My Midnight Heart Unleashes Video w/ SPIN

“It’s a stunner of a track…” – SPIN

pulsating beats and exquisite lyrics” – Rolling Stone (Band To Watch)

“glides on a bed of smooth synths and skittering percussive touches” – Pitchfork

My Midnight Heart has us mesmerized.” – NPR

Puerto Rican singer/songwriter Angelica Allen creates music that is profoundly pop undercut with a surrealism that speaks to the subconscious. Through her project MyMidnight Heart, she recently released her debut Chest Of Hearts EP via MNRCH.

Angelica’s strong-yet-sweet echoing vocals wash over dreamy synths and bouncing percussion on EP title track “Chest Of Hearts”. My Midnight Heart just unveiled the deliciously anime-flavored “Chest Of Hearts” video with SPIN, taking viewers on an epic journey through vivid Tokyo streets & brilliant, otherworldly landscapes. The “Chest Of Hearts” video is available  HERE.
Through My Midnight Heart, we enter a world comprised of layered vocals, dreamy synths, and the foreboding cadences of forgotten rituals. Listening, we are transformed into voyeurs, watching with white knuckles as she delves into her nightmares; confronting fears to make them her own.

Liquor Store Stream Full “In the Garden” LP on Spin

Stream In The Garden in full on Spin

“Tough, hook-forward, and jam-packed celebrations of a life well-lived under the flapping grace of Old Glory.”

Pitchfork Premieres “Satin Dollars” and “Vodka Beach”

In The Garden isn’t just some tossed-off punk record. There are… plenty of sonic details, and lots of attention paid to the recording quality… a pretty diverse record.”

There is no band operating today that epitomizes the cornerstones upon which all great rock n’ roll is built, no band more ready to haul the half-dead carcass of American rock music upon its shoulders and carry it through the warzone that is 2013’s “music scene,” than New Jersey’s finest export, the mighty Liquor Store. Despite members doing time in some of the finest acts of the past decade’s rock underground – Home Blitz, VCR, LiveFastDie, Terrible Twos, Titus Andronicus, to name a few – Liquor Store are more than a mere underground band. They’re taking guitar music out of the garages, basements and bedrooms and are bringing it back to the street, back to the people and, if there is any justice or sanity left in these scary times, back to the arenas where it belongs.
Liquor Store – In The Garden
out 10/15 on Almost Ready Records

01 Satin Dollars
02 Keys to the Face
03 Big Wheels
04 Pile of Dirt
05 Lynch Mob
06 Vodka Beach
07 Titty Was Loc’d
08 Midnight Walker

Bad Cop Premiere ‘Barbarella Graham’ On Spin

Featured As Bonus Track on “The Light On EP” Vinyl Edition

Pure Volume Streams “The Light On EP” Out Now On Jeffery Drag Records

Announce Wavy Daze Tour With Plastic Visions

Watch The Latest Bad Cop Webisode!!

“The Light On EP” Track Listing:

1. The Wind
2. Can’t Get Enough
3. Light On
4. Post McDonalds Punks
5. My Dying Days
Order “The Light On EP” On iTunes!

The Wavy Daze Tour Dates:

8/24 – Raleigh, NC – Slim’s *
8/25 – Washington, DC – Paperhaus *
8/26 – Baltimore, MD – Club K *
8/27 – Brooklyn, NY – Cameo Gallery *
8/28 – New York, NY – Pianos *
8/29 – Cleveland, OH – Now Thats Class *
8/30 – Detroit, MI – High Octane Lounge *
9/1 – Chillicothe, OH – Paper City Music Festival *
9/3 – Columbus, OH – Skully’s *
9/4 – Louisville, KY – Zanzabar *
9/5 – Lexington, KY – Cosmic Charlies *

* w/ Plastic Visions

Praise For Bad Cop:

“The upcoming short-player gnashes frenzied guitar and fidgety rhythms across a total of five raucous tracks” –Spin

“Bad Cop weren’t beating the same dead horse every white American with a guitar was. They were living and breathing real distortion, sex, drugs, and rock and roll.”— Death And Taxes

“It’s a soulful, greasy, howlin’ whiteboy kind of rant-rock that’s even greater than the sum of all its crazy parts, a frantic, no-holds-barred, ‘fuck the rules’ kind of album that we desperately need right now…” – Impose

“This first-rate, lo-fi indie jam is born out of darkness.” — Filter Magazine

“Tennessee does a different sort of blues rock, and Bad Cop has taken the southern, hot-amp sound to a place most people wouldn’t take it. Adam Moult entered the elevator of blues rock, ran his fingers up and down all the buttons, threw a Molotov cocktail into the roof, and let the fire rain down on him as he descended into hell. If Jack White ever needs something more evil, he’ll find it somewhere just south of where Bad Cop’s elevator car landed.” — Ear Milk

“The Nashville trio’s debut is filled with the kind of youthful abandon that only sub-21-year-olds can capture, but this excitement is matched with a musical maturity that gives their songs a weight beyond their years.” –Performer Mag



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The Mallard Streams Full LP On SPIN || ‘Finding Meaning In Deference’ LP Out July 29th

Click Here To Stream ‘Finding Meaning In Deference’ On SPIN

Perhaps you’ve heard of the trajectory our beloved friend Greer McGettrick and her cohorts in The Mallard have traced across the current musical landscape…a promisingly home-baked debut full of twists and turns that nonetheless felt of the time and lived in…tours and tours and tours…songs on splits and compilations, including both Son Of Flex and our covers record of The Velvet Underground and Nico…shifting band members and band members shifting instruments…the now infamous Noise Pop performance where they played as Throbbing Gristle at one of the oldest and most venerated venues in San Francisco, The Great American Music Hall, to a thoroughly bewildered audience…all the while getting faster darker and sharper…and after coming back from SXSW, the sudden dissolution – with an album finished, and already being printed and pressed with us, their now-swan song Finding Meaning In Deference.

It’s a conversation interrupted to be sure, but one that you should be listening in on. There’s an unapologetic maelstrom of dark energy simmering beneath the surface of these tunes, but it never subsumes some of the group’s best songwriting efforts yet. The myriad guitar/vocal interplay is sharp as ever, the pissed-off is turned up to 10, but there’s an ever-present bop and hook to even the most bummed-out tunes here. If you never got to see them, I’m sorry – but this record catches them in excellent form at the zenith of their powers, a guitar somehow hung from the rafters for the rest of eternity – we’re sad to see them go, but thrilled to share this excellent record with the world.


Spectrals Stream Full ‘Sob Story’ LP On SPIN

Click Here To Stream Full ‘Sob Story’ LP On SPIN


“With Sob Story  Spectrals have come of age. I was lucky to be able to work with them when I did. Our sessions found Louis and his writing at its most honest and direct. Our mantra while recording was always, ” make it exciting and cut the fat”. Sob Story is the outcome of that and I, personally could not be happier with the results. – Chet JR White”

In 2009 Spectrals began life as a one man band. That one man was Heckmondwike, Yorkshire resident, Louis Jones, and he played everything on his early releases himself. A number of singles were released on labels such as Captured Tracks, Tough Love, Underwater People and Moshi Moshi; somewhere along the way Louis recruited his brother, Will, to play drums; touring band members came and went, but the core of the two brothers remains to this day.

In 2011 Spectrals signed to Slumberland (in North America) and Wichita (for the rest of the world) and those labels released the debut album, Bad Penny. Recorded by Richard Formby (Wild Beasts, Spectrum etc.), the album was critically acclaimed, with Pitchfork giving it a 7.5 and described it as having “a youthful spirit but rooted in a classic sound”, whilst the NME gave it a 7, welcoming “another intelligent, funny, soul-baring songwriter to the fold”. They also named Louis as “the Slacker Poet… a mantle not lightly bestowed” in a more recent article  about their favorite recent lyricists.

But what of the new album?

Well, after an understated guitar intro, a buzzsaw starts up and ‘Let Me Cave In’ comes sliding in. At once it is obvious that Sob Storyoozes a new confidence not heard on Bad Penny or his earlier releases. The songs sparkle: they are catchier, poppier, more direct into your ears than ever before.

The album displays Louis’s wide-ranging influences – many loves developed on family car journeys growing up – from Big Star and The Rolling Stones, through Nick Lowe, Tom Petty and Slade to Galaxie 500 and even blink-182. Some of these sounds are more obvious than others but it is legendary Welsh rock ‘n’ roller Dave Edmunds that Louis names as the key influence on his songwriting and the sound he wanted on this record, saying that he was “trying to cop some of those Country and Rockabilly licks he does”.

Louis takes all these influences and puts them together to create something that is undeniably Spectrals. You might argue that he does this in a similar manner to his very favorite musician (“that’s my guy”), the one and only, Elvis Costello (on a recent run of solo shows, the only song that Louis played that was not taken from his new album was a cover of an early, rough Costello demo, ‘Cheap Reward’.)

Much like Jones on this new album, Costello has always been a musician who could traverse many styles across an album but who never lost his own style and voice whilst doing so.

And speaking of voices, what really stands out as you listen to Sob Story is how the once shy Jones, who would hide his vocal in a cloak of echo, can be heard singing more clearly, strongly and proudly than ever before. Long gone are the reverb-soaked days when Louis would be heard at gigs asking the soundman to turn the reverb on his vocals up between every song, whilst also requesting they not even turn it off between songs when he speaks to the audience (something that is a commonplace practice for most musicians) because he didn’t like to hear himself in the monitors without it.

So what has caused this undeniable leap in confidence? It could well be the result of two years on the road, touring with the likes of Real Estate (and as support act, as well as backing band, to the R.E. side-project, Ducktails), Cults (two months across North America), Best Coast, The Cribs and many others, including GIRLS.

There was a strong mutual-appreciation between Spectrals and GIRLS from the start and having got to know Chet “JR” White from the band, and being a fan of his production work for is own band, it made perfect sense to ask him if he would like to work on the next Spectrals record. Following a meeting at the legendary, if somewhat rough-around-the-edges, Bull & Gate pub in London’s Kentish Town, JR said he was into the idea too and plans were made for Louis and Will to fly out to San Francisco to start laying down the songs that now make-up Sob Story at the Decibelle studio.

Working in his hometown allowed JR to call in friends of his to contribute their own magic to moments of the album. Guitarist Jon Anderson added lead guitar to five of the twelve tracks, of whom, with typical modesty, Louis said “it was ace to have a real guitar player around”. The band were also joined on three songs by pedal-steel player, Tom Heyman. “It was a big deal to have a pedal steel player come and play on one of my records”, said the Spectrals mainman, “to me the sound of those things is like a shorthand for “sad” and a thing they have on proper studio albums. I was thinking how I could have the songs sound more sad and knew I had to get a pedal steel in”.

JR even played some of the basslines himself, as well as adding some deft manipulation from behind the soundboard, for example the atmospherics that he created for one of the stand-out tracks, ‘Milky Way’. As JR said in a recent interview for Paste magazine, “we had to use a lot of creativity and in the end, it sounds really cohesive and big. It’s not a lo-fi record”.

The central theme of this record is love – that has always been the case with Spectrals, as Jones once said it’s all “just about love really” – but this time the lyrics are more reflecting on and questioning of love and relationships.

There are songs that are clearly loves songs in the classic sense (‘Limousine’, ‘Milky Way’, ‘Sob Story’). The problems of long-distance relationships are covered in ‘Blue Whatever’ (“I’ve been blue as a bruise ever since you went down / ’cause to me it could just as well be another galaxy”); that same topic, as well as the problems caused by being away on tour so much, come up in ‘Karaoke’ (“If I stop playing guitar / Learn to drive a car / And try and get my head around living in another town”); he discusses how he can be the cause of their problems in ‘A Heartbeat Behind’ (“I made such hard work of loving you / Love became a hobby too / I’m in no way badly done to / After all, I have you”); and with his characteristic humor, ‘Something To Cry About’ tackles a question asked by a number of journalists when reviewing Bad Penny – what will he write songs about if he doesn’t have trouble in love???

Sob Story sees Spectrals back and better than ever, brimming with confidence and the best songs of the Jones brothers’ careers so far. It’s an album that begs to be played again as soon as it finishes and one that will also create excitement at what is to come next from this band, whether Louis is lucky or unlucky in love between now and then.


Ivan Ives, “8mm” video produced by RJD2


 iTunes at | on Twitter (@thisisives) | on Facebook

Ivan Ives originally stepped into the hip hop world in 2007. Rolling Stone named him among the next 40 artists to watch; SPIN called him one of top 8 unsigned artists, andXXL said “don’t let his indie rocker persona fool you – this guy can spit.” Born in Russia, but having grown up in Los Angeles, he’s worked with the likes of Cappadonna (Wu-Tang),Tre Hardson (Pharcyde), Percee P & Oh No (Stones Throw), The Cool KidsBlack MilkO.C. (DITC), Vast Aire (Def Jux), and many more. Having gone to film school, he Directs most of his own videos – which have racked up over a million streams on YouTube without major distribution. His 2010 album “First Of The Month” released a new video and single on the first of every month for the duration of the year. Two years after his last release, Ivan is coming back with a album, Stranger, featuring producers such as RJD2and Aaron Marsh (formerly of rock band Copeland). “8mm” is a song about trying to catalog lost memories on 8mm film,” says Ivan. “It plays in four chapters: Love, Time, Work, Fate. It was entirely on an iPhone with the 8mm app.”

La Machine Premieres ‘Sucks to Come Down’ On SPIN

Click Here To Listen To ‘Sucks To Come Down’ On SPIN

la machine


The year was 1996 (a guess really), when I had La Machine play in our Olneyville warehouse space. It was the first time I danced in front of other people. (I was later told I was really good)

I think maybe it was the first time I can recall where I stood in front of something I would consider modern psychedelic music. Not a rehash of some ghost from the past but something new to me.

We had a plethora of hardcore, improv, and noise bands in New England… but this… this was something different. It was churning and it had a haunting floor – scraping ass on it. It had hints of nausea and a cyclic simplicity that to this day I still love and listen to often. Loudly, stoned driving through the desert. Laughing, they played and my friends skated the quarter pipe my flat mate had built… it was my first successful party and I thank La Machine for it.

Rick Pelletier and John Loper have compiled these tunes for us to release post-mortem, but who knows…maybe they will come back to haunt a warehouse near you…OoOoOoOH. Every song reminds me of when I was younger, stronger, and faster. But now I know enough to realize how lucky I actually was to have this stuff around me. And now you can too. Enjoy.

John Dwyer

Castle Face Records

Escort “Barbarians” Stream Out Now, Single Package Drops 6/25

NYC’s Premier Disco Ensemble Brings The Heat
With Barbarians Single Package, Out June 25!

“Barbarians” Stream Out Now!

International Summer Tour Kicks Off @
Brooklyn’s Music Hall of Williamsburg, 5/24!


“…  Escort sounds loose and curious on this album, with even their four-minute songs feeling like dance-floor epics. “ – The New York Times

“it’s a rollicking collection of era-spanning anthems” – The New Yorker

They manage to replicate every Off the Wall horn blast and Patrick Cowley synth bubble with loving music geek precision.” – Pitchfork

“ …a righteous blast of expertly engineered soul, funk, and, yes, disco — Daft Punk fans just getting into the stuff would do well to make Escort their next checkpoint.” – SPIN

NYC’s Escort, founded by Eugene Cho and Dan Balis and fronted by the enormous vocals of lead singer Adeline Michèle, delivers a danceable blend of disco, funk & soul that pays homage to the classics while remaining fresh and modern. Hot off the heels of their critically acclaimed self-titled debut album, the ensemble will release a new package for their single Barbarians, complete with remixes from CSS, Rance Muhammitz and an Extended Dub.

Brimming with disco-infused riffs and tribal beats, the irresistibly catchy chorus effortlessly commands you to “stand up” and move. Check out the “Barbarians” stream where it premiered with SPIN and HERE.

Dubbed one of the “Best Albums of 2012” by both SPIN and Rolling Stone, Escort will kick off an international tour with a hometown throw-down at Brooklyn’s Music Hall of Williamsburg, making stops in Chicago, Toronto, Los Angeles & more.

Escort On Tour 
5/24: Brooklyn, NY @ Music Hall of Williamsburg
6/14: Chicago, IL @ Taste of Randolph Street
6/15: Chicago, IL @ The Hideout, Chicago (DJ Set)
7/19: Linz, Austria @ Castle Clam
7/20: Vienna, Austria @ Nova Jazz & Blues Night
7/21: Oeiras Portugal @ Cool Jazz Fest
7/26: Toronto, CA, Toronto’s Festival of Beer w/De La Soul
8/9: Claverlack, NY @ The Big Up Festival
8/20: Los Angeles, CA @ Check Yo Ponytail, The Echoplex

Spin Premiere’s The Title Track From Alela Diane’s Forthcoming Album ‘About Farewell’

Alela Diane has just released the second song from her forthcoming album About FarewellStay tuned for select tour dates to be announced.

Listen To ‘About Farewell’ At Spin!!!

Praise For Alela Diane:

“Diane’s work here is hauntingly honest, strongly suggesting that the emotional wallop of About Farewell won’t be easy to shake off” –Pitchfork

“Diane’s warm alto provides an ideal vehicle for her minor-key meditations on matters existential and elemental. With a lyrical style that tends more toward dreamlike imagery than straightforward narrative, she creates music with timeless character.”— NPR

“Alela Diane’s songs are campfire pipe dreams filled with picket fences, desert sands and paths leading back to you.” — The Guardian [UK]

“Her sincere, timeless voice and songwriting earning her country-flecked brand of folk comparisons to 70′s folk godmothers Karen Dalton and Vashti Bunyan.” — Consequence Of Sound



Alela Diane Website
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Spin Premiere Rathborne’s New Track ‘Last Forgiven’

Listen To ‘Last Forgiven’ At Spin!!

Pre-order Soft Here!!!!


Anyone looking for an all-encompassing statement-of-purpose for SOFT, the hyper-caffeinated new record from Rathborne will find it in the first line of the second song when Luke Rathborne – chief songwriter and principle persona – hiccups, “Heard you gotta get it in motion.”  From that moment on, SOFT never stops moving bounding from one jagged-edged neo-New Wave song to the next, marrying the fast-and-loose ethos of The Ramones with the coiled neurosis of early Devo and the melodic ease of classic R.E.M. and Big Star.  “The feeling  of the record is incredible energy,” says Rathborne. “Youthfulness, lust — the feeling of breaking out of yourself, unchaining yourself, forcing yourself to be free.”

That same spirit of optimism and restlessness also characterizes Rathborne’s career to date. He learned how to play guitar at age 12, when a stranger who was passing through the small town in Northern Maine where Rathborne lived left the instrument at his house (“There was a lot of freewheelin’ types passing through my house when we were kids,” he chuckles).  Inspired by the DIY spirit of punk rock, he recorded his first album, After Dark, when he was just 16 years old, sneaking into the recording studio of his local college late at night and teaching himself how to use the equipment. “I guess ambition when you’re young is really unusual,” Rathborne says, “But I just couldn’t really find a place in high school.” Rathborne relocated to New York when he was just 18, where he connected with famed Tin Pan Alleyproducer Joey Levine. From there, Rathborne began steadily honing his skills, booking himself a weeklong UK tour, netting a slot opening for The Strokes atSXSW and recording the EP I Can Be One/Dog Years, which earned him an appearance on theBBC’s 6 Music. “In the course of making those records,” he says, “I’ve gone from being a 16-year-old kid to being an adult.”

That maturity is evident throughout SOFT, a story of heartbreak and redemption that told in spit-shinedBuddy Holly vocal melodies. Produced byRathborne and Emery Dobyns (Antony & the JohnsonsBattlesNoah & the Whale), with mixing and co-production by Gus Oberg and The Strokes’ Albert Hammond, Jr., the record nestles honey-sweet hooks inside tangles of guitar andDarren Will’s percolating bass. “Some of the punk bands I had been in as a teenager sounded like this, “Rathborne says, “So it’s a ‘return to punk’ for me in some ways.”

That comes through in songs like “Wanna Be You,” where Rathborne sighs and pines over a whistling synth line and a taut cluster of guitar that recalls vintage Nick Lowe. “That’s really a song about identity,” Rathborne explains. “It’s about figuring out why people love each other, why they want to be each other, and when that crosses the line.”  “Last Forgiven,” which Rathborne says is about “redemption and yearning,” cruises and dips like a roller coaster going half-speed.

Despair and hope co-mingle in “So Long NYC,” a speed-racing, Guided By Voices-style power-pop number in which Rathborne flips the mythologizing associated with New York on its head. “It’s like the antithesis of a Frank Sinatra song,” he says. “There was a point for about a year where I was crashing between peoples’ apartments, walking around feeling hungry. I would work in a bar near Union Square and then walk around the streets after it was dark. Wandering through New York City late at night when everyone else was asleep, It made me feel like I had stumbled onto something secret.”

That contradictory impulse – romanticism andcynicism, energy and exhaustion, is what powersSOFT, and what dusts its cotton candy melodies with a fine layer of grit.  “As you get older, the feeling of being drawn between love and cynicism grows exponentially – almost like someone in medieval times being stretched out on a rack,” Rathborne says. “Art is about making a connection between those things.” That’s what Rathborne does throughoutSOFT, and the results are as infectious as they are complex. “There’s something hidden in there for everyone,” Rathborne explains. “We’re all reaching for something, and art helps people deal with those things.  I hope people realize the album is about something deeper than what’s on the surface. It’s a record about hope and redemption and energy and possibility. And hopefully, it can be a record about people’s lives.”


‘Last Forgiven’ 7″ Release Show

May 14 – Brooklyn, NY – Glasslands (Buy tickets here)

Praise For Luke Rathborne:

“I love this young dude… After hearin’ his album, I proposed to him and asked him to play a show with us in Philly.” –Devendra Banhart

“Rathborne writes the way a great underground pop writer like Brendan Benson does, while applying touches of both ferocious garage rock sensibilities and something akin to the grandness of the great, early Oasis records”–Daytrotter

“Melancholic and heartfelt songs”— Bullett

“Rathborne’s voice has an old, worn quality that speaks of long roads travelled and of knowledge not expected from a 22 year old. The comparisons to Bob Dylan and Elliott Smith are easily understood – it’s raw, simple, aching – but his sparsely arranged confessionals are darkly captivating in their own right..” –The Fly (UK)

“It’s an illuminating mix of hauntingly gorgeous soundscapes and thought provoking lyrics wrapped around a a Lo-fi sound teetering on the event horizon of greatness.”–The Vinyl District

as capable of capturing a room with just an acoustic guitar and his soft but commanding vocals as he is with a full-on rock band”–L Magazine


Luke Rathborne Website
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Spin Premieres Ski Lodge’s ‘Just To Be Like You’ Video

Watch ‘Just To Be Like You’ At Spin!!!

Buy Ski Lodge On iTunes!!!



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-86bands (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:

“Owes more than a little to early-’80s janglers Orange Juice and The Smiths. It’s pretty darn catchy.”— Brooklyn Vegan

“Intoning every vowel with a nasal ennui”— Pitchfork

“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

Tour Dates:

Apr 16th New York, NY | Bowery Ballroom % 
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 #

% w/ Born Ruffians, Moon King
# w/ Chad Valley



Ski Lodge Website
Ski Lodge Facebook
Ski Lodge Twitter

Emma Louise Premieres “Mirrors” On SPIN

Click Here To Listen To “Mirrors” On SPIN

“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.

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.

Click Here To Watch ‘vs. Head vs. Heart’ Album Teaser Video


ODESZA Announces West Coast Tour With Beat Connection

Seattle producer duo ODESZA, made up of Harrison Mills (Catacombkid)and Clayton Knight (BeachesBeaches), continues to turn heads in 2013. Having wrapped up their first ever tour with Emancipator and Little People last weekend, ODESZA heads back out on the road next month with Beat Connection, playing Sacramento and Vancouver for the first time and headlining Rotture in Portland along the way. Before leaving for tour, ODESZA will perform live in the KEXP studio on April 20. Upon returning from tour with Beat Connection, ODESZA kicks summer off with a performance at the 2013 Sasquatch Music Festival. Last month, SPIN premiered ODESZA’s video for “Cover Bombs,” one of the many standout tracks on Summer’s Gone (which you can download for free at




ODESZA TOUR DATES (new dates in bold):

Thu. May 2 – San Francisco, CA @ California Academy of Sciences*

Fri. May 3 – Santa Monica, CA @ CENTRAL Social Aid & Pleasure Club*

Sat. May 4 – Santa Ana, CA @ Constellation Room*

Sun. May 5 – San Diego, CA @ Soda Bar*

Tue. May 7 – Sacramento, CA @ Blue Lamp*

Wed. May 8 – Arcata, CA @ Jambalaya*

Thu. May 9 – Eugene, OR @ WOW Hall*

Fri. May 10 – Vancouver, BC @ Electric Owl*

Sat. May 11 – Portland, OR @ Rotture^

Fri. May 24-Mon. May 27 – George, WA @ Sasquatch Music Festival

 * with Beat Connection

^ with The Great Mundane

Download Summer’s Gone for free:

Watch ODESZA’s “IPlayYouListen” video:

Listen to ODESZA’s “Don’t Stop”:


ODESZA online:

ODESZA Shares New Video Via SPIN; Catch Them On Tour Now

Seattle producer duo ODESZA, made up of Harrison Mills (aka Catacombkid) and Clayton Knight (aka BeachesBeaches), are taking 2013 head on. Earlier today, SPIN premiered the stunning new video for “Cover Bombs.” Originally written and produced by Nomadic Firs, ODESZA reworked “Cover Bombs” for their fantastic debut, Summer’s Gone (available for free download at Last night, ODESZA kicked off their first tour ever in Bozeman with Emancipator and Little People and continue the journey in Portland tonight. They have also added more West Coast dates in May with Beat Connection and were recently announced to perform at the2013 Sasquatch Music Festival.



ODESZA 2013 TOUR DATES (new dates in bold):

Fri. March 8 – Portland, OR @ Wonder Ballroom *

Sat. March 9 – Seattle, WA @ Neumo’s *

Sun. March 10 – Bellingham, WA @ The Wild Buffalo *

Tue. March 12 – Eugene, OR @ WOW Hall *

Wed. March 13 – Arcata, CA @ Arcata Theater *

Thu. March 14 – San Francisco, CA @ Mezzanine *

Fri. March 15 – Santa Cruz, CA @ Catalyst Atrium *

Sat. March 16 – Los Angeles, CA @ El Rey *

Sun. March 17 – Solana Beach, CA @ Belly Up *

Tue. March 19 – Flagstaff, AZ @ Green Room *

Wed. March 20 – Albuquerque, NM @ Evolution Nightclub *

Thu. March 21 – Durango, CO @ Henry Strater Theatre *

Fri. March 22 – Salt Lake City, UT @ Urban Lounge *

Sat. March 23 – Crystal Bay, NV @ Frank Sinatra Showroom *

Tue. May 7 – Sacramento, CA @ Blue Lamp ^

Fri. May 10 – Vancouver, BC @ Electric Owl ^

Fri. May 24-Mon. May 27 – George, WA @ Sasquatch Music Festival

* with Emancipator, Little People

 ^ with Beat Connection

Download Summer’s Gone for free:

Watch ODESZA’s “IPlayYouListen” video:

Listen to ODESZA’s “Don’t Stop”:


ODESZA online:

St. Lucia Premieres “Before The Dive” (CHVRCHES Remix) On SPIN

Click Here To Listen To “Before The Dive” (CHVRCHES Remix) On SPIN

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.”

Tour Dates

03/08 – Buku Music + Art Project – New Orleans, LA

SXSW – Austin, TX

3/12 – 10:00pm:  Pandora Showcase @ Antone’s
(with Robert DeLong and TOKiMONSTA)
3/13 – 2:30pm: Consequence of Sound Party @ The Parish
(with Thurston Moore, The Thermals, Mac DeMarco)
3/14 – 2:00pm: I Guess I’m Floating/YVYNYL Party @ Hype Hotel (with Austra, Chvrches, Flume, Sir Sly)
3/14 – 5:00pm: Filter/Dickies Party @ Lustre Pearl (with Icona Pop, Diamond Rings and Generationals)
3/15 – 1:45pm:  Columbia/Filter Party @ Cedar St. Courtyard (with Haim, The Neighbourhood, MS MR, Wild Belle)
3/15 – 12:20am: Neon Gold Showcase @ Empire Auto

3/18 – High Watt – Nashville, TN
3/19 – Vinyl – Atlanta, GA
3/20 – Southland – Raleigh, NC
5/25 – Boston Calling – Boston, MA
6/7 to 6/9 – Governors Ball – New York, NY
6/21 to 6/23 – Firefly Festival – Dover, DE


“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


St. Lucia On Facebook
Follow St. Lucia On Twitter

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.




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





“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/ 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:


Warm Soda Premieres “Waiting for Your Call” Track On SPIN

Click Here To Listen To “Waiting For Your Call” On SPIN

Perfecting the blend of glitter and grime that earned Bare Wires a soft spot in the hearts of the bubblegum-popping, foot-stomping masses, Matthew Melton joins with bassist Chase Oren, guitarist Rob Good, and drummer Ian McBrayer as Warm Soda.

With their debut LP, Someone For You, the outfit charts the familiar territory of power pop, glam, and punk, but with a decidedly more confident stride. The twelve resulting songs smack of sugar but sate an appetite that craves more than something sweet, their initial taste of preeminently listenable simplicity giving way to a lingering flavor of their compositional complexity. The group continues to cook up universally palatable jams out of Good & Melton’s Fuzz City Studios in Oakland, CA, and plans to take them on the road this year, cruising America’s historic highways in the spring and crossing the Atlantic for a European tour before summer’s end.

Tour Dates


Spin Premieres Jeffery Drag Records Winter Mixtape

Last month, Nashville label Jeffery Drag unveiled “Big City,” a scorching thrasher from Music City post-punks Western Medication. Now the label has put together a rough ‘n’ ready winter mixtape containing demos and unreleased material from Jack White-approved garage-punk Pujol, likeminded Jay Reatard torch-carriers Useless Eaters, Western Medication, and a whole bunch more. Listen below, and start buying cheap beer for a chaotic holiday party in someone’s basement. —

Hear Jeffery Drag Records’ Raucous Winter Mixtape Via Spin Here!

More About The Mix:

Jeffery Drag Records has compiled the best tracks from their upcoming releases, exclusive B-sides, and the best of 2012. Starting off with “Mama Said” which is an unreleased demo by Bad Cop, leading into a sneak peak from Useless Eaters’ upcoming JDR release Hypertension, due out February 12.

“Nasty Nuevo” is from Ghost Dance’s forthcoming Self Titled debut LP out on February 26, though the band is already back in the studio with Lincoln Parish of Cage The Elephant producing a follow up 7″. Lincoln Parish is also responsible for Talk Box Rodeo (his side project when he’s not in Cage The Elephant), on which he plays everything. “F*** Cancer” can be found on Stoned Eagle due in Spring of 2013.

Western Medication serve up moody post punk glory with “The Painted World” from the same titled 7″ due out in January 29. Western Medication features two members of Bad Cop and long-time Nashville punk Justin Landis. Out of Chicago, Magic Milk bring you “Coconut Dreams” from their ‘tour’ cassette released in winter of 2012. Expect another release from them on JDR by summer of 2013.

Pujol’s original demo of “Psychic Pain” appears courtesy of Saddle Creek, and Majestico’s “Boom Boom” is available now on the “Love is God” 7″ on JDR. Finaly Natural Child’s “Bodyswitchters Part II” is also available now on JDR via the “Mother Nature’s Daughter” 7″.

Jeffery Drag Records 2012 Winter Mixtape Tracklist

1. Bad Cop – Mama Said
2. Useless Eaters – Addicted To The Blade
3. Ghost Dance – Nasty Nuevo
4. Talk Box Rodeo – Cool
5. Promised Land – F*** Cancer
6. Western Medication – The Painted World
7. Magic Milk – Coconut Dreams
8. Pujol – Psychic Pain (Demo)
9. Majestico – Boom Boom
10. Natural Child – Bodyswitchers Pt. II

Night Moves Announce 2013 Tour/Live in Pittsburgh Jan 22 @ Shadow Lounge

Night Moves is John Pelant (guitars/vocals), Micky Alfano (bass) and Mark Ritsema (multi-instrumentalist) and will be joined by drummer Jared Isabella for the tour. The band has been named “Best New Band” by Minneapolis City Pages and received praise from the likes of NPR Music, SPIN, Bullett, Magnet, Minneapolis Star Tribune and more. They’ve also been getting steady airplay on public radio’s most esteemed stations including KCRW (Los Angeles), KEXP (Seattle), The Current (Minneapolis) and WXPN (Philadelphia).


Jan 16 Chicago, IL – Lincoln Hall (Tomorrow Never Knows Fest)
Jan 17 Cleveland, OH – Happy Dog
Jan 18 Philadelphia, PA – Kung Fu Necktie
Jan 19 New York, NY – Mercury Lounge
Jan 20 Allston, MA – Great Scott
Jan 22 Pittsburgh, PA – Shadow Lounge
Jan 23 Detroit, MI – Magic Stick Lounge
Jan 24 Madison, WI – FRZN Fest
Jan 26 Minneapolis, MN – Icehouse

Night Moves Tour The Midwest

Night Moves is John Pelant (guitars/vocals), Micky Alfano (bass) and Mark Ritsema (multi-instrumentalist) and will be joined by drummer Jared Isabella for the tour. The band has been named “Best New Band” by Minneapolis City Pages and received praise from the likes of NPR Music, SPIN, Bullett, Magnet, Minneapolis Star Tribune and more. They’ve also been getting steady airplay on public radio’s most esteemed stations including KCRW (Los Angeles), KEXP (Seattle), The Current (Minneapolis) and WXPN (Philadelphia).

Download “Country Queen” Via KEXP Song of The Day Here!

Nov 29 Milwaukee, WI – Stonefly
Nov 30 Columbus, OH – Ace of Cups
Dec 01 Indianapolis, IN – Radio Radio
Dec 03 Columbia, MO – Mojo’s
Dec 04 St Louis, MO – Off Broadway
Dec 05 Omaha, NE – Slowdown
Dec 06 Des Moines, IA – Vaudeville Mews (EARLY SHOW)
Dec 07 Sioux Falls, SD – Latitude 44
Jan 16 Chicago, IL – Tomorrow Never Knows Fest

Praise For Night Moves

“(Night Moves) plays countrified rock with a freak-folk vocal style, and their organ and string arrangements spin their songs into mini-epics.” – New Yorker

“a warm and intimate, wonderfully expansive gem” – SPIN (Album Premiere)

“hook-laden psychedelic rock, lush instrumentation and richly textured production” – NPR Music

“knockout single ‘Headlights’ (is) a psychedelic country gem awash in vocalist John Pelant’s golden yowl.” – Pitchfork

Daughn Gibson Heading Out on Tour This Fall


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).

The Beef with RNDM Revealed in New Video

RNDM (pronounced “random”) is a new musical group featuring Pearl Jam bassist Jeff Ament, singer-songwriter Joseph Arthur and former Fastbacks drummer Richard Stuverud. The band will release its debut album, Acts, on October 30th in CD, vinyl LP and digital formats via Monkeywrench Records/RED in the U.S. and Canada.

To celebrate the release, the band put together a 6-minute video to introduce RNDM Acts. Find out how Ament, Arthur and Stuverud made RNDM a reality by watching the EPK video premiere at

The single, “Modern Times” made its debut on Rolling Stone, while the video recently premiered on SPIN.


In support of Acts, RNDM will embark on an 18-date North American tour, which kicks off November 2nd in Brooklyn, NY and ends November 27th in Seattle, WA. See below for a full list of tour dates.

Date City Venue
Nov 2 Brooklyn, NY Music Hall of WIlliamsburg
Nov 3 Washington, D.C. The Black Cat
Nov 4 Philadelphia, PA Union Transfer
Nov 7 Boston, MA Paradise Rock Club
Nov 8 New York, NY The Bowery Ballroom
Nov 9 Montreal, QC Théâtre Corona
Nov 10 Ottawa, ON Algonquin Theater
Nov 11 Toronto, ON Lee’s Place
Nov 13 Chicago, IL Lincoln Hall
Nov 14 Milwaukee, WI Turner Hall Ballroom
Nov 15 Minneapolis, MN First Avenue
Nov 16 Lawrence, KS The Bottleneck
Nov 18 Boulder, CO The Fox Theatre
Nov 21 Los Angeles, CA Troubadour
Nov 23 San Francisco, CA Great American Music Hall
Nov 25 Portland, OR Doug Fir Lounge
Nov 26 Vancouver, BC Biltmore Cabaret
Nov 27 Seattle, WA Showbox at the Market