des Pirates + K-Holes
Wed. Nov. 14 – Rennes, FR @ L’Antipote
Thu. Nov. 15 – Rouen, FR @ Le 106
Fri. Nov. 16 – Metz, FR @ Les Trinitaires
Sat. Nov. 17 – Besancon, FR @ La Rodia
Sun. Nov. 18 – Bourg en Bresse, FR @ La Tannerie
Mon. Nov. 19 – Milano, IT @ Low File
Tue. Nov. 20 – Lausanne, CH @ Le Romandie
Wed. Nov. 21 – Nïmes, FR @ La Paloma
Thu. Nov. 22 – San Sebastian, ES @ Gazteszena
Fri. Nov. 23 – La Roche Sur Yon, FR @ Le Fuzz’Yon
Sat. Nov. 24 – Paris, FR @ BB Mix Fest
Mon. Nov. 26 – Luxembourg City, LU @ Exit 07
Tue. Nov. 27 – Kortrijk, BE @ DE Kreun
Wed. Nov. 28 – Groningen, NL @ Vera Club
Thu. Nov. 29 – Leipzig, DE @ UT Connewitz
Fri. Nov. 30 – Brussels, BE @ Atelier 210
Sat. Dec. 1 – Koln, DE @ Mini Fest
Sun. Dec. 2 – Utrecht, NL @ Guess Who Festival
Tue. Dec. 11 – Seattle, WA @ Neumos w/ Night Beats
Wed. Dec. 12 – Vancouver, BC @ Waldorf w/ Night Beats
Thu. Dec. 13 – Portland, OR @ Star Theater w/ Night Beats
Sat. Dec. 15 – Los Angeles, CA @ El Rey w/ Night Beats, Pangea
Wed. Jan. 23 – Tucson, AZ @ Club Congress w/ Ex Cult
Thu. Jan. 24 – Marfa, TX @ Padre’s w/ Ex Cult
Fri. Jan. 25 – Austin, TX @ Mohawk w/ Ex Cult
Sat. Jan. 26 – Dallas, TX @ Sons of Hermann Hall w/ Ex Cult
Sun. Jan. 27 – Memphis, TN @ Hi Tone w/ Ex Cult
Mon. Jan. 28 – Nashville, TN @ The End w/ Ex Cult
Tue. Jan. 29 – Atlanta, GA @ Terminal West w/ Ex Cult
Wed. Jan. 30 – Raleigh, NC @ Kings Barcade w/ Ex Cult
Thu. Jan. 31 – Washington, DC @ Black Cat w/ Ex Cult
Fri. Feb. 1 – New York, NY @ Webster Hall w/ Ex Cult
Tue. Feb. 5 – Montreal, QC @ Cabaret Du Mile End w/ Ex Cult
Wed. Feb. 6 – Toronto, ON @ Phoenix Club w/ Ex Cult
Sat. Feb. 9 – Chicago, IL @ Empty Bottle w/ Ex Cult
Sun. Feb. 10 – Omaha, NE @ Sokol Underground w/ Ex Cult
Mon. Feb. 11 – Denver, CO @ Hi Dive w/ Ex Cult

Ty Segall online:

Daniel Wayne To Play EP Release Show

Monday, October 8th At Rockwood Music Hall (Stage 2)

U.S. Tour Starts Next Week
Dates With Holly Golightly And McDougall
Poor Boy’s Love Letter Vol.1 EP Out October 9th

“DANIEL WAYNE is one of the TOP 5 NY ACTS you MUST SEE IN 2012” – CBS .COM

“Cincinnati-bred, Brooklyn-based auteur Daniel Wayne pens dark Americana with indie melancholy and a distinct bluegrass twang.”

“..he performs with a delicate strength – precise and passionate. His style of singing and playing is such that there’s power in the silences between strums and verses, that’s how much he had the crowd on a string” – GIMME SHUTTER .COM

“Daniel Wayne plays that steel string, sunburst Guild guitar like his mama told him not to…he plays bar chords with his thumb. Sometimes bluesy, Daniel Wayne has a classic country backbone with eerie undertones: Slow songs like “Far From Here” sound like My Morning Jacket, while “The Fool” gristles like a basey Townes Van Zant song.” – THE DELI MAGAZINE

In a time where audiences are starved for authenticity, there are only a few that can actually deliver the goods to make you feel like you are hearing some thing classic and familiar yet fresh. Brooklyn’s best new troubador, Cincinnati transplant Daniel Wayne is one of those artists.

You are sold on Daniel Wayne’s talent and potential as well as his infectious charisma in the first nanoseconds that you hear the powerful and amazing range of his gifted voice. There aren’t many artists that possess the talent to mesmerize the listeners to absolute silence and command them to listen to a voice that is both angelic, as well as full of power and range. Daniel’s music is simple, raw, at times dark, at times inviting, but always with a sense of vulnerability. If you are looking for the next big voice, look no further than Daniel Wayne.

Daniel Wayne’s live shows, whether solo, or with is band, are sharp, stunning and pack a serious visceral wallop and must be seen to be believed. Opening the past year for Holly Golightly and The Brokeoffs, Shawn Mullins, O’Death, Handsome Family, Heartless Bastards, The Head and The Heart, and Anna Calvi, Daniel has captivated audiences with his stunning performances with a voice that’s like a potent cocktail of Tim Buckley, Devandra Banhart, Harry Nilsson, and Roy Orbison with a spice of that hillbilly high lonesome wail, and the best whistle you’ve heard since Andrew Bird.

At the age of 8 he began writing songs and beats on a Casio keyboard his sister gave him. Growing up in Cincinnati, Ohio, teachers used to complain to his mother that he made weird noises in the classroom. He has always had music in his head and lyrics on his mind. He played trumpet in high school and was once given a failing grade for a music theory class because he refused to recite someone else’s song, opting instead to perform an original.

Daniel Wayne’s self titled EP was released in June 2011. The follow up, “Poor Boy’s Love Letter Vol.1,” will be released on October 9.

Click to purchase tickets to EP Release Show Monday 10/8

10.08 – Rockwood Music Hall – New York, NY* (EP Release Show)
10.09 – The Saint – Asbury Park, NJ*
10.10 – The Fire – Philadelphia, PA*
10.11 – Northside Tavern – Cincinnati, OH*
10.13 – Mickey Finn’s – Toledo, OH*
10.14 – Beachland Ballroom – Cleveland, OH*
10.16 – Beat Kitchen – Chicago, IL*
10.17 – Jackpot – Lawrence, KS*
10.18 – Firebird – St. Louis, MO*
10.20 – The Earl – Atlanta, GA*
11.02 -11.10 – Tour with McDougal (VENUES TBA)
11.13 – The Way Station – Brooklyn, NY# (FREE)

*opening for Holly Golightly and The Brokeoffs
#opening for Kelli Scarr

The Honeymoon Is Far From Over For Zulu Pearls

In addition to fantastic music, the Zulu Pearls offer some international spy intrigue. Double booked in the annals of Internet research as both a Berlin, Deutschland band and as Arlington, VA jammers, the band last logged into their Myspace account on August 18, 2011 – though it seems apparent from their breadth of hits on Google that they haven’t been slacking in the time since. A fistful of EPs and widespread concert coverage indicate that this export/import has long distance legs and an audience ready for to watch them run many a mile. Zulu Pearls strike a new-listener a bit like a “man-have-you-heard-these-guys?” experience, and might provide the opportunity to wow that friend who is usually the one to introduce you to a sweet new band.

Their debut LP, “No Heroes No Honeymoons,” (released in September 2012) brings together some interesting elements that don’t necessarily defy the sense of what all can go into rock music, but maybe as a whole, on one album, defies what might go all together at once. In some ways Zulu Pearls’ sound might be associated with the LA phenom Dawes, or expansively linked to alt-alt rock of the likes of My Morning Jacket, but this should be treated as a bridge “to” what’s going on in their first album, not a bridge “over” it.

No Heroes No Honeymoons opens with a wavy number that makes this reviewer want to coin the genre name “alt-surfer.” Reverb guitar, with a little drive for good measure, pushes through with splashy drums and a blues-singer inspired delivery of vocals that has all the sense of wanting to live up to the opening track’s title, “Keep It Cool.” The follow-up is consistent in the next several tracks – with a mix of poppy and grinding qualities in instrumentation – as well as some dreamy melody lines and lyrics in songs sometimes playfully named, e.g. track 4 “Two Thousand Whatever.”

In the album’s midsection some heavier duty rock tones lay over the mellowness, aided – both in terms of the rockiness and the mellowness – by electric organ and heavy pedaling on the electric strings. In some places the instrumentation gets frantic enough that it is possible to lose the source of the beat, but, as soon as you listen for it again, the essential drum line is immediately present to the conscious and seems almost to have disappeared by way of perfect synching with the melody and harmony riding on top. In the rounding out of the ten tracks, the final three take us not merely on a roller coaster ride, but, for the Kennywood enthusiast, on three different styles of roller coasters: seemingly respectively inspired by Stones, Cars, and Bright Eyes.

Cantora Records, the big tag on this debut feature album, is perhaps best known for pumping MGMT. So from a music biz perspective Zulu Pearls are probably one to watch for some solid music fest presence in the summer of 2013. Far more importantly, No Heroes No Honeymoons sounds a lot like a little bit of the real thing.

No Heroes No Honeymoons by Zulu Pearls is available, most likely more ubiquitously by the minute, find it before your know-it-all music friends!

Savoir Adore Premiere “Empire Of Light”

Click Here To Listen To “Empire Of Light” On Paste

Tour Dates

10.09 – The Knitting Factory – Brooklyn, NY
10.11 – Club Lambi – Montreal, QC
10.12 – Cafe Dekcuf – Ottawa, ON
10.13 – Rancho Relaxo – Toronto, ON
10.14 – Brighton Music Hall – Boston, MA
10.17 – Bar – New Haven, CT
10.19 – Ortlieb’s Jazzhaus – Philadelphia, PA
10.20 – The Rock ‘N Roll Hotel – Washington, DC
10.22 – Mayday Northside – Cincinnati, OH
10.23 – Garfield Artworks – Pittsburgh, PA
10.24 – The Grog Shop – Cleveland, OH
10.25 – Township – Chicago, IL
10.26 – 7th Street Entry – Minneapolis, MN
10.27 – The Rathskellar – Madison, WI

On “Dreamers,” the dance-laden lullaby and lead single from Savoir Adore’s new album Our Nature, Paul Hammer and Deidre Muro invite listeners into a magical dream world. Such worlds are nothing new to the fantasy pop duo, who inadvertently became a fixture of Brooklyn’s indie scene as the result of a dare. In 2007, as disheartened solo artists, they whimsically retreated out of the city to a rural studio with two rules: “48 hours. No acoustic guitars.” They returned with The Adventures of Mr. Pumpernickel and The Girl with Animals in Her Throat (Cantora), a concept-driven EP set in a fairy tale land that narrates the tragedy of Gloria and her unrequited love. On 2009’s full length In The Wooded Forest (Cantora), they expounded on the EP’s mythical landscape. But where Savoir Adore’s previous releases have surveyed these worlds at a distance, Our Nature zooms in, putting our inner landscapes and relationships at the core of every track. In that vein, the recordings themselves are intentionally more crisp, aurally expansive and intriguing.

After recording the 2007 EP, Muro and Hammer hastily forged the grammatically faulty French moniker Savoir Adore for a MySpace page in order to share their experiments with friends. There was no turning back. The tracks caught on and made their way to Cantora Records, which released the EP as the duo began to work on a full length record. With the release of 2009’s In The Wooded Forest, the New York music press embraced Savoir Adore and set them on a path to expand their audience nationally and internationally. NME hailed Savoir Adore’s sound “musically and lyrically brave,” and Nylon praised it as “irresistibly melodic indie pop.” In 2009 and 2010, The L Magazine and The New York Post both named the band to their top bands to watch lists. Adding band members Tim McCoy (drums), Gary Atturio (bass) and Alex Foote (guitar), who took part in Our Nature’s recording process, the band shared the stage with MGMT, Los Campesinos, Oh Land, and Toro Y Moi.

In the summer of 2010, the band toured the UK and France, including shows at Koko/Club NME and The Secret Garden Party. Their songs have been featured in various commercials (Almay, Citi, Yoplait), TV shows (Pretty Little Liars, Drop Dead Diva, Huge) and video games (Kinect Adventurer). During the 2012 Academy Awards, Tide premiered its new Tide Pods campaign featuring Savoir Adore’s cover of Men Without Hats’ “Pop Goes the World” (available on iTunes).

In late 2011, Savoir Adore offered a sneak peak of Our Nature, releasing “Dreamers” as a 7” on Neon Gold Records. With the release of the full album in 2012, Savoir Adore will hit the road to promote Our Nature and invite listeners, if only for night, into their magical realm.


Lonesome Dreams, the first full-length album from rising LA-based band Lord Huron, will be released October 9th on the independent label IAMSOUND Records. NPR First Listen is streaming Lonesome Dreams in full all this week praising the debut as “…wide-open and ambitious, but also giddy and unpredictable.”

Lonesome Dreams | NPR Premiere

The first single off the new release, “Time to Run” recently premiered on Pitchfork and the video for the track premiered on NPR Music. Lord Huron toured extensively throughout 2011, including stops at SXSW, Outside Lands and Lollapalooza, while continuing to develop their live performances. The band is currently on a national tour that concludes in Los Angeles on November 2nd at The Echo. Full tour dates are below.

Lord Huron is a musical and visual project created by lead-singer and Michigan native-turned-Angeleno Ben Schneider. Originally a solo project by Schneider under the alter ego Lord Huron, collaborators now include Mark Barry (percussion, vocals), Miguel Briseno (bass, percussion), Brett Farkas (guitar, vocals) and Tom Renaud (guitar, vocals). Lonesome Dreams follows the band’s 2010 release of The Mighty EP, which was met with praise by NPR, Pitchfork, and The Los Angeles Times.

Lord Huron Tour Dates:
October 2 Denton, TX Dan’s Silverleaf
October 3 Austin, TX Stubb’s BBQ
October 5 Atlanta, GA Drunken Unicorn
October 6 Chapel Hill, NC Local 506
October 7 Washington, DC Black Cat Backstage
October 8 Philadelphia, PA Kungfu Necktie
October 9 New York, NY Mercury Lounge
October 11 Allston, MA Great Scott
October 12 Brooklyn, NY Glasslands Gallery
October 13 Buffalo, NY Mohawk Place
October 15 Chicago, IL Schubas
October 16 Minneapolis, MN 7th Street Entry
October 18 Denver, CO Larimer Lounge
October 19 Salt Lake City, UT Kilby Court
October 20 Boise, ID Neurolux
October 21 Seattle, WA Barboza
October 22 Portland, OR Doug Fir Lounge
October 24 San Francisco, CA The Independent
November 1 San Diego, CA Casbah
November 2 Los Angeles, CA The Echo

“Gut-level, emotive songwriting that hits directly and honestly.” -Pitchfork

“What sets the project apart is the level of their craft and the feeling of travel and discovery in the lyrics and sound.” -LA Weekly

“Best of What’s Next” -Paste

Guided By Voices Announce New Album

This is the reunited Guided By Voices’ third album of 2012, in case you had lost count. Many bands struggle to release three albums in their career, never mind three in one year. It would be one thing if these were tossed off lo-fi affairs of the sort one might expect from the fellows who made the defining records of that so-called genre, Bee Thousand (1994) and Alien Lanes (1995). While the debut from the reunited “classic” line-up, Let’s Go Eat The Factory, contained it’s share of basement gems, both that record and its follow-up Class Clown Spots A UFO are notable more for the preponderance of properly recorded rock, a testament to the years bandleader Robert Pollard has spent refining both his songwriting and his approach to recording.

The Bears For Lunch is not a great deal different in that regard, but right off, from the opening track “King Arthur the Red,” with its full-throated riffery, slam-tastic drums, and even some show-offy lead guitar shredding, it’s evident that GBV Mach 2 may just now be hitting its stride. The progression is not dissimilar to the one the band made from Alien Lanes to its 1996 high-water mark Under The Bushes, Under The Stars, both in terms of longer, more fleshed-out songs and let’s call it a semi-pro approach to recording fidelity. For all the well-deserved acclaim the first two records this year have garnered, Bears is a step up in every sense. This isn’t to say there’s a whole lotta gloss going on, and certainly the album has its share of more casually considered songs, but from the relentless drum figure that fuels sure-fire-live-staple and obvious single “Hangover Child” (“the best thing Kevin ‘s ever played” sez Pollard) to the chugging, melancholic, melody-mad “White Flag” (“I think you know this time it’s real,” sings Bob over an almost New Order-ish bass line) to the propulsive, early-R.E.M.-inflected album closer “Everywhere Is Miles From Everywhere,” the 19-song 43-ish minute long Bears delivers a gut-punch as sure and assured anything the band’s ever dished out. And that’s without mentioning the stellar contributions of Tobin Sprout (“The Corners Are Glowing” and “Waving At Airplanes” are particular standouts), bouts of unrestrained whimsy like “The Military School Dance Dismissal,” featuring what sounds like seven tracks of Pollard singing in unison/harmony over a Beatle-esque piano line, or the staggering work of heart-breaking genius “You Can Fly Anything Right.”

Add to this Pollard’s two excellent 2012 solo albums, a raft of festival appearances and some club touring, and you have possibly the most consistently productive output in one year ever from a band and a songwriter already noted for its/his insanely prolific nature. That said, in a year of highlights, The Bears For Lunch may well take the most cake.

Slim Twig’s “Altered Ego” Video

Paper Bag Records is excited to have released the new album from the ever-morphing Slim Twig in North America on CD, LP and DL. Sof’ Sike is a dramatic follow-up to 2009’s Contempt! and replaces analog drum machines and scratched record samples with the psychedelic rumblings of live instrumentation: pianos, organs, guitar, bass, drums.

Out of the murky and demented inspiration of Slim Twig’s previous releases we can now hear the sound of a promising young songwriter. Although as idiosyncratic as ever, these new songs showcase an interest in classic songwriting, a fondness for psych-era Rolling Stones, an affinity with the queer power pop of R. Stevie Moore – in short, an odd friendliness (of sorts). Sof’ Sike is a diverse collection of songs, and with its restless approach to genre and uncontained enthusiasm for pop, can be viewed in the lineage of records like The Who’s Sell Out, or Spark’s A Woofer In Tweeters Clothing.

Slim Twig has torn through enough ideas and styles to finance a fistful of bands since releasing his first EPs in 2008. These earlier explorations include the prescient flirtation with an avant-rockabilly sensibility on Vernacular Violence (2008), and his full-length debut, Contempt!, a re-appropriation of off-kilter sampling techniques gleaned from the RZA and Madlib, and presented in a decidedly un-Hip Hop-like format. The latter record stands out as one of the most strangely singular records released on a major Canadian indie label, and as an unsung pre-cursor to the solo, sample-based, oddball pop that by 2012, has become commonplace.

2012 also sees the release of a wealth of new Slim Twig material. Appropriately for an artist as diversely prolific as Slim, the coming months will see two full-length album releases, as well as a 12”-split on Clan Destine Records with blog-favourite pals, Dirty Beaches, Ela Orleans, and U.S. Girls. Slim Twig’s work for U.S. Girls debuted with the a split 7″ and fully blossomed with their collaboration on 2011’s critically acclaimed, U.S. Girls on Kraak. 2012 further establishes Slim’s role as producer as FatCat prepares the release of U.S. Girls latest record, an unabashed foray into pop & glam, recorded, produced and mixed by Slim Twig. Fun fact: Slim Twig and U.S. Girls are married and live together in Toronto. They will tour Europe together later this year.

Steelesque Is Meta-Rocking With Johnny On The Spot

A quick way to describe the sound of the June 2012 release “Johnny On The Spot” is the word “Olympian,” both in the sense of athletic power-lifting and in the sense of large columns of marble (i.e. “rock”). But it isn’t in your best interest to be too hasty in trying to describe what Rob Eldridge and Josh Egan are doing in this first major offering under the banner of Steelesque. The equation that Steelesque’s super computer is running on is dense and deserves the time to decode carefully.

The overdrive energy of the two-man guitar and drum front might remind a bit of a Black Keys arrangement, however the soundscape varies way beyond the heavy-handed, gin-joint persona of that duo. Also on this album, recorded in studio time split between the Pittsburgh and Burlington Vermont are guest musicians Mick Lykens (lead and slide guitar), Eric Bee (guitar), and Kevin Maurer (with an impressive mix of horns). This addition of artists makes one track to the next an adventurous shift. In fact, the variation of influences makes it difficult to identify a signature in the sound of Steelesque, but this more than resolves itself in the fact that the songs are unlimited by any formulaic approach. In a sense, Johnny On The Spot has the feel of a greatest hits album for what Steelesque can do with the wide range of licks and lyricism at their disposal. The predominant vibe of what emerges is an unapologetic rock-homage to rock-itself.

By way of a run-list of what you might listen for: Big board effects on vocals and crazy amped guitars (not loud or dramatically distorted, but crazy good in the effect combinations that are fitted together); Occasional wild background recordings and sound bites; Some British festival rock qualities that lean toward jam band aspects (particularly in track 3, “Life Fast Wheel,” which takes off flying like a neo-Dead track or Lotus/Phish piece); Some old-school country guitar popping up in the midst of smoothly syncopated vocals on track 4, “Raven Don’t Mind;” Well engineered cross-fading, big electric rift-outs on several tracks as well as a quirky Apple Studios-style spoken word and electric drift-in on the sixth/final track “Dead Bee;” J.R.R. Tolkien fan-boy references on the Rush-spirited track 5, “Tom Bombadill;” and, Overall, cool variations in lyrical/vocal mood and color from song to song – sometimes a bit Robin Trowery, sometimes a bit Alice Cooperish, sometimes a bit Bowiesque. If that all sounds a bit tour de force, it’s because it really is.

To express the resounding effect of Johnny On The Spot I have to give a personal association that became obvious to me while listening. My brother beat the snot out of me on a somewhat regular basis growing up, but he more than made up for it by introducing me to the breadth of Classic Rock (from AC/DC to Zappa) before it was called “classic.” Although he listened to a wide array of artists, he was discriminating in his rock interest, even down to the finer distinctions between bands like RATT, Twisted Sister, Quiet Riot, and WASP. I mention this because, as far afield as Steelesque’s Johnny on the Spot is from being a glam rock product, you can nevertheless hear a studied ear of rock-at-large working in the instrumentation and structure of each track on the album. When I consider the virtues of rock songs I often ask myself if my big brother would like it. He lives in the Chicago area now, but when I send him Johnny on the Spot I know he is going to rock out this album in his Steeler-fied garage.

Steeleque’s Johnny On The Spot is available for sale on iTunes, and for test drive at: steelesque.bandcamp.com or Spotify.


“Floating Action is the sound of the space between worlds…it is still sunny out but you can also see the moon.”
– Jim James, My Morning Jacket

“…gorgeous melodies and scrappily fuzzed out tones that radiate a vinyl warmth that somehow immediately instills a feeling of nostalgic happiness.” – Sean Moeller, Daytrotter

“a folk-tinged collection of rock numbers heralded by the single ‘Not What I Came For.’ This [remix] version of the track is a redux from James himself, who has infused the song with a spaced-out, hypnotic sensibility.” – RCRD LBL

Floating Action has released a remix of the song “Not What I Came For” by My Morning Jacket front man Jim James. The original track comes from Floating Action’s fifth album Fake Blood, released on September 4th via Jim James’ label, Removador Recordings & Solutions (as a co-release with Harvest Recordings in Asheville, NC).

RCRD LBL premiered the remix and are calling this version “a redux from James himself, who has infused the song with a spaced-out, hypnotic sensibility.”

“Not What I Came For” (Jim James Remix) is available for free download at RCRDLBL.com and on the label’s site Removador.com.

Floating Action – Not What I came For from Robbie Francis on Vimeo.

Floating Action is Seth Kauffman, a red bearded Blue Ridge mountain-biking brother who has made five records on which he writes, records and plays all the instruments himself. The music of Floating Action reflects the relativity and natural laws gleaned from immersion in Kauffman’s abundant outdoor activities, as well as a high standard for originality and overall quality. Seth is a pro-level mountain biker and snowboarder who longboards, hikes and spends way too much time on trails in the mountains. Jim James became a fan of Seth’s previous record Desert Etiquette – an album he calls “a relatively unknown masterwork of our times.” Floating Action has released four albums to date, two of which were released on Park the Van Records.

Floating Action Tour Dates
9/26 Knoxville, TN at Pilot Light
9/27 Raleigh, NC at Kings Barcade
9/28 Charlottesville, VA at Random Row Books
9/29 Scranton, PA at The Bog
9/30 Philadelphia, PA at Kung Fu Necktie
10/1 New York, NY at Mercury Lounge
10/3 Boone, NC at Boone Saloon
11/2 Columbia, SC at “Arts & Draughts” at Columbia Museum of Art
11/3 Asheville, NC at Emerald Lounge

Goes Cube Release What Ruckus EP, Benefit For Victims Of Gun Violence

From Goes Cube:

“The issue of gun violence has always been something that has resonated with us, particularly because the Goes Cube family has been directly impacted by it in the past. As with everyone else, the recent tragedy in Aurora horrified us, and broke our hearts. Reports of record gun sales immediately following the massacre saddened us further; as such an influx of guns into American homes represents so much more potential for tragic accidents, and purposeful violence. In the pursuit of positive change, and to help victims of gun violence, we worked with The End Records to compile an online-only EP. All proceeds from the sale of this EP will go to the Brady Center: a tax-exempt organization that assists victims of gun violence. No donations made to the Brady Center fund lobbying of any kind. This is not a political issue for us; it is a matter of attempting to prevent further gun deaths and injuries through education, responsibility, advocacy, and more.

The EP, titled What Ruckus, contains one track each from our two full-length albums, as well as tracks from the earlier, shall we say, more formative years of the band. Among these songs, two tracks from Beckon The Dagger God (a long sold-out EP, that was briefly distributed through Cordless Recordings), as well as two tracks that, before What Ruckus, were never formally released and available only on self-made one-off CDs for shows.

Hopefully, this will serve as an interesting look back as we prepare our next full-length album (for 2013). But more importantly, with our fans’ support, we hope it will assist those who have been harmed by guns and encourage more conversation about how to prevent any further deaths or injuries.”

Click here to order: http://fandistro.com/track/?grp=846937

The Intelligence Premiere Video For “(They Found Me in the Back of) the Galaxy”

The Intelligence have been a band / musical project since 1999. To date The Intelligence have released seven singles, five split singles, two EPs, seven albums and have made eight compilation appearances. I’ve probably even missed a couple. They join the ranks of artists like Thee Oh Sees and Ty Segall in the department of those whose output could be considered hyper-prolific or impossible to keep up with. That said, like the afore mentioned artists, with each release The Intelligence continue to evolve, grow artistically and top themselves. And, YES, you do need to keep up with all the releases.

On “Everybody’s Got It Easy But Me’ The Intelligence do indeed top themselves. Like their last album, “Males” from 2010, they have returned to The Hangar with Chris Woodhouse to record. As with “Males” they seem to continue to jettison their previous deliberate blown-out, lo-fi recording approach for a much clearer sound. Not that there’s any give-up in intensity. The band’s scrambling post-punk guitars, its straight-up, dry-as-a-bone drums, its laconically abstract verses are all here, just viewed through an unusually clear lens. If you didn’t have the songs or the chops this sort of thing could reveal some weaknesses but, in this instance, it showcases Lars Finberg’s knack for writing catchy songs, which incorporate pop hooks, metronomically repetitive guitar riffs and new wavey synth moves.

For those who haven’t been paying attention, “The Intelligence” are the brainchild of Lars Finberg (former of the A-Frames, currently of Thee Oh Sees and Wounded Lion). The Intelligence began as a studio project in which Finberg played all instruments on his home recordings. As the band began to play live and tour the releases have volleyed between full band recordings and Lars layering all tracks himself. On “Everybody’s Got It Easy But Me” Finberg has gone for a mixed approach. Having recently relocated to Los Angeles, Lars assembled an LA line up of the band. Still spending much time at the band’s original home base of Seattle, he has retained a separate line up in that city as well. For this new album he has used them both….as well as doing some songs all by himself. He also invited a number of guests to come in and add to it. The result is the most varied yet cohesive Intelligence album to date.


Suckers Premiere “Turn On The Sunshine” Video (Feat. Das Racist’s Dapwell) On Stereogum

Besides being a signature song for Suckers, “It Gets Your Body Movin’” is a mission statement for the band as well. Ever since coalescing in Brooklyn four years ago, they’ve been restless experimenters, thriving on creative momentum. And while the trio’s just-completed sophomore album Candy Salad, out now on Frenchkiss, is a remarkable progression from their auspiciously far-flung debut Wild Smile, it’s every bit as indicative of how they’re powered by the uncertainty of paradox. It’s a more mature work than Wild Smile, mostly because of its directness and simplicity. It has a warmer sound than their past releases, resulting from hours upon end of intense studio work, but still retains a refreshing, almost effortless feel that instantly draws in the listener.

And that’s essentially the story of Suckers: instantaneous impact that can obscure the tremendous evolution that preceded it. Vocalists Austin Fisher and Quinn Walker grew up down the road from each other in the alternately enlightened and grim environment outside of New Haven, CT, while enigmatic bassist/utilityman Pan lived about twenty minutes away. Though raised in the shadow of Yale, the three were inspired to seek the kind of cultural stimulus one could only acquire hours away in New York City. Upon arrival, they soon immersed themselves fully in the city’s unpredictable and volatile intersection of art and music –Fisher would spend off hours working at the Guggenheim and the Metropolitan Museum of Art, while Walker released a solo double-album to considerable underground acclaim on Voodoo-Eros, the label run by influential avant-pop band CocoRosie.

And while those early days of hashing out material previously written by Fisher and Walker were formative, it wasn’t until they started composing from scratch as a trio that Suckers truly began to take shape. The first song they wrote together became “It Gets Your Body Movin’,” an infectious singalong that detonated on contact in the blogosphere, a timeless song that began their incredibly timely trajectory within the internet’s hype cycle.

It would become the linchpin of their 2009 self-titled EP, produced by Anand Wilder of Yeasayer, and a crucial document of where the band was in that still fetal stage. Fisher rightfully calls the time between the EP and their 2010 debut Wild Smile “a blur,” which culminated with the band being the toast of SXSW after wowing the festival with their kinetic live performances, Walker’s stratospheric falsetto and uncanny, wildly colorful stage presence. You could hear hints of the twitchy experimentalism of Talking Heads, David Bowie’s flamboyant persona and a vocal range that spanned from Kate Bush’s spectral incantations to Bono’s populism, and though referential of Walker and Fisher’s idols, it sounded like little else. As Fisher puts it, “if we think something is starting to sound overtly like another band, we change direction.”

Indeed, the immensely tuneful and lyrically ambitious Candy Salad represents such a marked change in direction that even Suckers’ older records aren’t subject to the band’s aversion to replication. Unlike Wild Smile, which featured songs culled together from various studio sessions, the band hunkered down at Vacation Island in Williamsburg with Matt Boynton (Black Dice, MGMT). The intent was to formulate something more cohesive and warm and from the majestic Brit-pop of “Lydia” to the charging Eno-esque “Figure It Out,” to “Going Nowhere,” their most straightforward song to date despite removing the bass “When Doves Cry”-style, they’ve achieved something totally new for the band while maintaining the buoyancy and pop smarts of Wild Smile. Obviously, they can’t wait for their fans to hear it, partly because they want to share it – Walker hopes you love it, Fisher hopes you get the lyrics tattooed on your back and Pan hopes it makes mom proud – and partly because they’ve already got their sights set on what’s next, perpetual bodies in motion.

Click Here To Listen To “Chinese Braille” On Pitchfork

Click Here To Download “Turn On The Sunshine” On Pitchfork