TRUST Premieres ‘Capitol’ On Gorilla Vs. Bear

Gorilla Vs. Bear names Capitol “a soaring chorus-of-the-year contender.”

Listen To ‘Capitol’ On Gorilla Vs. Bear!

TRUST is the musical project of Toronto artist Robert Alfons.

After years of extensive touring, and garnering glowing praise from top international critics at Pitchfork, VICE, and The Guardian UK for the 2012 Juno-nominated debut album “TRST”, the follow up album “Joyland” will be released by Arts & Crafts on March 4, 2014.

“Joyland” is an eruption of guts, eels, and joy.

Watch The ‘Rescue, Mister’ Video On Noisey!

Listen To The Null Remix Of ‘Rescue, Mister’ On Stereogum!

Listen To The Physical Therapy Remix Of ‘Rescue, Mister’ On V Man!

Listen To ‘Rescue, Mister’ On Pitchfork! 

 

Praise For Trust:

“On “Capitol“, Robert Alfons’ dark, ominously sulking synthpop explodes into a soaring chorus-of-the-year contender that’s cathartic and life-affirming and very hard not to spontaneously dance to every time” –Gorilla Vs. Bear

“”Rescue, Mister” features a slightly clarified sound compared to TRST’s grinding grit, with some impressive vocal acrobatics from Alfons.” – Pitchfork

““Rescue, Mister” is harder and clubbier and more concrete than anything on TRST, but it keeps some fundamental darkness intact.” -Stereogum

“‘Rescue, Mister’ proves that Alfons’s lost none of his synth craftmanship, sending disco-pop through a crazed, futuregasm vortex.” – This is Fake DIY

“Moody, skulking pop that reminisces downcast ’80s dance at its best.” – FADER

“Trust, is another one of those breaking Canadian acts that seems to have appeared fully-formed with a heap of brilliant, deviant, electronically infused tracks” — NOISEY

“’Rescue, Mister’ like the whole album, puts a gothy spin on house pop, courtesy Alfons’ rather sinister vocal style.”–Brooklyn Vegan

““While Trust is seemingly delivering the same kind of emotional experience, it’s a formula that’s been retooled with extra lethal results.” –Consequence Of Sound

“the sort of gloomy synthpop that’ll make you want to smoke cigarettes, rim your eyes with kohl and dance jerkily in the dark basement of a Berlin warehouse.” –NME [UK]

“mix of Depeche Mode-esque synth riffs mixed with Alfons’s murky baritone.” –The Guardian [UK]

Pre-Order “Joyland” Here!

“Joyland” Track Listing:

1. Slightly Floating
2. Geryon
3. Capitol
4. Joyland
5. Are We Arc?
6. Icabod
7. Four Gut
8. Rescue, Mister
9. Lost Souls/Eelings
10. Peer Pressure
11. Barely

US Tour Dates With Mozart’s Sister:

Mar 7  Montreal, QC | SAT
Mar 8  Toronto, ON | Adelaide Hall
Mar 12-16 Austin, TX | SXSW
Apr 10  New York, NY | Le Poisson Rouge
Apr 11  Boston, MA | Great Scott
Apr 12  Philadelphia, PA | Voyeur
Apr 13  Washington DC | Black Cat Backstage
Apr 15  Durham, NC | Pinhook
Apr 16  Atlanta, GA | Drunken Unicorn
Apr 18  Dallas, TX | Club Dada
Apr 19  Austin, TX | Red 7
Apr 22  Phoenix, AZ | Rhythm Room
Apr 23  San Diego, CA | Soda Bar
Apr 24  Los Angeles, CA | Los Globos
Apr 25  San Francisco, CA | Popscene
Apr 27  Portland, OR | Doug Fir Lounge
Apr 28  Seattle, WA | Barboza
Apr 29  Vancouver, BC | Electric Owl
May 2  Minneapolis, MN | 7th St Entry
May 3  Madison, IL | The Frequency
May 4  Chicago, IL | Empty Bottle

 

TRUST Website
TRUST Facebook
TRUST Twitter
TRUST Soundcloud
Arts & Crafts Website

Pitchfork exclusively premieres Incan Abraham “Concorde” – album out 4/8

Pitchfork Exclusively Premieres The First Track “Concorde” HERE 

National Tour Starts on 2/9 in San Francisco + SXSW
(details below)


photo credit: Dan Busta

“…some Grizzly Bear harmonies, spindly Beach House guitar figures, and Tame Impala psych wiggles. More overtly “pop” than its predecessor without leaning on pop signifiers…the song’s a luxurious thing that makes forward progress seem pretty effortless.” – Pitchfork

Friends since kindergarten, the members of Incan Abraham (Giuliano Pizzulo, Teddy Cafaro, Spencer Mandel) channel their fingerpainted past in their debut LP, fusing Lost Boys tribal energy with guitar, synth, and harmony vocal soundscapes that arc and circle like bikes in desert washes. After spending college marooned on opposite coasts, the friends reunited on a whim in a secluded house in upstate New York for a weekend that turned into a month spent writing music and contemplating their shared histories of childhood escapism and pop nostalgia.

Returning to their native Los Angeles, they seasoned their sound in the arid air and eclectic east side music scene, until a fateful encounter with their producer-to-be and sonic sherpa Lewis Pesacov (Best Coast, FIDLAR, Fool’s Gold).  The resulting album Tolerance will be released on April 8th on White Iris Records.

Today, Pitchfork exclusively premiered their single “Concorde”, which you can hear HERE. Now, after hyped performances at festivals (SXSW, CMJ, and Desert Daze) and three critically acclaimed EPs (Springhouse, JAXart 2012), the foursome is set to tour starting February 9th in San Francisco and share their upcoming album in a live setting and will play multiple times at Austin’s SXSW.

Incan Abraham:
Teddy Cafaro (Vox/Guitar)
Spencer Mandel (Bass)
Giules Pizzulo (Vox/Keyboard)
Andrew Clinco (Drums)

Incan Abraham Tour Dates:
2/9 – San Francisco, CA @ Hotel Utah
2/10 – Portland, OR @ Mississippi Studios
2/11 – Seattle, OR @ Chop Suey
2/12 – Boise, ID @ Neurolux
2/16 Salt Lake City, UK @ Kilby Court
2/17 – Denver, CO @ Larimer Lounge
2/18 – Kansas City, MO @ Riot Room
2/19 – Minneapolis, MN @ 7th Street Entry
2/20 – Chicago, IL @ Schubas Tavern
2/22 – Toronto, ON @ Drake Hotel
2/24 – Philadelphia, PA @ Boot & Saddle
2/26 – Brooklyn, NY @ Baby’s All Right
3/3 – Raleigh, NC @ Slim’s
3/5 – Charleston, SC @ Tin Roof
3/6 – Savannah, GA @ Savannah Stopover Music Festival
3/8 – 3/16 – Austin, TX @ SXSW (details to come)
3/20 – Phoenix, AZ @ The Western

Incan Abraham Tolerance out 4/8 US on White Iris
01. Midwife
02. Concorde
03. Forgiveness
04. Tram
05. Tuolumne
06. All You Want
07. Desert Hold
08. Peers
09. Spring House
10. Tolerance

iTunes pre-order: http://smarturl.it/b9qpxq
Vinyl pre-order: http://bit.ly/1cg1Jnz

http://incanabraham.com/
https://soundcloud.com/incan-abraham
https://www.facebook.com/incanabraham
https://twitter.com/IncanAbraham
White Iris Records

PINKISH BLACK streaming new album on PITCHFORK

Fort Worth’s post punk doom masters PINKISH BLACK are streaming their sophomore effort RAZED TO THE GROUND, via Century Media, on Pitchfork today. To get the full understanding and emotion of this band, the full album stream is the way to go. Our friends at Pitchfork have the stream here…

 

http://pitchfork.com/advance/210-razed-to-the-ground/

 

 

PINKISH BLACK will be doing a full U.S. tour with KYLESA next month in support of RAZED TO THE GROUND. Here are the dates.

 

KYLESA Tour:

10/1 Athens GA @ 40 Watt Club

10/2 Birmingham AL @ Bottletree

10/3 Nashville TN @ Exit/In

10/4 Little Rock AR @ Downtown Music

10/6 Dallas TX @ Club Dada

10/8 San Antonio TX @ Korova

10/9 Austin TX @ Red 7

10/10 Tucson AZ @ The Rock//SW Terror Fest

10/12 Tempe AZ @ Yucca Tap Room

10/13 San Diego CA @ Brick By Brick

10/14 Los Angeles CA @ Echoplex

10/15 Oakland CA @ Oakland Opera House

10/16 Sacramento CA @ Harlow’s

10/17 Portland OR @ Star Theater

10/18 Olympia WA @ Capitol Theater

10/19 Missoula MT @ The Palace

10/20 Rapid City SD @ Johnny Billiards

10/22 Milwaukee WI @ Cactus Club

10/23 Detroit MI @ Smalls

10/24 Newark DE @ Mojo Main

10/25 Brooklyn NY @ Saint Vitus

10/26 Springfield VA @ Empire

10/27 Richmond VA @ Strange Matter

 

PINKISH BLACK online:

http://www.facebook.com/pinkishblackband

AUTHOR & PUNISHER: New Track Premiere Hosted By Stereogum

author-and-punisher

 

Propagated by iconic sound manipulator/engineer/former robotics majorTristan Shone, AUTHOR & PUNISHER relentlessly challenges the traditional principals of doom, industrial and heavy bass music. Shone paints traumatic portraits of sonic contortion through mechanical use, abuse and maniacal decomposition.

His latest ode comes in the form of “Women & Children,” the title track of AUTHOR & PUNISHER’s upcoming fifth full-length, set for detonation this June. In anticipation of its release, the fine mischief makers at Stereogum are offering up an exclusive stream of the tune.

Describes Shone: “‘Women & Children’ is a sullen voyage from the beginning to the end of time, from primordial bliss to devastating chaos. That’s how it feels to me anyway.”

Adds Stereogum: “Shone’s apocalyptic noise blends elements of industrial, doom, and dubstep, and contorts that mass into some chilling, unrecognizable form… We’ve got the album opener/title track for you today, and it’s fantastic: It opens with the sound of electronic cicadas chirping over an empty dystopia, and soon, the low end (synths? bass?) comes to the surface, along with Shone’s distant, distorted vocals. When the track finally explodes — and especially when it moves into its massive final two minutes — it sounds like an amped-up version of El-P’s most discomfiting and narcotic beats, like an invasion or a riot (giving its title an especially morbid undertone).”

Lose your soul for approximately six-and-a-half minutes at THIS LOCATION.

If you missed it, you can still hear “In Remorse” courtesy of Pitchfork HERE, where you’ll also find in in-depth interview with Shone.

Iconoclastic in the truest sense of the word, Tristan Shone inverts the tenets of doom metal completely, relying on cold steel and soulless machinery to sonically replicate the despondency of life. Described most succinctly as “industrial doom,” this one-man project utilizes primarily custom designed and fabricated machines and speakers, devices that draw heavily on aspects of industrial automation and robotics and focus upon the eroticism of interaction with machine. The machines are designed to require significant force from the performer, aligning he/she with the plodding doom-influenced sounds that are created. AUTHOR & PUNISHER has performed with and shown these machines extensively at festivals and exhibitions in the United States and abroad.

Women & Children will be released via Seventh Rule Recordings on June 11, 2013.

“Once again the envelope has been pushed, the box stepped outside of and the tenants of doom and industrial have been refracted through the prism of the mind of a true innovator and they sound all the better for it. There are so few unique and wonderful things left in music, but AUTHOR & PUNISHER truly is one of them.” –The Sleeping Shaman

http://www.tristanshone.com
http://authorandpunisher.bandcamp.com
A&P Facebook
http://www.seventhrule.com

MOUTH OF THE ARCHITECT Debut New Song on Pitchfork

 

 

Available June 25th on Translation Loss Records – Pre-Orders Up Now!

This year marks the ten year anniversary of the undeniably spine-crushing band MOUTH OF THE ARCHITECT. While many have anticipated the apocalypse in 2012, MOTA has been accurately predicting and creating the soundtrack for such a disaster since 2003. There is perhaps no better way to celebrate such a milestone than by releasing a new face melting full-length record, and MOTA has never failed in that regard.
 

Today MOTA has teamed up Pitchfork to premiere the first track from the band’s new album Dawning.  The song entitled “It Swarms” can be heard HERE.  Dawning is available for pre-order HERE.

 

In 2004 they released “Time and Withering” with great success and followed up with a split CD alongside another Dayton, OH based band, KENOMA. After releasing the critically acclaimed “The Ties That Blind” in 2006 and the beautifully devastating “Quietly” in 2008, the band underwent about a million member changes before releasing “The Violence Beneath” EP in 2010.

 

The current lineup consists of drummer Dave Mann, guitarists and vocalists Steve Brooks and Kevin Schindel, keyboardist and vocalist Jason Watkins, and bassist Evan Danielson. The band plans to celebrate its ‘most glorious birthday’ by releasing a psychedelic-tinged sludge-rock masterpiece. Remaining under the long time label support of Translation Loss Records, their new album Dawning bludgeons its way to the top of their long catalog of doom rock greatness. These dudes last proved their heavy-metallic weight in gold when they made it through a volcanic eruption to play the Roadburn Festival on their 2010 European tour in support of “The Violence Beneath.” This year these well-worn road veterans plan on bringing their incredibly loud and extremely hairy brand of post-metal to a venue near you in support of Dawning. Of course, you have to live in the northern hemisphere to get your chance to witness this rock ‘n roll spectacle.

 

In support of Dawning MOUTH OF THE ARCHITECT will be touring this summer with Intronaut and Scale the Summit. The Tour stars June 5th in Seattle, WA and runs through July 6thin Hollywood, CA. A complete list of dates can be found below.

 

Please check out www.mouthofthearchitect.com and www.translationloss.com for more information.

 

Dawning Tracklisiting:

1. Lullabye

2. It Swarms

3. Sharpen Your Eyes

4. How Will This End

5. Patterns

6. The Other Son

 

MOTA Lineup:

Dave Mann – Drums

Evan Danielson – Bass

Steve Brooks – Guitar & Vocals

Kevin Schindel – Guitar & Vocals

Jason Watkins – Keyboards &Vocals

 

MOUTH OF THE ARCHITECT on Tour with Intronaut and Scale the Summit:

6/5: Seattle, WA @ Highline

6/6: Vancouver, BC @ Rickshaw Theater

6/7: Calgary, AB @ Broken City

6/8: Edmonton, AB @ Pawn Shop

6/10: Winnipeg, MB @ Osborne Villae Inn

6/11: St. Paul, MN @ Station 4

6/12: Chicago, IL @ Double Door

6/13: Cleveland, OH @ Now That’s Class

6/14: Rochester, NY @ The Bug Jar

6/15: Brooklyn, NY @ Saint Vitus

6/17: Montreal, QC @ II Motore

6/18: Toronto, ON @ Wreck Room

6/19: West Chester, PA @ The Note

6/20: Allston, MA @ Great Scott

6/21: Baltimore, MD @ Metro Gallery

6/22: Charlotte, NC @ The Casbah @ Tremont Music Hall

6/23: Nashville, TN @ Exit / In

6/24: Atlanta, GA @ The Drunken Unicorn

6/25: Orlando, FL @ The Social

6/26: Tampa, FL @ Orpheum Theater

6/28: Houston, TX @ Fitzgerald’s-Downstairs

6/29: Austin, TX @ Red 7

6/30: Dallas, TX @ Club Dada

7/2: Santa Fe, NM @ Warehouse 21

7/6: Hollywood, CA @ Roxy Theater

Thee Oh Sees Premieres “Toe Cutter Thumb Buster” Video

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Click Here To Watch “Toe Cutter Thumb Buster” On Pitchfork

Tour Dates

5/3 –The Kazimir – Liverpool, UK
5/4 – Whelans – Dublin, Ireland
5/5 – Cathedral Quarter Arts – Belfast, Ireland
5/7 – Brudenell Social Club – Leeds, UK
5/8 – Clwn Ifor Bach – Cardiff, UK
5/9 – Scala – London, UK
5/10 – ATP – Cambersands, UK
5/11 – La Lune des Pirates – Amiens, France
5/12 – La Sirene – La Rochelle, France
5/13 – La Temps Machine – Tours, France
5/14 – I.Boat – Bordeaux, France
5/15 – L’Antipode – Rennes, France
5/16 – Exit 07 – Luxembourg
5/17 – Area 51 – Eindhoven, Netherlands
5/18 – Guess Who Festival – Utrecht, Netherlands
5/19 – Le Gran Mix – Tourcoing, France
5/20 – Trix – Antwerp, Belgium
5/21 – King Ludwig – Cologne, Germany
5/22 – Manufaktuur – Stuttgart, Germany
5/23 – Bad Bonn Kilbi Festival – Dudingen, Switzerland
5/24 – Marche Gare – Lyon, France
5/25 – Primavera Sound Festival – Barcelona, Spain
5/26 – Vilette Sonique Festival – Paris, France
5/28 – An Club – Athens, Greece
6/8 – The San Francisco Eagle – San Francisco, CA
6/21-6/23 – Sled Island Festival – Calgary, Alberta

BIO

We all know the type:  Prolific bands who commit every loose thought, stray idea and 90-second song fragment to tape. Bands who pay no attention to little inconveniences like “release cycles” or “self-editing,” and instead decide that quantity equals quality, creating a discography more labyrinthine, imposing and – ultimately – exhausting than the cast of creatures in a sci-fi novel.

Here is why none of that applies to Thee Oh Sees. Because each of the dozen-plus albums they’ve released since 2004 are possess a distinct personality and represents a different point along the path of John Dwyer’s slow transformation from auteur of woozy bare-bones four-track psychedelia to goggle-eyed garage rock marauder backed at long last by a band that both shares and stokes his singular vision. Because drop a needle on any record and – to their great credit – it takes several songs before you’re convinced it’s Thee Oh Sees. The seasick hundred-bottles-of-rum shanty “What the Driven Drink,” from 2007’s delirious Sucks Blood exists in a different galaxy than the rollercoastering “Chem-Farmer” from last year’s Carrion Crawler/The Dream; the doomy doo-wop of “Blood on the Deck” hardly seems like the product of the same band who delivered the yelping “Ruby Go Home” in 2009. And the band who made last year’s engrossing Putrifiers II seems like a distant cousin to the band delivering Floating Coffin — arguably the most varied and textured Oh Sees record to date.

“These songs occur in the mindset of a world that’s perpetually war-ridden,” Dwyer explains.  “Overall, it’s pretty dark, and much heavier than our other albums.” You can hear that sense of foreboding in “Toe Cutter – Thumb Buster,” which churns and sloshes like an ocean of ink, Dwyer’s ghostly falsetto an eerie contrast with the song’s sub-basement groove. “That one’s a song about war,” Dwyer explains, “It’s like people take less notice of those horrors anymore. Dark goings-on are so ever present that they can just wash over you every day.”

Chalk some of the band’s cunning chameleonic ability to Dwyer’s 20-year resume.  The driving force behind such beloved and sonically disparate bands as Coachwhips and Pink and Brown, Dwyer’s increased fidelity to Thee Oh Sees and only Thee Oh Sees is evidence of a newfound sense of purpose and focus. Where once Dwyer used to funnel his divergent artistic ideas through a host of different channels, lately he’s been finding ways to make all of those impulses function within the framework of Thee Oh Sees — who have in turn grown closer and tighter and sharper with each eye-popping, jaw-dropping live show. As Dwyer puts it: “The family that plays together stays together.”

That sense of unity is palpable throughout Floating Coffin. “Strawberries 1 + 2” is a blinding flash of sound, the band first locking tight into a frenetic, palpitating rhythm then downshifting suddenly into a loose, hypnotic drone. “I could have made the second half of this song last for hours,” Dwyer says. “This is another song that’s wary of the outside world, about humans staring down technology.” “Tunnel Time” opens with a short-circuiting synth sound before diving into haywire blast-furnace punk rock made more manic by Dwyer’s split-second hollers and howls. The skeleton waltz of “Minotaur,” which opens with Dwyer sighing, “Oil slick in my dinner,” gradually gives way to a distinct sense of optimism. “That one’s relatively less ominous,” Dwyer explains. “It’s about dream-hunting – being the person you feel you were meant to be.” That sense of release is summed up in a single lyric, which shows up just after a squad of swooping strings provides an impromptu serenade: “Stay home today – go to the beach instead.”

It’s moments like those that underscore just how unique this band is – each new layer of their persona that’s revealed only hints at the thousands that still remain. Floating Coffin is the next chapter in the story of Thee Oh Sees, the one where they fix their fury against the onrushing night. It’s another blistering demonstration of Thee Oh Sees greatest trick: they’re the only prolific band who doesn’t put out records often enough.

Links

Website
Facebook
Twitter

Thee Oh Sees Stream Full LP On Pitchfork

Click Here To Stream ‘Floating Coffin’ On Pitchfork

haha2.122552.141346

 

Tour Dates

04/05/13 Roxy Benefit Verdi Club – San Francisco, CA
04/14/13 Coachella – Indio, CA
04/21/13 Coachella – Indio, CA
6/21-6/23/13 Sled Island Festival – Calgary, AB

 

BIO

We all know the type:  Prolific bands who commit every loose thought, stray idea and 90-second song fragment to tape. Bands who pay no attention to little inconveniences like “release cycles” or “self-editing,” and instead decide that quantity equals quality, creating a discography more labyrinthine, imposing and – ultimately – exhausting than the cast of creatures in a sci-fi novel.

Here is why none of that applies to Thee Oh Sees. Because each of the dozen-plus albums they’ve released since 2004 are possess a distinct personality and represents a different point along the path of John Dwyer’s slow transformation from auteur of woozy bare-bones four-track psychedelia to goggle-eyed garage rock marauder backed at long last by a band that both shares and stokes his singular vision. Because drop a needle on any record and – to their great credit – it takes several songs before you’re convinced it’s Thee Oh Sees. The seasick hundred-bottles-of-rum shanty “What the Driven Drink,” from 2007’s delirious Sucks Blood exists in a different galaxy than the rollercoastering “Chem-Farmer” from last year’s Carrion Crawler/The Dream; the doomy doo-wop of “Blood on the Deck” hardly seems like the product of the same band who delivered the yelping “Ruby Go Home” in 2009. And the band who made last year’s engrossing Putrifiers II seems like a distant cousin to the band delivering Floating Coffin — arguably the most varied and textured Oh Sees record to date.

“These songs occur in the mindset of a world that’s perpetually war-ridden,” Dwyer explains.  “Overall, it’s pretty dark, and much heavier than our other albums.” You can hear that sense of foreboding in “Toe Cutter – Thumb Buster,” which churns and sloshes like an ocean of ink, Dwyer’s ghostly falsetto an eerie contrast with the song’s sub-basement groove. “That one’s a song about war,” Dwyer explains, “It’s like people take less notice of those horrors anymore. Dark goings-on are so ever present that they can just wash over you every day.”

Chalk some of the band’s cunning chameleonic ability to Dwyer’s 20-year resume.  The driving force behind such beloved and sonically disparate bands as Coachwhips and Pink and Brown, Dwyer’s increased fidelity to Thee Oh Sees and only Thee Oh Sees is evidence of a newfound sense of purpose and focus. Where once Dwyer used to funnel his divergent artistic ideas through a host of different channels, lately he’s been finding ways to make all of those impulses function within the framework of Thee Oh Sees — who have in turn grown closer and tighter and sharper with each eye-popping, jaw-dropping live show. As Dwyer puts it: “The family that plays together stays together.”

That sense of unity is palpable throughout Floating Coffin. “Strawberries 1 + 2” is a blinding flash of sound, the band first locking tight into a frenetic, palpitating rhythm then downshifting suddenly into a loose, hypnotic drone. “I could have made the second half of this song last for hours,” Dwyer says. “This is another song that’s wary of the outside world, about humans staring down technology.” “Tunnel Time” opens with a short-circuiting synth sound before diving into haywire blast-furnace punk rock made more manic by Dwyer’s split-second hollers and howls. The skeleton waltz of “Minotaur,” which opens with Dwyer sighing, “Oil slick in my dinner,” gradually gives way to a distinct sense of optimism. “That one’s relatively less ominous,” Dwyer explains. “It’s about dream-hunting – being the person you feel you were meant to be.” That sense of release is summed up in a single lyric, which shows up just after a squad of swooping strings provides an impromptu serenade: “Stay home today – go to the beach instead.”

It’s moments like those that underscore just how unique this band is – each new layer of their persona that’s revealed only hints at the thousands that still remain. Floating Coffin is the next chapter in the story of Thee Oh Sees, the one where they fix their fury against the onrushing night. It’s another blistering demonstration of Thee Oh Sees greatest trick: they’re the only prolific band who doesn’t put out records often enough.

 

 

Pitchfork Premieres New Ski Lodge Single ‘Just To Be Like You’

Listen To ‘Just To Be Like You’ Now Via Pitchfork!!!

Formed in 2011 by Andrew MarrBrooklyn band Ski Lodge returns with another installment of jangle pop perfection on Dovecote Records.  Following up their self titled 12″ EP release, Ski Lodge share their new single recorded and produced by Kevin McMahon (Swans, The Walkmen, Real Estate). “Just To Be Like You” finds Marr joined by Jared O’ConnellJohn Barinaga, and Tim McCoy.

Ski Lodge brings to mind the great tradition of C-86 bands (or even the other great band with a guitarist named Marr), but with a modern day East Coasttwist. Live they bring their incredible melodies and instrumental precision to the next level, do not miss them on the road.  Stay tuned for details on a forthcoming full length release!

Press Quotes:

“Ski Lodge’s songs are most impressive not for their simplicity or for their general vibes, but for their striking clarity and attention to detail, as well as hooks so strong you couldn’t ignore them if you tried.”–The L Magazine

“Think, Real Estate and The Smiths. Marr writes about nostalgic memories of youth on top of his indie surf jams.” — Earmilk

“Marr keeps things original with soulful, blues-y rhythms and melodies” — Wild Honey Pie

“Mixing a dash of The Smiths’ swagger with more wordly influences”–Soundbites NYC

Links:

Ski Lodge Website
Ski Lodge Facebook
Ski Lodge Twitter

Tour Dates:

 

March/ SXSW Dates

Mar 8th  Brooklyn, NY | Muchmores
Mar 9th  Philadelphia, PA | Cha Cha Razzi
Mar 10th Chicago, IL | Empty Bottle
Mar 13th SXSW  | Banners Day Party @ 12.30pm
Mar 16th SXSW I Hype Hotel @ 8pm

Tour With Chad Valley
Apr 26th  Seattle, WA | Barboza
Apr 27th Portland, OR | Doug Fir Lounge
Apr 29th San Francisco, CA | Bottom Of The Hill
Apr 30th Los Angeles, CA | The Echo
May 1st San Diego, CA | Soda Bar
May 2nd Phoenix, AZ | Rhythm Room
May 4th El Paso, TX | Lowbrow Palace
May 6th Dallas. TX | Three Links
May 7th Austin, TX | Holy Mountain
May 8th Houston, TX | Fitzgeralds

Parquet Courts Announce US Tour & Share New Track

Parquet Courts are headin’ down south to the Mecca of tacos, Austin, TX, for a flurry of shows at this year’s SXSW festival. After that, they’re heading overseas to the UK for their first-ever shows outside of North America (if the NME‘s 9/10 review of Light Up Gold is any indicator of people’s excitement over there, the shows should be pure madness). Following a little time off, the band will embark on their largest tour of the US yet, part of which will see them sharing the stage with killer Australian outfit Total Control. Dates are listed below.

 

Over the past 3 months, people have been discovering Parquet Courts’ Light Up Gold,and very quickly anointing it their favorite record of the year. They’re not alone, as The New York Times, Rolling Stone, Pitchfork, SPIN, NPR Music, The Guardian, Sound Opinions, and countless other publications and programs have joined choir. In short, this is one of those game-changing rock n’ roll records that people realize they’ll be listening to years from now. File it next to Modern Lovers and Marquee Moon, because Light Up Gold is here to stay. It’s out now on What’s Your Rupture?.

 

With the record being initially available since June, and with the wider release coming in January, people are understandably chomping at the bit for new music from the band. Well, wait not more. Here’s a b-side off their upcoming single for “Borrowed Time,” (What’s Your Rupture?) entitled “Smart Aleck Kid.” Revel in all one-minute-six-seconds of its glory. Order the 7″ here.

 

PARQUET COURTS TOUR DATES (INCLUDING SXSW):

 

Thu-March-7 New York,NY @ Bowery Ballroom w/ The Men *SOLD OUT*

Fri-March-8  Mexico City, Mexico @ Auditorio Blackberry w/ Mykki Blanco

Sat-March-9 Monterey, Mexico @ Festival Nrmal

Thu-March-14 Austin,TX  @ 1100 East 5th (Pitchfork SXSW Day Party) – 2:30pm

Fri-March-15 Austin,TX @ Mohawk (Ground Control Touring Official SXSW Showcase) – 12am

Sat-March-16 Austin,TX @ Red 7 (Chaos in Tejas Official SXSW Showcase) – 9:45pm

Sun-March-17 Dallas,TX @ Club Dada (Spillover Fest)

Sat-May-4 Philadelphia,PA @ PhilaMOCA

Sat-May-25 Washington,DC  @ The Black Cat w/ Total Control

Sun-May-26 Richmond,VA @ Strange Matter w/ Total Control

Mon-May-27  Atlanta,GA @ 529 w/ Total Control

Tue-May-28 Memphis,TN @ Murphy’s w/ Total Control

Wed-May-29 Denton,TX @ Rubber Gloves w/ Total Control

Thu-May-30 Austin,TX @ Chaos in Tejas

Fri-May-31 Austin,TX @ Chaos in Tejas

Sat-June-1 Austin,TX @ Chaos in Tejas

Mon-June-3 Phoenix,AZ @ The Rhythm Room

Tue-June-4  San Diego,CA@ Che Cafe

Wed-June-5 Los Angeles,CA @ The Echo

Fri-June-7 San Francisco,CA @ Rickshaw Stop

Sun-June-9 Oakland,CA @ 1234-GO Records

Mon-June-10 Davis,CA @ Davis 4th

Wed-June-12 Portland,OR @ Doug Fir w/ Naomi Punk

Thu-June-13 Seattle,WA @ Neumos w/ Naomi Punk

Fri-June-14 Vancouver,BC @ Media Club w/ Naomi Punk

Mon-June-17 Boise,ID @ Neurolux

Tue-June-18 Salt Lake City,UT @ Urban Lounge

Wed-June-19 Denver,CO @ Larimer Lounge

Thu-June-20 Omaha,NE @ Sweatshop

Fri-June-21 Minneapolis,MN @ Triple Rock

Sat-June-22 Madison,WI @ High Noon

Sun-June-23 Bloomington,IN @ The Bishop

Mon-June-24 Columbus,OH @ Ace of Cups

Tue-June-25 Detroit,MI @ Magic Stick

Fri-Aug-2 Happy Valley, OR @ Pickathon

Sat-Aug-3 Happy Valley, OR @ Pickathon

Sun-Aug-4 Happy Valley, OR @ Pickathon

 

 

PRAISE FOR LIGHT UP GOLD

 

“The Brooklyn-via-Texas band makes near-perfect post-college rock, merging sharp, twitchy post-punk (Wire, The Fall, Gang of Four, The Feelies) and sweet, slovenly early-Nineties indie rock, while nailing all the right 24-or-so themes – not knowing what to do with your life, not being as smart as you thought you were, realizing the world is much bigger and weirder than you’d previously imagined.” – Rolling Stone

 

“‘I was walking through Ridgewood, Queens/I was flipping through magazines/I was so stoned and starving,’ Andrew Savage rambles on ‘Stoned and Starving,’ a dry-wit post-punk number that could almost pass for a novelty song. That careful balance is on display throughout this album, heavy with bubbling, bulbous guitars by way of Wire, the singing and songwriting mostly split between Austin Brown and Mr. Savage, who are astute enough to write taut, smart lyrics, and self-aware enough to arch an eyebrow while maintaining the pose.” – The New York Times

 

“Warning: Parquet Courts’ Light Up Gold will induce uncontrollable ear-to-ear grinning” –Jim DeRogatis, Sound Opinions/WBEZ.org 4 out of 4 stars)

 

“Between the latter-day boho undertones, detuned guitar rave-ups, spaced-out wordiness, and low-fidelity sonics, it expertly mashes up Sonic Youth, Pavement, and Guided by Voices. Nothing out of the ordinary about any of those reference points, but Parquet Courts’ over-the-top energy, speed, and succinctness makes the combination sound fresher than anything the original elements have managed in years” – SPIN (8 of 10 SPIN ESSENTIAL)

 

“Parquet Courts’ Light Up Gold is a gel-capsule-sized dosage of distilled NYC punk rock: vinegary smarts, reeled-off quotables…and twiggy guitars. It’s maximum-attitude, minimum-patience: not just smart, but frantically smart, blurting out everything it might have to say before the time clock expires” – Pitchfork

“The acerbic lines Savage and Brown spit into the mic about everything from wandering through Queens bodegas (‘Stoned and Starving’) to nostalgia’s relationship with mortality (‘Borrowed Time’) invoke the old-fashioned idea of punk as something more than music.” – Village Voice

 

“Parquet Courts have produced a debut that’s both instantly addictive and lastingly rewarding: a smart, snappy concoction of worldly wisdom and garage-rock gratification.” –The Guardian (5 out of 5 Stars)

 

Parquet Courts Online:

http://parquetcourts.wordpress.com/

http://dulltools.bandcamp.com/album/light-up-gold

http://pitchperfectpr.com/a_pc.html

 

Emma Louise Premieres “Freedom” Track On Pitchfork

“There’s a certain kind of female that occupies a space in which she’s perpetually young and girlish but also wise and worldly. Goldie Hawn is one, and so is Jena Malone. When they’re young, they’re playful but seem ahead of their years because of a graceful ease, and when they’re mature they are both judicious and mischievous; always they give the impression of being oddly, beautifully not of their age in life. This ethereal mix of capability/vulnerability resides in Emma Louise…” Beat Magazine

Being fearless is often the hardest thing for an artist to do. Surrounded by expectation and anticipation many second guess themselves, take the safe option – but not Brisbane’s Emma Louise. Just a few years into a creative career already blessed with highlights, Emma Louise is an artist not just controlling her destiny, but reshaping expectations.

IMG_8292.161647.182313

And it’s a feeling that dominates her debut full length album ‘vs Head vs Heart’. Where some might try to stack the record with ready-made radio tunes, Emma Louise has created a collection of songs that offers so much more. Considered, focussed, unhurried and with real poise – the album showcases an artist who is determined not to miss the opportunity to do something genuine.  Emma Louise knows that hitting that mark can often just take a little time and patience – case in point she spent two months in late 2012 soaking up the sights and sounds of New York City. Aside from a couple of low key shows, her only plan was to live a little, challenge her outlook and channel a new perspective on the world into her music. ‘No rush, just let it happen’ was the plan.

That time in New York also gave her room to pause and reflect on what’s been a surprising few years. It wasn’t that long ago that Emma Louise was like so many young artists writing songs and uploading them online from her bedroom in the regional city of Cairns. Then, at just 16, came her star turn in the Queensland Music Awards and everything changed. She moved to Brisbane, immersed herself in the city’s creative community, and emerged with one of 2011’s most talked about EPs Full Hearts and Empty Rooms. Tucked within that impressive debut release was a track called ‘Jungle’ which went on to be one of the stand out songs of the year landing at #23 on the national Triple J Hottest 100 and helping propel the EP to ‘Gold’ status with sales of more than 35,000 copies. It’s an effort all the more impressive given the EP was a 100 per cent indie release, earning her a ‘Breakthrough Artist’ award at 2011’s national Independent Music Awards.

While ‘Jungle’ may have been the break out song, it was much more than that one track which built the feeling that this was an artist to watch. With a live show that swings between euphoric and heartbreaking anyone that connected with her music could see Emma Louise was truly something else. On stage Emma Louise does so much more than simply run through her songs – in stripped back duo format or with her full band she sees the stage as a chance to redefine her music and bring something new every time she performs. Little wonder then she has made an impact on audiences across the country where she has played her own run of sell out shows, while performing alongside artists from Boy and Bear to Josh Pyke, Missy Higgins and Gurrumul and just about every festival on the national circuit.

And it hasn’t been just Australian audiences that have connected with her music – standout shows around the globe including sets at South by South West, The Great Escape and CMJ Music Marathon New York were not only greeted by a rush of new fans, but helped secure her relationship with international labels Vertigo/Universal in Germany and the highly respected New York based Frenchkiss. Much more than just a career milestone, that overseas touring has broadened her horizons as an artist and opened a new world of possibilities.

Emma Louise is smart enough to know that having a breakout hit like Jungle brings with it as many challenges as it does opportunities. And that knowledge has never been far from her mind during the writing and recording of ‘vs Head vs Heart’. Produced in the Brisbane studio of Matt Redlich (Hungry Kids of Hungary, Ball Park Music) making the album has been an unhurried affair giving Emma Louise the space and time to try new ideas and stretch her imagination. Nothing was off limits. The first taste of the record came with last year’s single ‘Boy’ – a strikingly simple track that manages to straddle classic pop writing with a sense of understated exploration. The more you listen to that track, the more new layers keep revealing themselves – a theme that rings true across the whole album. Emma Louise doesn’t want to hit you over the head with big hooks, rather she wants her songs to draw you in, make you dig deeper and walk away with a lasting impression. Disposable is not in her vocabulary.

So, as 2013 dawns Emma Louise finds herself on the cusp of a new adventure. With the album due for release in May and plenty of touring around the world already on the cards, her life is about to take yet another new turn.  Anything but daunted, she is approaching it all with a calm assuredness – as the world spins around her, Emma Louise is exactly where she wants to be.

Links:

Facebook
Y
outube

Click Here To Listen To “Freedom” Track On Pitchfork

Tour Dates

LOS ANGELES
3/8 7PM – Hotel Café – Los Angeles, CA

SXSW AUSTIN
3/12 4.30PM – She’ll Be Right – BD Reilys
3/12 7PM – Madewell in-store
3/13 10PM – Frenchkiss Showcase – Lustre Pearl
3/14 12PM –  Austin SXSW Convention – Center Intrntional Day Stage 
3/14 8PM – WARP Showcase- Blackheart Bar
3/15 2.40PM –  Boostcase Showcase – Malverde Rooftop
3/15 7.00PM –  Hilton Showcase – Liberty Tavern
3/15 9.40PM –  Paradigm Showcase – Stubbs  
3/15 4.30PM –  Aussie BBQ – Maggie Maes

NEW YORK
3/19 7.30  – Rockwood Music Hall – New York, NY
3/24 5.20PM – Aussie BBQ –  Gramercy Park Hotel – New York, NY

TORONTO
3/21 9.40PM – Canada Music Week – Church Of The Holy Trinity-  Toronto, ON
‘vs. Head vs. Heart’ Tracklisting

17 Hours
Atlas Eyes
Boy
Stainache
Mirrors
Freedom
Braces
Jungle
Cages
Pontoon
To Keep Me Warm

Veronica Falls Premieres “Buried Alive” Track

Click Here To Listen To “Buried Alive” On Pitchfork

You may have had them tagged as goth-tinged pop fantasists, but with their much anticipated sophomore album Waiting For Something To Happen, Veronica Falls easily shrug off any notions of a difficult second album to create something that is easily more polished, more affecting, and more enduring than their peers would dream of making, and stake their claim as one of the most gloriously unpredictable and invaluable bands on the scene right now.

“You know, it’s really weird”, opines Veronica Falls’ honey-throated singer/ guitarist/ lynchpin Roxanne Clifford when asked about their media-conceived “goth pop” tag. “Because when you start a band, and you start writing songs together, you never think anybody else is going to hear them. You’re just kind of writing it for yourselves. Songs like “Found Love in a Graveyard” and “Beachy Head”, we thought they were playful and not serious at all…”

Veronica Falls are used to wrongfooting easy assumptions. Initially grouped with the explosion of lo-fi bands associated with the Captured Tracks scene in Brooklyn, the quartet of Clifford, drummer Patrick Doyle, fellow guitarist James Hoare and bassist Marion Herbain quietly released a series of limited edition, quickly sold out singles which gradually accrued them underground buzz and a cache of hopelessly devoted fans. Then they signed to Bella Union – one of the UK’s leading lights when it comes to independent labels – and released a blinder of a debut LP in 2011, one which trumped all expectations and rocketed the band to the covers of The Fly and Loud and Quiet and sold out gigs at the Scala. Casual listeners who just assumed that they just made pretty, pristine pop songs were forced to reevaluate their preconceptions when they examined the lyrics more closely – lurking beneath the glacial surfaces were lyrics about suicide and spectral love. Now, with their sophomore album, Veronica Falls look set to pull out the rug from under people’s feet yet again.

“Waiting For Something to Happen” sees the band emerge as one of the most potent and affecting, fully-formed indie guitar pop acts we have around. Beautifully mature and poignant, this marvellously assured second record sees the band throw off the casually morbid references to elegantly distill the essence of an aimless twentysomething existence – the collective anxieties, tension and confusion of moving from adolescence into fully fledged adulthood – into a set of immaculately conceived, perfectly wrought pop songs.

“I’d say the word “wistful” really describes the mood of the album”, Clifford muses. “We chose the album title because to me it captures what people our age are all going through”. Indeed, the emotional throughline, from the title down, is one of slowly coming to terms with the process of growing up and eventually learning to face adult responsibility, of leaving behind the safe haven of “driving late at night, I’ll let you listen to the music you like…everything’s alright” (as they sing on the dreamy, dewy-eyed “Teenage”), and then searching for a “shooting star to point me in the right direction” (“Shooting Star”). Far from retreading the playful atmosphere of the debut, the band here mine a much more rich, emotionally resonant vein, be it weariness with dead end social scenes (“So Tired”), or the fear of your peers moving on with their lives before you’re ready (“Everybody’s Changing”).

Musically too, this album sees the band evolve into a more poised and confident pop entity, the melodies bolder and songs more muscular. Recorded with Rory Attwell (who has worked with everyone from The Vaccines to Male Bonding), these are tracks which spin gorgeous, sun-kissed melodies across their tales of growing pains and romantic dysfunction. So there are deliciously askew pop belters in the form of “Buried Alive” and “Everybody’s Changing”, but there are also achingly tender moments present too, from the touching love song “Broken Toy” (“I am broken too, a broken toy like you”), to the gentle reverie “Daniel”, which strips the track to its barest essentials – shimmering guitar lines and perfectly harmonised vocals sighing, “nobody needs to know what we know, nobody needs to go where we go” to perfectly heart rending effect.

You may have had them tagged as goth-tinged pop fantasists, but with “Waiting For Something to Happen”, Veronica Falls easily shrug off any notions of a difficult second album to create something that is easily more polished, more affecting, and more enduring than their peers would dream of making, and stake their claim as one of the most gloriously unpredictable and invaluable bands the UK has right now. Clutch them close to your heart.

Recorded with Rory Attwell (Male Bonding, The Vaccines), Waiting For Something To Happen is a bold and deliciously assured leap forward which sees the quartet of Roxanne Clifford, Patrick Doyle, James Hoare and Marion Herbain easily throw off the tongue in cheek references to ghostly romances and suicides to elegantly distill the essence of an aimless twenty-something existence – the collective anxieties, tensions and confusion of moving from adolescence into fully fledged adulthood – into a set of immaculately conceived and perfectly wrought pop songs.

Indeed, the emotional throughline, from the title down, is one of slowly coming to terms with the process of growing up and eventually learning to face adult responsibility, of leaving behind the safe haven of “driving late at night, I’ll let you listen to the music you like” (as they sing on the dreamy, dewy-eyed “Teenage”), and then searching for a “shooting star to point me in the right direction” (“Shooting Star”). Far from retreading the playful atmosphere of the debut, the band here mine a much more rich, emotionally resonant vein, be it weariness with dead end social scenes (“So Tired”), or the fear of your peers leaving you behind before you’re ready (“Everybody’s Changing”).

Musically too, this album sees the band evolve into a more poised and confident pop entity, the melodies bolder and songs more muscular, as epitomized on spellbinding album opener (and first single) “Tell Me”. So there are deliciously askew pop belters in the form of “Buried Alive” and “Everybody’s Changing”, but there are also achingly tender moments present too, from the touching love song “Broken Toy” (“I am broken too, a broken toy like you”), to the gentle reverie “Daniel”, which strips the track to its barest essentials – shimmering guitar lines and perfectly harmonized vocals sighing, “nobody needs to know what we know, nobody needs to go where we go” to perfectly heart rending effect. With this superb second album it is clear Veronica Falls are only going from strength to strength – embrace them now.

Tour Dates

3/6 – Black Cat, Washington DC *
3/7 – Johnny Brendas, Philadelphia, PA *
3/8 – Bowery Ballroom, New York, NY *
3/9 – Great Scott, Boston, MA *
3/10 – Divan Orange, Montreal *
3/12 – The Garrison, Toronto, ON *
3/13 – Beachland Tavern, Cleaveland, OH *
3/14 – Empty Bottle, Chicago, IL *
3/15 – High Noon, Madison, WI *
3/16 – 7th Street Entry, Minneapolis, MN *
3/18 – Hi-Dive, Denver, CO
3/21 – Tractor, Seattle, WA ^
3/22 – Media Club, Vancouver, BC #
3/23 – Doug Fir, Portland, OR ^
3/26 – Rickshaw Stop, San Francisco, CA^
3/29 – Troubadour, Los Angeles, CA ^
3/30 – Casbah, San Diego, CA ^

* w/ Cold Showers
^ w/ Brilliant Colors & Golden Grrrls
# w/ Brilliant Colors

Fear of Men Premieres “Seer” on Gorilla vs Bear

Click Here To Listen To “Seer” On Gorilla vs. Bear

Brighton based Fear of Men is set to release a compilation of singles on marbled vinyl 12” and as a digital set under the title “Early Fragments” on February 12, 2013 via Brooklyn based indie Kanine Records. To date, Fear of Men has released singles on various UK labels, and they are excited to have their first release in the US, to be followed by their first live appearances (including SXSW).

About Fear of Men: Fear of Men, born of an art school project, has turned into one of the most promising bands of 2013. Drawing their inspiration from art and philosophy, Fear of Men deliberately juxtaposes iconic museum imagery and lyrical themes of loneliness and fragmentation with buoyant pop melodies.

While studying for a Fine Art & History of Art degree, Jessica Weiss (vocals + guitar) was exhibiting some of her home recordings of ambient soundtracks to short films when these recordings caught the attention of Daniel Falvey (guitar). The two began swapping mix tapes and started a friendship based on a shared love of melody and an eclectic mix of artists such as The Chills, Grouper, Neutral Milk Hotel, The Magnetic Fields, and The Byrds, ultimately leading to the start of a more pop-focused project which they called Fear of Men.

Starting out, the duo recorded their music on a 4-track and transferred it onto their laptops, which Jess would then use as part of her degree work. They uploaded their songs to bandcamp and immediately caught the attention of UK blogs. Enlisting the help of friends to play drums and bass, Fear of Men approached DIY promoters and immediately began playing live shows.

Fear of Men, completed by Michael Miles (drums) and Robyn Edwards (bass), began releasing singles on DIY and independent UK labels and capturing the attention of Pitchfork, NME, Gorilla vs. Bear, Stereogum, The Fader, Drowned in Sound and topping the Hype Machine charts. For a wider introduction into North America, Fear of Men is releasing “Early Fragments” a reverse chronological collection of their previous single releases, many of which were only available in Europe on limited edition 7” and cassette pressings.

Fans of Broadcast and Julie Doiron will instantly gravitate toward Jess’ tender vocals and melodies. The songs are beguilingly sweet while the lyrics are often bleakly nihilistic, meaning that you’ll find yourself singing along to these intelligent, well-crafted pop songs while unwittingly sinking deeper into Fear of Men’s world.

Fear Of Men Announces New Singles Compilation

Brighton based Fear of Men is set to release a compilation of singles on marbled vinyl 12” and as a digital set under the title “Early Fragments” on February 12, 2013 via Brooklyn based indie Kanine Records. To date, Fear of Men has released singles on various UK labels, and they are excited to have their first release in the US, to be followed by their first live appearances (including SXSW).

About Fear of Men: Fear of Men, born of an art school project, has turned into one of the most promising bands of 2013. Drawing their inspiration from art and philosophy, Fear of Men deliberately juxtaposes iconic museum imagery and lyrical themes of loneliness and fragmentation with buoyant pop melodies.

While studying for a Fine Art & History of Art degree, Jessica Weiss (vocals + guitar) was exhibiting some of her home recordings of ambient soundtracks to short films when these recordings caught the attention of Daniel Falvey (guitar). The two began swapping mix tapes and started a friendship based on a shared love of melody and an eclectic mix of artists such as The Chills, Grouper, Neutral Milk Hotel, The Magnetic Fields, and The Byrds, ultimately leading to the start of a more pop-focused project which they called Fear of Men.

Starting out, the duo recorded their music on a 4-track and transferred it onto their laptops, which Jess would then use as part of her degree work. They uploaded their songs to bandcamp and immediately caught the attention of UK blogs. Enlisting the help of friends to play drums and bass, Fear of Men approached DIY promoters and immediately began playing live shows.

Fear of Men, completed by Michael Miles (drums) and Robyn Edwards (bass), began releasing singles on DIY and independent UK labels and capturing the attention of Pitchfork, NME, Gorilla vs. Bear, Stereogum, The Fader, Drowned in Sound and topping the Hype Machine charts. For a wider introduction into North America, Fear of Men is releasing “Early Fragments” a reverse chronological collection of their previous single releases, many of which were only available in Europe on limited edition 7” and cassette pressings.

Fans of Broadcast and Julie Doiron will instantly gravitate toward Jess’ tender vocals and melodies. The songs are beguilingly sweet while the lyrics are often bleakly nihilistic, meaning that you’ll find yourself singing along to these intelligent, well-crafted pop songs while unwittingly sinking deeper into Fear of Men’s world.

PARQUET COURTS LIGHT UP GOLD CD RELEASE JAN. 15TH/ Live in Pittsburgh 12/9

Since Parquet Courts quietly released Light Up Gold on their own Dull Tools label in July, there’s been a slow but steady build up to the recent bursting-at-the-seams enthusiasm. That well-deserved fervor has led to the band signing with What’s Your Rupture?, who will be releasing the CD on January 15th (WYR? will also repress Light Up Gold on vinyl for Dull Tools). Meanwhile, Stereogum has premiered the mp3 for the titular track, “Light Up Gold II,” and Pitchfork has dubbed “Borrowed Time” a Best New Track. Forget about it!

Listen to “Light Up Gold II” here: http://bit.ly/10o5J1Y
Listen to”Borrowed Time” here: http://bitly.com/Pm9Fir

The band will be bringing their tacos to your town, with east coast and southern dates on the books, and west coast dates in the works.

PARQUET COURTS TOUR DATES:

Wed. Dec. 26 – Detroit, MI @ Jumbo’s w/ Protomartyr
Thurs. Dec. 27 – Chicago, IL @ The Empty Bottle w/ The Gizmos
Fri. Dec. 28 – Omaha, NE @ The Middle House
Sat. Dec. 29 – Kansas City, MO @ Manheiman
Sun. Dec. 30 Oklahoma City, OK @ Bad Granny’s
Mon. Dec. 31 – Denton, TX @ RGRS w/ Endless Thoughts, SIn Motivo
Wed. Jan. 2 – Austin, TX @ Beerland w/ Sweet Talk
Thurs. Jan. 3 – Beaumont, TX @ Victoria House w/ Native America, Hello Chief
Fri. Jan. 4 – Oxford, MS @ Lamar Lounge
Sat. Jan. 5 – Nashville, TN @ The Owl Farm w/ Dirty Dreams
Sun. Jan. 6 – Murray, KY @ Terrapin Station w/ Quailbones
Mon. Jan. 7 – Columbus, OH @ Café Bourbon St.
Tues. Jan. 8 – Pittsburgh, PA @ Kopec’s w/ Psychic Boots, Crappy Funeral
Wed. Jan. 9 – Washington, DC @ The Rocketship w/ Priests, Teen Liver
Thurs. Jan. 10 – Philadelphia, PA @ Kung Fu Necktie w/ Priests, The Bike Bell Band
Fri. Jan. 11 – Brooklyn, NY @ Death By Audio w/ Priests

Veronica Falls Premieres “Teenage” Track On Pitchfork

Click Here To Listen To “Teenage” On Pitchfork

You may have had them tagged as goth-tinged pop fantasists, but with their much anticipated sophomore album Waiting For Something To Happen, Veronica Falls easily shrug off any notions of a difficult second album to create something that is easily more polished, more affecting, and more enduring than their peers would dream of making, and stake their claim as one of the most gloriously unpredictable and invaluable bands on the scene right now.

Recorded with Rory Attwell (Male Bonding, The Vaccines), Waiting For Something To Happen is a bold and deliciously assured leap forward which sees the quartet of Roxanne Clifford, Patrick Doyle, James Hoare and Marion Herbain easily throw off the tongue in cheek references to ghostly romances and suicides to elegantly distill the essence of an aimless twenty-something existence – the collective anxieties, tensions and confusion of moving from adolescence into fully fledged adulthood – into a set of immaculately conceived and perfectly wrought pop songs.

Indeed, the emotional throughline, from the title down, is one of slowly coming to terms with the process of growing up and eventually learning to face adult responsibility, of leaving behind the safe haven of “driving late at night, I’ll let you listen to the music you like” (as they sing on the dreamy, dewy-eyed “Teenage”), and then searching for a “shooting star to point me in the right direction” (“Shooting Star”). Far from retreading the playful atmosphere of the debut, the band here mine a much more rich, emotionally resonant vein, be it weariness with dead end social scenes (“So Tired”), or the fear of your peers leaving you behind before you’re ready (“Everybody’s Changing”).

Musically too, this album sees the band evolve into a more poised and confident pop entity, the melodies bolder and songs more muscular, as epitomized on spellbinding album opener (and first single) “Tell Me”. So there are deliciously askew pop belters in the form of “Buried Alive” and “Everybody’s Changing”, but there are also achingly tender moments present too, from the touching love song “Broken Toy” (“I am broken too, a broken toy like you”), to the gentle reverie “Daniel”, which strips the track to its barest essentials – shimmering guitar lines and perfectly harmonized vocals sighing, “nobody needs to know what we know, nobody needs to go where we go” to perfectly heart rending effect. With this superb second album it is clear Veronica Falls are only going from strength to strength – embrace them now.

“You know, it’s really weird”, opines Veronica Falls’ honey-throated singer/ guitarist/ lynchpin Roxanne Clifford when asked about their media-conceived “goth pop” tag. “Because when you start a band, and you start writing songs together, you never think anybody else is going to hear them. You’re just kind of writing it for yourselves. Songs like “Found Love in a Graveyard” and “Beachy Head”, we thought they were playful and not serious at all…”

Veronica Falls are used to wrongfooting easy assumptions. Initially grouped with the explosion of lo-fi bands associated with the Captured Tracks scene in Brooklyn, the quartet of Clifford, drummer Patrick Doyle, fellow guitarist James Hoare and bassist Marion Herbain quietly released a series of limited edition, quickly sold out singles which gradually accrued them underground buzz and a cache of hopelessly devoted fans. Then they signed to Bella Union – one of the UK’s leading lights when it comes to independent labels – and released a blinder of a debut LP in 2011, one which trumped all expectations and rocketed the band to the covers of The Fly and Loud and Quiet and sold out gigs at the Scala. Casual listeners who just assumed that they just made pretty, pristine pop songs were forced to reevaluate their preconceptions when they examined the lyrics more closely – lurking beneath the glacial surfaces were lyrics about suicide and spectral love. Now, with their sophomore album, Veronica Falls look set to pull out the rug from under people’s feet yet again.

“Waiting For Something to Happen” sees the band emerge as one of the most potent and affecting, fully-formed indie guitar pop acts we have around. Beautifully mature and poignant, this marvellously assured second record sees the band throw off the casually morbid references to elegantly distill the essence of an aimless twentysomething existence – the collective anxieties, tension and confusion of moving from adolescence into fully fledged adulthood – into a set of immaculately conceived, perfectly wrought pop songs.

“I’d say the word “wistful” really describes the mood of the album”, Clifford muses. “We chose the album title because to me it captures what people our age are all going through”. Indeed, the emotional throughline, from the title down, is one of slowly coming to terms with the process of growing up and eventually learning to face adult responsibility, of leaving behind the safe haven of “driving late at night, I’ll let you listen to the music you like…everything’s alright” (as they sing on the dreamy, dewy-eyed “Teenage”), and then searching for a “shooting star to point me in the right direction” (“Shooting Star”). Far from retreading the playful atmosphere of the debut, the band here mine a much more rich, emotionally resonant vein, be it weariness with dead end social scenes (“So Tired”), or the fear of your peers moving on with their lives before you’re ready (“Everybody’s Changing”).

Musically too, this album sees the band evolve into a more poised and confident pop entity, the melodies bolder and songs more muscular. Recorded with Rory Attwell (who has worked with everyone from The Vaccines to Male Bonding), these are tracks which spin gorgeous, sun-kissed melodies across their tales of growing pains and romantic dysfunction. So there are deliciously askew pop belters in the form of “Buried Alive” and “Everybody’s Changing”, but there are also achingly tender moments present too, from the touching love song “Broken Toy” (“I am broken too, a broken toy like you”), to the gentle reverie “Daniel”, which strips the track to its barest essentials – shimmering guitar lines and perfectly harmonised vocals sighing, “nobody needs to know what we know, nobody needs to go where we go” to perfectly heart rending effect.

You may have had them tagged as goth-tinged pop fantasists, but with “Waiting For Something to Happen”, Veronica Falls easily shrug off any notions of a difficult second album to create something that is easily more polished, more affecting, and more enduring than their peers would dream of making, and stake their claim as one of the most gloriously unpredictable and invaluable bands the UK has right now. Clutch them close to your heart.

Daughn Gibson Heading Out on Tour This Fall

TOUR DATES

Oct. 29 – Chicago, IL – The Empty Bottle
Oct. 31 – St Louis, MO – Apop Records
Nov. 01 – Lawrence, KS – Replay Lounge
Nov. 03 – Austin, TX – Fun Fun Fun Fest
Nov. 04 – Austin, TX – Fun Fun Fun Fest
Nov. 05 – New Orleans, LA – Siberia
Nov. 06 – Oxford, MS – Lamar Lounge
Nov. 07 – Atlanta, GA – The Earl (w/ Earth)

Daughn Gibson’s debut album, All Hell, earned praise from Pitchfork, SPIN, FILTER, Austin Chronicle, Baltimore City Paper, Philadelphia Weekly, San Francisco Bay Guardian, Brooklyn Vegan, Tiny Mix Tapes, The Needle Drop, and more. All Hell is out now on White Denim Records.

Pitchfork included All Hell in its “Overlooked Albums of 2012” feature, and said: “Gibson’s excellent debut heavily relies on crackly samples of old country and Christian gospel records, and he borrows from those musical forms’ history of storytelling, too, a narrative gift most directly channeled on the father-daughter-episode-of-“COPS” lament “Tiffany Lou.” None of these elements would carry as much haunting emotional resonance without the presence of Gibson’s voice, a deep, cavernous instrument that draws flashpoint comparisons in sound to both Scott Walker and James Blake. More than anything, Gibson’s debut sounds warm, fully realized, and lived-in. It’s as if he’s been doing this for years, and it inspires hope that he continues to do so for years to come.”

Meanwhile SPIN included All Hell in their “40 Best Albums of the Year…So Far.” SPIN says, “On his solo debut, All Hell, he’s able to work all sorts of dark magic, uncovering a lonesome, nocturnal space that’s shared by tears-in-your-beer, end-of-the-world jukebox country and sample-based, post-Burial electronic pop. He’s a honky-tonk spaceman who, at one time, earned his daily wage as a truck driver. He sounds like it.”

Daughn Gibson will tour in support of All Hell for the remainder of 2012. On October 29, he will hit the road for a short tour, which begins in Chicago, IL at the Empty Bottle and ends on November 7 in Atlanta, GA at the Earl. The latter trek also includes a performance in Austin, TX at Fun Fun Fun Fest (Nov. 3-4).

Laura Gibson Premieres “The Carob Trees” Track

Click to watch “Down By The Riverside” Deschutes River Recordings video on Pitchfork

Laura Gibson gathered a group of musical friends and turned Oregon’s Smith Rock into a recording studio for a day, incorporating the unique acoustics of the cliffs, caves and water ways, resulting in a surprising, inspired take on the old spiritual “Down By The Riverside”. The video and the song premiered on Pitchfork Monday, October 22nd. The production is the third in a series of River Song Covers sponsored by Deschutes Brewery, which also includes Blitzen Trapper’s Eric Earley singing “Up The Cripple Creek”, and Eric D. Johnson of the Fruit Bats covering “The Ballad of Easy Rider”. All proceeds will benefit the Deschutes River Conservancy.

Click to listen to “The Carob Trees” on NPR’s All Songs Considered

An unreleased Laura Gibson song, “The Carob Trees,” was picked today as NPR’s Song Of The Day.

‘”The Carob Trees” came after a visit to my friend Raul’s family home in the countryside near Valencia, Spain. The house and land had been in his family for many generations. Raul told stories of trapping quail and collecting olives when he was a child, of his parents stomping grapes into wine. Raul’s great grandfather collected stones to build terraces up the hillside in order to plant trees on the land. There were olive trees and almond trees, and then also a type of tree that wasn’t familiar to me. Raul didn’t know the English word, and didn’t know the Spanish word. Finally, after he called it “poor man’s chocolate” I realized they were carob trees. I was thinking of all the generations who spent time under those trees, and how we move forward in time and in relationships, both within and also outside of our own will. Thinking of will in relationships, and of trees, and of lineage, I was reminded of the story of Adam and Eve. The narrator in the song became a mix of Eve, of Raul’s great great great grandparents, and of myself.

Back home one day, I had been singing the refrain melody in the living room, and my boyfriend and sometimes musical collaborator Sean (Sean Ogilvie of the band Musée Mécanique) sat down at the piano and began playing and whistling the counter-melody, perfectly embodying the other character in the story. The song didn’t quite fit among the songs on my La Grande record, but it is really dear to me, and I’m really happy to share it now.’

Sharon Van Etten Shares “Magic Chords” Video & Plays Later…With Jools Holland

Since we last announced any Sharon Van Etten news, Ms. SVE has been a busy lady touring the U.S. and Europe, shooting her second music video for Tramp, performing on the acclaimed Later…With Jools Holland, laying down vocals for a range of exciting projects, including collaborating with J Mascis on a John Denver tribute and Rufus Wainwright for a holiday compilation (news on this and more will revealed in the coming weeks), ramping up for her final North American tour of 2012 (including arranging a slew of special guests for the Town Hall show in NYC on Nov. 15) and planning her debut in Australia.

If you’ve seen Sharon in concert over the last seven months, you’ll have noticed the live performance of one of Tramp’s standout tracks, “Magic Chords,” as particularly captivating. Rick Alverson (director of the controversial and provocative “The Comedy” which was accepted In Competition at the Sundance Film Festival this year) presents this song in an entirely different light with his video for this song. Shot on location just outside of Bloomington, IN last month and featuring Sharon as a disturbingly stoic puritan figure with visions of naked bodies in piles, the “Magic Chords” video is surprisingly meditative for its eye-catching stills. It premiered this morning via Pitchfork and you can watch it below.

Fresh off yesterday’s Later…With Jools Holland performance and a European tour, Sharon will head out on her final US tour of 2012 in support of Tramp.

WATCH SHARON VAN ETTEN PERFORM ON LATER…WITH JOOLS HOLLAND:

SHARON VAN ETTEN FALL & WINTER TOUR DATES:
Wed. Oct. 10 – Sheffield, UK @ Queens Social Club
Fri. Oct. 12 – Istanbul, TR @ Escape the Music Series
Thu. Oct. 25 – Washington, DC @ 930 Club %
Fri. Oct. 26 – Carrboro, NC @ Cat’s Cradle %
Sat. Oct. 27 – Atlanta, GA @ Terminal West ^
Sun. Oct. 28 – Orlando, FL @ The Social %
Tue. Oct. 30 – Tallahassee, FL @ Club Downunder at FSU %
Thu. Nov. 1 – Houston, TX @ Fitzgeralds %
Fri. Nov. 2 – Austin, TX @ Fun Fun Fun Festival
Sat. Nov. 3 – Dallas, TX @ Trees %
Sun. Nov. 4 – Memphis, TN @ Hi Tone %
Mon. Nov. 5 – St. Louis, MO @ Firebird %
Wed. Nov. 7 – Chicago, IL @ Metro %
Thu. Nov. 8 – Cincinnati, OH @ Taft Ballroom %
Fri. Nov. 9 – Buffalo, NY @ Town Ballroom %
Sat. Nov. 10 – South Burlington, VT @ Higher Ground %
Sun. Nov. 11 – Boston, MA @ Paradise %
Thu. Nov. 15 – New York, NY @ Town Hall
Mon. Dec. 3 – London, UK @ Shepherds Bush Empire
Sun. Dec. 9 – Cardiff, UK @ Gle Club
Sat. Dec. 29 – Lorne, AU @ Falls Festival
Sun. Dec. 30 – Melbourne, AI @ The Corner
Mon. Dec. 31 – Marion Bay, AU @ Falls Festival
Wed. Jan. 2 – Brisbane, AU @ The Zoo
Fri. Jan. 4 – Busselton, AU @ Southbound Festival

% with Damien Jurado
^ with Damien Jurado, Crooked Fingers, John Vanderslice

Bleeding Rainbow Premiere “Drift Away”

Click Here To Listen To “Drift Away” On Pitchfork

Tour Dates With A Place To Bury Strangers

10/27/12 Strange Matter – Richmond VA
10/28/12 Local 506 – Chapel Hill NC
10/29/12 Emerald Lounge – Asheville NC
10/31/12 Club Downunder – Tallahassee FL
11/02/12 Warehouse Live – Houston TX
11/03/12 Fun Fun Fun Fest – Austin TX
11/04/12 Fun Fun Fun Fest – Austin TX
11/06/12 Troubadour – Los Angeles CA
11/07/12 The Independent – San Francisco CA
11/08/12 Urban Lounge – Salt Lake City UT
11/11/12 Larimer Lounge – Denver CO
11/12/12 Waiting Room – Omaha NE
11/13/12 The Frequency – Madison WI
11/14/12 Empty Bottle Chicago IL
11/15/12 Beachland Ballroom – Cleveland OH
11/16/12 Mohawk Place – Buffalo NY
11/17/12 La Sala Rossa (M for Montreal Festival) – Montreal QC
11/18/12 Bowery Ballroom – New York NY
11/19/12 Middle East Upstairs – Cambridge MA

Leading up to the “Yeah Right” album release, now set for January 29, 2013, Bleeding Rainbow will release a series of three limited 7 inches featuring the singles “Pink Ruff”, “Drift Away” and “Waking Dream” and the artwork of Sarah Everton. Each 7 inch will include a non-album track on the B side and be available for purchase directly from the artist on tour and on their website. The series will be released one each month: October, November and December.

Nevermind the constant threat of a cease and desist letter, when Carrie Brownstein tells you that your band name is weak, you change it. But it isn’t as simple as a name change for Philadelphia’s minimal noise pop duo Reading Rainbow, significant line up additions facilitated the adoption of a new moniker. So…drum roll please…as we reintroduce Philadelphia’s Bleeding Rainbow, now a full-blown, Brownstein-approved, rock quartet. The name better represents the band’s evolving sound and is all around more badass and trippy as sh*t. The founding members, Sarah Everton, who moved from drums to bass to give her vocals a better chance to shine, and vocalist/guitarist Rob Garcia are now joined by Al Creedon on lead guitar and drummer Greg Frantz.

While 2010’s album release Prism Eyes gained significant attention and raised the band’s profile among the indie elite, even that set might not be aware of the previous self-released album Mystical Participation. If Prism Eyes is, by their own description, their attempt at writing pop songs, and Mystical Participation emphasizes an aesthetic of loud and drone-y guitars instead of focused song structure, Yeah Right, the band’s third album release set for January 29th, 2013 on Kanine Records, is the merging and maturation of all these ideas and sounds.

For Yeah Right, the band has opted for a bi-polar approach to production, pushing the extremes of murky, ominous and sometimes harsh and fuzzed-out guitar onslaughts (“Pink Ruff”) as well as a strong repertoire of hushed, ethereal moments (“Cover the Sky”) aiming to evoke a nostalgia for 90s slacker culture without sounding bored or contrived. While previous releases reside in the reverb-soaked psychedelic pop realm, Bleeding Rainbow says, “the sound this time around was more directly influenced by bands from our teenage-hood such as Sonic Youth, My Bloody Valentine, Nirvana, Smashing Pumpkins, and Yo La Tengo to name a few.” Mixing hints of Greg Sage’s anthemic, anxiety-ridden punk riffs, with equal parts drone and noise swells reminiscent of Kevin Shields at his most inventive, with an overlaying of boy-girl harmonies, Bleeding Rainbow channels the Mamas and the Papas as if backed by early Smashing Pumpkins.

With the inclusion of two long time friends and supporters of the band, Bleeding Rainbow has not only freed itself from the limitations of a two-piece, but given themselves a chance to delve deeper into the mood of songs and allow for extended instrumental sections (“Drift Away”). A more collaborative songwriting approach has resulted in more complex songs, but that does not mean they are without pretty sounds or pop moments. So while Yeah Right opens up easy and welcoming (“Go Ahead”), the end will leave you feeling as if a wall of noise has permeated through your body (“Get Lost”). Bleeding Rainbow set out to create something beautiful from harsh noise, and Yeah Right succeeds wildly at doing just that.

LORD HURON’S DEBUT FULL-LENGTH LONESOME DREAMS

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

St. Lucia Premiere New Single “September”

Click Here To Listen To “September” Track On Pitchfork

Quotes
“The songs debuted thus far are all pop cuts, plain and simple. What St. Lucia brings to the table is immediacy tempered with texture, depth and variety. That artistry only adds to the appeal of these catchy songs.”- Complex Magazine

“The six tracks collected on its self-titled release are the idealized soundtrack to a fantasy Club Med beach party, pulling from warm Balearic house and tropical, mid-tempo disco.” The New Yorker

“St. Lucia’s timeless songwriting sense is right up front, with Grobler’s dewdrop vocals leading the charge. This all-killer-no-filler debut swings effortlessly from balmy Balearic disco on opener “We Got It Wrong” to the pulsing, piano-driven banger “Before The Dive.” – Noisey / Vice

“…futuristic synths, a booming chorus, a sax solo, and shimmery electro beats that send shivers up our spines.” – NYLON

“The album in its entirety is a fantastic burst of sunshine” – Off The Radar

“From the glistening echoes to calypso rhythms, its top priority is fun, dealt with care and precision whilst conveying its creator’s international background”- Abeano

“This debut is a mix of upbeat rhythms, swoony synth sounds and a subtle but infectious Eighties undercurrent” – Music Week

“We’d continue to gush on and on about what great musicians and people St. Lucia’s members are, but there isn’t enough room on this blog to contain our adoration.” – All Things Go

Tour Dates With Two Door Cinema Club

10/18 – Commadore – Vancouver, BC

10/19 – Vogue Theatre – Vancouver, BC

10/20 – Showbox SODO (City Art’s Fest) – Seattle, WA

10/21 – Crystal Ballroom – Portland, OR

10/23 – Fox Theater – Oakland, CA

10/25 – Palladium – Los Angeles, CA

BIO

Even in the urban wilds of Brooklyn, there may be no one else like Jean-Philip Grobler, otherwise known as St. Lucia.

Originally from Johannesberg, South Africa, Jean grew up performing with the Drakensberg Boys Choir School. When the choir wasn’t traveling—St. Lucia toured Japan, Australia, Europe, the US and more—they stayed in an enclave tucked in the South African mountains, learning everything from Bach and minimalist opera to African War Songs and Celine Dion.

A young musician could hardly find better training, but as a young teenager, he started to feel that he’d had his fill of classical music, and it felt like an epiphany when he discovered the music of Radiohead. “In South Africa, we used to be quite limited in what we were exposed to in terms of experimental music, and so hearing OK Computer for the first time was like experiencing a completely new Universe. I think it was also my own little form of rebellion against the rigidity of choir life’, he laughs. Eventually, he left the creative “small pond” of South Africa for England, where he spent three years studying music in Liverpool.

St. Lucia’s journey thus far ended—as many do—in New York City, where he started working on the tracks that would turn into his debut EP, to be released in the spring. The St. Lucia EP will mark the first full-length release on Neon Gold Records, the formerly singles-only label that first released Passion Pit, Ellie Goulding and The Naked & Famous.

The atmospheric quality of St. Lucia’s electronic pop is powerful, with the musician’s global travels and history of exotic hideaways effortlessly passed onto the audience through his dreamy, shimmering synths, and multi-layered arrangements. The listener is transfixed and transported into some collective memory of childhood summer.

St. Lucia was born out of a moment in early 2010 when Jean-Philip looked to the past for inspiration. Growing frustrated with a rock project that was starting to feel forced, he delved back into the music that had first inspired him: early Madonna, Fleetwood Mac, Peter Gabriel and other songs from his youth. ‘I became obsessed with a certain wave of nostalgic pop music, mainly from the 80’s, that to me represents some of the best pop music ever made. The music from that era has this unabashed, completely over-the-top quality to it, and that seemed fresh to me.’ He also rediscovered African music. ‘Growing up in South Africa, African music was always there, and so it was easy to ignore. But after being away from home for a few years, I began to discover just how amazing it actually is.’

Setting up shop in a small Williamsburg studio, Jean began to record and experiment, and eventually these new influences began to surface in his music. After a year of hibernation, Jean began to open the lid on his new project.“I’d show some stuff to my friends and I could see that they didn’t quite get it,” he says. He soon began to getin contact with people, with the idea of setting up a live band. Teaming up with his friend Nick and girlfriend Patricia—now St. Lucia’s drummer and keyboard players respectively—, the three of them “decided to play the demo’s for people in a context where we wouldn’t say anything about it. We’d just play it.”

It was then that the music got the attention of the Knocks, and St. Lucia was soon signed to HeavyRoc Music. His first single, “The Old House is Gone,” was released in spring 2011, fueling online intrigue. After two explosive shows at CMJ, the hype escalated to match. Neon Gold described St. Lucia as a “well-traveled mysterioso… physically incapable of producing anything less than extraordinary.” Bloggers posted St. Lucia’s second single, “All Eyes On You,” accompanied by proclamations: “This is an anthem,” or, “Beware, your hand will get tired from having to push replay over and over.”

“All Eyes On You,” like the rest of the St. Lucia EP, distills the best qualities of eighties pop—drawing out melodic bravado and euphoric energy and discarding any trace of the saccharine or heavy—and adds arresting, fresh elements of contrast. The EP is luminous and hazy, a tropical electronic dream. It has a notable, singular effect on the audience. “In a way that’s been my ambition, to give people a feeling similar to what the music from my youth gives me.” says St. Lucia.

He certainly delivers. “All Eyes On You” conjures up unlikely juxtapositions: an ecstatic nostalgia, a melancholy radiance, a mix of personal immediacy and the wanton urge to get lost in a crowd.

As an artist, St. Lucia has played into this element of anonymity. He has remained mysterious until this point, allowing a few facts about his unusual background to guide the response to his music. He’s starting to lift the veil: “As an artist, you always have lingering doubts. Are people going to get this? Are they going to think it’s cheesy?”

Ultimately, he sets these concerns aside. “What’s of real value to me is just sitting in the studio, working,” he says. “Or that moment when I’m walking along the street and hear something in my head, and let that idea work itself into an arrangement and then see that come to fruition.’

“Of course, it makes you feel good when your stuff starts taking off,” he adds. “It’s nice that people are writing about it, and that bigger things are coming in terms of remixes and record companies. But really, all I ever want to be doing is making music.”

Plateaus Premiere Track “Blackout” – On Tour With Label Mate Colleen Green

Download “Blackout” Via Pitchfork Here!

Plateaus model their sound after the production techniques of Spector, Meek and Wilson, but employ a modern punk edge evidenced by the songs’ brevity, catchy hooks and raw energy. A thick, distorted guitars and layers of blown-out vocals swim in a sea or reverberation, replete with catchy leads, sticky vocal melodies, mechanical drumbeats and earth-shaking fuzz bass.

Plateaus hit the road this summer / fall with label mate Colleen Green, not only as the opening band, but as her backing band as well! Colleen Green’s Milo Goes To Compton LP is out now via Art Fag as is Plateaus’ Open Skies 7″.

Plateaus are set to release a self titled debut LP via Art Fag on October 30.

Tour Dates!!

9/17 – Detroit, MI @ Lager House *
9/18 – Chicago, IL @ Empty Bottle *
9/19 – Milwaukee, WI @ Cactus Club *
9/20 – Minneapolis, MN @ 7th Street Entry *
9/21 – Lawrence, KS @ Replay Lounge *
9/22 – Denver, CO @ Lion’s Lair *
9/23 – Salt Lake City, UT @ Kilby Court *
9/25 – Missoula, MT @ Zoo City *
9/26 – Seattle, WA @ Comet Tavern *
9/27 – Portland, OR @ Mississippi Studios *
9/28 – San Francisco, CA @ Thee Parkside *
9/29 – Los Angeles, CA @ The Smell *#

*with Colleen Green
#with SISU

Pitchfork Premieres New Trust Video “Dressed For Space”

Trust returns with more tales of heartbreak, desire, and nostalgia that pull you into Robert Alfons’ otherworldly atmosphere. We’re pleased to announce the release of Trust’s new EP, featuring the single, “Dressed for Space,” a new original track, “Divine,” and two new remixes. Trust is touring for the rest of the year.

UPCOMING LIVE SHOWS:

European Headline Shows

10/3 Edinburgh | Sneaky Pete’s
10/4 Brighton | The Haunt
10/5 London | Twat Boutique @ Hackney Wick Warehouse
10/6 Rotterdam | Rotown
10/11 Luzerne | Sudpol
10/13 Berlin | Berghain Kantine

US Headline Shows

10/24 Philadelphia, PA | North Star Bar
10/26 Baltimore, MD | Ottobar
10/27 Asheville, NC | Moog Fest
10/29 Birmingham, AL | Bottletree
10/31 New Orleans, LA | Siberia
11/3 Austin, TX | Fun Fun Fun Fest
11/6 Saint Louis, MO | The Gramophone
11/19 Santa Ana, CA | Constellation Room

Tour Dates W/ The Faint
11/08 Denver, CO | Ogden Theatre
11/09 Salt Lake City, UT | In The Venue
11/10 Reno, NV | Knitting Factory
11/13 Vancouver, BC | Commodore Ballroom
11/14 Portland, OR | Roseland Theater
11/16 Sacramento, CA | Ace of Spades
11/17 San Francisco, CA | Regency Ballroom
11/21 Pomona, CA | Glasshouse
11/23 Phoenix, AZ | Crescent Ballroom
11/24 Las Vegas, NV | House of Blues
11/27 Dallas, TX | House of Blues
11/30 Nashville, TN | Cannery Ballroom
12/01 Atlanta, GA | The Masquerade – Heaven Stage
12/05 Washington, DC | 9:30 Club
12/07 New York, NY | Terminal 5
12/08 Boston, MA | Paradise Rock Club
12/09 Montreal, QC | Club Soda
12/11 Toronto, ON | Sound Academy
12/12 Chicago, IL | Metro
12/13 Minneapolis, MN | First Avenue
12/14 Omaha, NE | Sokol Auditorium

Cymbals Eat Guitars Premieres “Hawk Highway” on Pitchfork

Masters From Their Day is an on-going series of short documentaries focusing on artists making records. Each episode chronicles the efforts of a band and a record-producer as they attempt to record a new single in one day. The viewer experiences the real-time creative contemplations that go into the records being made by today’s luminaries. Legendary alt-rock producer John Agnello (Sonic Youth, Dino Jr, Kurt Vile) who had just produced the most recent Cymbals Eat Guitars album, ‘Lenses Alien’, collaborated with the band again for this project.

Available at iTunes now and all other digital retailers shortly.

Click Here To Listen To “Hawk Highway” On Pitchfork

Tour Dates With Bob Mould

9/7 – Willamsburg Waterfront – Brooklyn, NY
9/10 – The Paradise – Boston, MA
9/11 – Union Transfer – Philadelphia, PA

Press
“Old-school indie purists could use a modern hero, and while it may be unfair to peg Cymbals Eat Guitars as ’90s revivalists, their second album will speak to fans of Built to Spill’s squall, Superchunk’s chug, and Modest Mouse’s string-bending strangeness.” – SPIN

“(D’Agostino’s)… designs are musically shifty, producing songs that slacken and snap back, or swerve around unexpected corners.” – New York Times

“… Cymbals has its own calibration of the beautiful and the grinding, one that leaves room for plenty of tunefulness amid the yowls. Over the past two years, the mix has vaulted the group to a rank among the city’s most celebrated young bands.”
– New York Daily News

“Joseph D’Agostino takes an enormous leap of faith by doubling down on his brick-thick verbiage during a lyrics-first record that puts more confidence in the listener’s attention span than pretty much anything else I’ve heard this year.” – Pitchfork

“Despite the fact that they’re really young, Staten Island indie rockers Cymbals Eat Guitars are already the masters of grandiose, guitar-driven rock. On their new LP, Lenses Alien, they push it a little further into a bigger, bolder direction.” – Stereogum