DMA'S ("dee-em-ayes") new self-titled EP is landing on your radio desks this week if not there already....so get ready (the buzz you've been hearing is Fully Warranted and they do Not disappoint)! You can also CLICK HERE for download of first single "Laced" (track #1 on the disc)!
A couple of years ago, three friends started writing and recording music together above a hairdresser on a busy street in Newton, Australia. They'd known each other casually for awhile and had all been in other bands previously, but hadn't found their own individual voices or the proper outlet for the songs percolating in their heads.
The product of three distinct musical personalities, DMA'S songs crackle with classic melodies and a sweet, youthful energy. You'll hear elements of 90s Britpop and shoegaze and American alternative guitar rock woven through arena-ready fist pumpers.
"'Laced' combines that with some of The Verve's stoned ambience and Britpop godfathers XTC's fizzy bubblegum edge."--Entertainment Weekly
"the kind of jangly sonic cadences that recall the Stone Roses or Oasis, right down to the give-a-f*ck jut of singer Tommy O'Dell's jaw."--NOISEY
"Delivering Glastonbury worthy hooks powered by a three-guitar assault"--Rolling Stone
"Truly thrilling, and at the center of it all is Tommy and his voice"--NME
"Artist You Should Know"--KCRW
Running With The Wolves EP
Growing up in the small Norwegian town of Os, Aurora was first drawn to music as a young child and influenced by her sister's piano playing. Coming into her own at but 17 years old, Aurora started performing publicly, first for her schoolmates and then at major Norwegian music festivals and radio stations. Now at 18, Aurora has become one of the country's most talked about new artists with sites now firmly set on the States!
A full length album is coming in September following up the newly released "Running With The Wolves" EP!
"One of the festival's most memorable arrivals...Her voice was vivid and clear in pop arrangements pulsating with synthesizers and kicking in with harder drumbeats on choruses."--New York Times (Jon Pareles at CMJ)
"Aurora's gorgeous vocals and unexpected instrumental harmonies shine..."--NPR
"...her so-called 'dark pop' was explosive, and (Aurora) Aksnes has an x-factor that one can't quite look away from."--PASTE (Best Of CMJ)
"beat-based songs and nature-centric imagery so lush you could almost reach out and touch it"--MTV Iggy
"The soundtrack to your wilderness fantasy"--New York Magazine
Listen: "Running With The Wolves"
Chicago's AyOH (pronounced "A-O") is the sound of traveling the length of the Windy City--by cab, by train or by foot, on a drizzly, desperate evening. With shining guitars, hovering keys, propulsive rhythms and impassioned vocals, "Dangerous Questions" is the new self-released EP (produced by Steven Gillis of Filter).
AyOH have been crafting their unique brand of sweaty, blue-eyed soul since 2011 and are one of the most currently buzzed about (and rightly so!) bands in Chicago!
"'Lion To The Lamb' is about the choices people face everyday," frontman Avi Dell says. "Within each of us is a character to be played in the narrative of life. Every morning we choose which role to embody: winner or loser, aggressor or victor, actor or bystander, Lion or Lamb. What starts out as a song seemingly about relationships blossoms into a tale of self discovery."
Listen: "Lion To The Lamb" (radio edit)
7th Direction EP
Anthemic New York City trio theSHIFT rock with vibrant depth and a forceful punch on their newly released "7th Direction" EP.
While the members of theSHIFT are sought-after studio and touring musicians (from Ben Harper and Lauren Hill to Big Daddy Kane and Slick Rick), Many will have actually perhaps already heard guitarist/vocalist John Shannon on the hit Louis C.K. series "Louie", which he writes the music for. Now in it's 5th season, Shannon was brought in during the early days of the TV show by pal Reggie Watts.
Despite being in demand for session work, the trio has made theSHIFT their primary focus, determined to inject rock with the rebellious boldness they believe to be lacking in today's climate.
"When you just play a song perfectly from start to finish, there's no danger there," explains Shannon. "When you choose to open it up in a way that's in touch with the moment and the audience, then you can get into some real danger, real transcendence. Our lyrics don't question the government, they question the nature of your reality."
theSHIFT's "7th Direction" was recorded at Brooklyn's Mission Sound and Manhattan's JRock Studios and co-produced by Jamie Siegel (Taking Back Sunday, Smashing Pumpkins).
I Become A Shade
Seoul have never been in a rush. Despite the overwhelming praise of their first online releases and industry chatter that surrounded their first live performance back in 2013 at Pop Montreal, kindergarten classmates Nigel Ward and Julian Flavin, and art school transplant Dexter Garcia remained resolute in fine tuning the dozen songs that would become their official debut: "I Become A Shade"
NOISEY gives a nice reference for Seoul's sonics suggesting one imagine if "Phoenix were really high on some primo pot and went bike riding with Washed Out and you're somewhere close."
Seoul--blue, breathless, gentle, absolute.
"...their music inhabits a groggy, wispy headspace--a dreamland that you can imagine even its creators getting lost in. Evocative at times of the swooning emotions and side-chain compression exercises of of similarly wilting electronic acts like Toro y Moi"--SPIN
"it's a woozy-wonderful melange of pulsing synths and nimble guitars"--NOISEY
"Seoul make featherlight pop that is laid-back but engaging"--Brooklyn Vegan
Listen: "Stay With Us"
Then Came The Morning
"Then Came the Morning", the second album by the Southern-born, Brooklyn-based indie-folk trio The Lone Bellow, opens with a crest of churchly piano, a patter of drums, and a fanfare of voices harmonizing like a sunrise. It's a powerful introduction, enormous and overwhelming, as Zach Williams, Brian Elmquist, and Kanene Pipkin testify mightily to life's great struggles and joys, heralding the morning that dispels the dark night. Working with producer Aaron Dessner of the National, The Lone Bellow has created a sound that mixes folk sincerity, gospel fervor, even heavy metal thunder, but the heart of the band is harmony: three voices united in a lone bellow.
After two hard years of constant touring, the band was exhausted but excited. By 2014, they had written nearly 40 songs on the road and were eager to get them down on tape. After putting together a list of dream producers, they reached out to their first choice, the National guitarist Aaron Dessner, who has helmed albums by the L.A. indie-rock group Local Natives and New York singer-songwriter Sharon Van Etten.
"It occurred to me that it would be fun to get together and make music with them," says Aaron. "My main interest in producing records is community and friendship more than making money. I already do a lot of traveling and working with the National, so when I have to time to work with other artists, it should be fun and meaningful."
"Aaron is just so kind," Zach says. "And he has surrounded himself with all these incredibly talented people, like Jonathan Low, the engineer. His brother Bryce [Dessner, also a guitarist for the National] wrote these amazing brass and string arrangements, and he got some of his friends to play with us."
Dessner and the Lone Bellow spent two weeks recording at Dreamland in upstate New York, a nineteenth-century church that had been converted into a homey studio. The singers found the space to inspire the emotional gravity necessary for the material and the acoustics they were looking for. (For Kanene, Dreamland had one other bonus: "I'm a big Muppets fan, and it looks exactly like the church where Dr. Teeth and the Electric Mayhem lived.")
"These are true stories," says Brian. "These aren't things we made up. We tried to write some songs that had nothing to do with our personal stories, but we just didn't respond to them. But we're best buds, so we know each others' personal stuff and trust each other to figure out what needs to be said and how to say it."
Says Brian, "We do this one thing together, and we carry each other. Hopefully that makes the listener want to be a part of it. It becomes a communal thing, which means that there's never a sad song to sing. It's more a celebration of the light and the dark."
Listen: "Take My Love"
404 Not Found
The Singularity's first single and video, "Wetter", off the upcoming self-produced/released album, is a modern day blast of a good time glam stomper and we're very excited deliver it to you first!
Frontman and multi-instrumentalist Julian Shah Tayler's childlike fascination with science, space and the big questions that trouble the human condition has fueled the creative output of The Singularity's electronic rock and roll since the band's inception in 2012.
"Everything burst out of the center of a supermassive black hole," remarks Julian, "and we are going back there one day, so let's just enjoy it." This sentiment pretty much sums up The Singularity's manifesto and echoes the hedonistic attitude of the band.
A Londoner relocated to LA, Julian's catalog of music prolifically exceeds 300 songs, many of which have been featured in films and hit TV shows including Breaking Bad, The Sopranos and The Newsroom, while also turning up on broadcasts ranging from UK television's Popstar to NBC Sports.
In 2014, The Singularity (aka singer/producer/writer Julian Shah-Tayler) won a Golden Trailer award for his work with Lana Del Ray on Disney's "Maleficent" trailer. He also performed one of his songs in front of Bill Clinton, Robert DeNiro and Martin Scorsese for the Unite For Humanity charity at the Oscars. Three of his songs were the "hits" for the focus band in the music movie "Plush", directed by Catherine Hardwicke (Twilight, Lords Of Dogtown). He did all this while co-founding an LA charity called Art Angeles, teaching music to underprivileged kids in Watts.
"'Wetter' is Massive. It will make Julian a star, like a great version of Prince."--Alan McGee (Creation Records)
"Very Impressed!"--David J (Love & Rockets, Bauhaus)
FIDLAR are Back and Just In Time to save our ears and eyes from boredom! The upcoming "Too" (out 9/4) showcases a band that's on the forefront of modern punk!
Since forming in 2009, FIDLAR quickly became one of the LA music scene's most celebrated live acts thanks to their raucous live shows, which often concluded with the majority of audience members joint the band on stage.
Since formation, the band has toured the world and played with The Pixies, The Orwells, The Hives, Black Lips, OFF!, Jeff The Brotherhood, Wavves and more.
FIDLAR's self-titled debut album was released January 2013 and debuted #5 Billboard Heatseekers Chart, #2 Alt New Artist Chart, was the #1 Most Added release at CMJ and spent multiple Top 5 weeks in a row on the national new music specialty show charts.
FIDLAR's Zac Carper on the accompanying video: "In the late 90s and early 2000s, music videos were such a huge deal. We decided that instead of making one overly slick music video, we would nod to 15 of our favorite music videos that we grew up with. Everyone in the band threw in their ideas."
"the '40oz On Repeat' video is an easy contender for one of the best videos of the year."--Consequence Of Sound
"FIDLAR is back with a badass new song and video to go along with it."--Stereogum
"FIDLAR unleash every goofball trick in the book in '40oz On Repeat' video"--SPIN
"LA skate punks FIDLAR are out with a new video, and it will scratch your nostalgia itch so hard and good you won't need that tattoo choker anymore."--MTV News
Listen: "40 oz On Repeat" (radio edit)
When you arm two wild frontwomen with Detroit-laced hooks, you get Motobunny: Iggy-Pop-meets-Icona-Pop. In short--American rock n' roll.
Led by dual singers Christa Collins and Nicole Laurrene, Motobunny's aesthetic has as much to do with Laurrene's Michigan rock roots as the surf sounds and pounding percussion of LA's punk and garage scenes. Rarely does a rock band present with two such well-matched, intense vocalists, but the rest of Motobunny keep up easily, ripping through songs straight out of a Tarantino film.
Motobunny formed after members of two acclaimed rock bands, The Love Me Nots and The Woolly Bandits got on stage together in 2013. After years of sharing green rooms, tour vans, and seedy motel rooms, it was the first time they had performed as one band and the electricity was undeniable. Together they dashed off songs for a dual-frontwomen rock collaboration, enlisted the help of Love Me Nots drummer Jay Lien, and headed to Detroit to record a full-length album with Jim Diamond (White Stripes, Electric Six, Dirtbombs). Mixed by Bob Hoag (The Format, Deer in The Headlights, Ataris), and mastered by Jason Livermore (Rise Against), the result is 12 tracks of tough rock n' roll topped off with a girls-just-wanna-have-fun attitude.
The band's anthem "Motobunny", released by Rusty Knuckles Music as a teaser single and music video, was featured in Blackheart films' 2015 release Jack and Cocaine, produced by Blackheart Records' Cyn Posner. The band performed its debut concerts in their hometowns of Phoenix and Los Angeles in Spring 2015, along with performing a live-streamed worldwide concert from Six01 Studios.
Listen: "Let's Go Out"
Drug For The Modern Age
The second album from six-piece Kopecky, "Drug for the Modern Age" takes the many shake-ups the band's endured over the past few years and turns them into inspiration for groove-driven, melody-heavy alt-pop that's intensely emotional and strangely exhilarating. "The album was written in this weird time of so much pain but also happiness, and that really informed the writing and recording," says vocalist/guitarist Gabe Simon, who co-founded the group with vocalist/keyboardist Kelsey Kopecky in 2007. "Our goal was to talk about all these very serious things we were dealing with, but in a way that felt nothing like wallowing and more like standing triumphantly, or even dancing our way through it."
In achieving that dynamic, Nashville-based Kopecky (whose lineup also includes guitarist Steven Holmes, bassist Corey Oxendine, cellist Markus Midkiff, and drummer David Krohn) offer moments of symphonic grandeur alongside edgy, electronic-leaning innovation. Meanwhile, their daringly intimate lyrics both unsettle and engage, asking questions and encouraging reflection on the part of the listener. "The idea behind the title 'Drug for the Modern Age' is that we're all trying to find the drug that helps us get through life and deal with the pressures and challenges that almost everyone in our generation faces," says Gabe. "Whether it's love or real connection or even an actual drug, we're all looking for something that makes us feel like we're a part of something good and meaningful."
Formerly known as the Kopecky Family Band, their 2012 debut "Kids Raising Kids", had them teaming up with producer/engineer Konrad Snyder. This time around they worked with Konrad again, but took a more slowed-down and deliberate approach that allowed them to bring a new level of sophistication and soulfulness to their songcraft. When it came time to record, the band divided up their sessions between several different locations, including EastSide Manor Studios (an East Nashville facility complete with an old indoor pool converted into a reverb chamber).
"Drug for the Modern Age" serves up its share of intricately layered love songs, revealing Kopecky's endless grace in merging sweetness and melancholy. Throughout the album, they also consider the more shadowy dimensions of the human heart. "One of the main things we wanted to address on this album is the fact that, in a time when we're all so wired in and constantly staring at our phones, we're not engaging and hearing each other's stories the way we should be," says Gabe. Not only essential in helping certain band members cope with major life changes, that telling and hearing of stories went a long way in elevating the band's songwriting. "We made a point of taking a step back and being real with each other and opening up, rather than just trying to hash our way through songs," says Gabe. "It really helped us to voice our feelings in our lyrics in a more candid way than we ever had before."
Danger In The Club
Two years after their debut "180", named one of 2013's best debuts by Rolling Stone ("full of garageland guitars...and psych-nuggets organ, all in the service of songs unafraid of a good yell-along chorus"), anointed "2013's most necessary debut" by PopMatters, called "raggedly charming" by the New York Times, and praised by SPIN for its "rapturous hooks", Palma Violets are back!
"Danger In The Club" was produced by John Leckie (Stone Roses, Radiohead, The Fall) and recorded at The Doghouse Studios in Wales. While it certainly trades on the primal and joyous hook-laden rock of their debut, "Danger In The Club" finds the Palma Violets with a new sonic looseness, revealing far more expansive influences than the still-quite-young quartet had on their debut.
This is the sound of a preternaturally talented group of musicians and songwriters continuing to develop, while keeping their focus squarely on the type of well-crafted, singalong anthems that have earned them the adoration of fans and critics.
Speaking about the new album, bassist and singer Chilli Jesson explains: "We wanted to make a young-sounding record. We listened to a lot of pre-punk while we were making the album. We like its rawness and simplicity. A lot of bands want to over-complicate their second album, we know that we didn't."
The rambunctious British four-some not only impressed droves of music fans at SXSW last trip across the pond to see us, but even found themselves physically carried off the stage by security for playing past curfew and in true rock and roll style! Don't miss the band live back on our shores this summer!
"maintains the earnest rockers' boisterous guitars and frayed shouts but also twines in eerie post-punk keys, poppish call-and-response interplay and even downcast balladry....a slyly intricate effort with a fresh sheen of sophistication."--Rolling Stone
"a song built for a good ol' fashioned pub sing-along."--Consequence Of Sound
"it's definitely a comfortable sound to sink into."--THE FADER (on "English Tongue")
"British garage-rock band with a remarkable sheen of earnestness..."--New York Times
Listen: "English Tongue" (radio edit)
The Chase/Haunted By You
After returning to The Late Show With David Letterman recently to perform their hypnotic New Single "The Chase", Future Islands are Back and have now officially released the song as a double A-Side Single.
Last March the Baltimore-based trio Future Islands made their groundbreaking network television debut on Letterman, and last week after being personally invited back to mark one of the final broadcasts before Letterman's retirement, debuted their new single "The Chase" live on the show.
The track is out now as a double A-side with another unheard song "Haunted By You," which the band first performed at their recent sold out UK shows. Both tracks are available to buy on iTunes and Amazon and streaming on Spotify. "The Chase" Physical 7" will be available at retailers and through the 4AD store on June 30.
A live version of "The Chase" was recently recorded straight to vinyl at Abbey Road Studios, as part of Record Store Day 2015. BBC 6Music premiered the recording, along with interviews with the band and Abbey Road studio engineers. The one-off pressing was raffled off at Leamington Spa's Seismic Records, with proceeds going to the Myton Hospices charity.
"hypnotic…once again impressing the late night legend with their idiosyncratic style."--Rolling Stone
"Their live performance of 'Seasons(Waiting On You)' was probably the most important live performance by a band in 2014"--USA Today
"Herring's moves are a treat to behold"--Entertainment Weekly
"an epic return"--Consequence Of Sound
"they absolutely seized their moment; its just a wonderful performance"--Stereogum
Listen: "The Chase"
Elliot Moss is a 21 year old multi-instrumentalist songwriter and producer from New York who has drawn comparisons as diverse as Alt-J, James Blake, Washed Out and Radiohead, with his soulful vocals, strong songwriting and embrace of electronic, jazz and ambient sounds.
The third generation in a family of musicians and artists, Moss will release his debut album "Highspeeds" April 28th. Recorded at his home studio, Moss performed, produced and mixed the entire album with the exception of a few friends.
"spacious and diverse, Elliot Moss' style is a combination of minimalist, echoed beats layered with acoustic delicacies, veering into grunge and electro-pop."--(Five Artists To Watch In April) SPIN
"Foggy, melancholy fuzzed-out folk with traces of brass and wobly electronics fraying the edges outward."--Stereogum
"All shaded rhythms and soulful vocals."--FADER
Listen: "Big Bad Wolf"
Sometimes I Sit And Think, And Sometimes I Just Sit
Mixing witty, often hilarious, occasionally even heartbreaking observations with devastating self-assessment, Courtney Barnett's debut album, "Sometimes I Sit and Think, and Sometimes I Just Sit", cements her standing as one of the most distinctive and compelling voices in indie rock. These songs reveal not only an assured songwriter and guitar player, but also an artist who in just a few years has already proved highly influential.
Fuelled by the nimble crunch of her guitar and the loose groove of the rhythm section, Courtney Barnett's songs are wild and shaggy and wordy, her lyrics plainspoken and delivered like she's making them up on the spot. The music is rooted in the slack jangle of the late 1980s and the early 1990s, which has prompted the adjective "slacker" from journalists and critics around the world. That word is fitting for tunes that sound like they only just roused themselves out of bed. As a description of Barnett's work ethic and musical influence, however, "slacker" is all wrong.
Even just a few years into a solo career, she has already proved herself an idiosyncratic and boundary-smashing artist and a passionate advocate for the arts who is changing the face of indie rock in her native Australia and around the world. After leaving art-school in Hobart, Tasmania, Barnett moved to Melbourne and became a mainstay of the local scene. She paid her dues and honed her chops in short-lived garage outfits before playing lead guitar in the twang-psych band Immigrant Union (which featured Bob Harrow and the Dandy Warhols' Brent DeBoer).
When she went solo, Barnett launched her own label, which she dubbed Milk! Records, to release her own material as well as music by some of Melbourne's finest singers and songwriters. With the 2013 release of "The Double EP: A Sea of Split Peas" (which combined her first two self-released EPs), she embarked on an almost never-ending tour that took her to North America and Europe, barely stopping long enough to record her first true album.
Her songs may not sound tightly coiled, but they are carefully and exactingly structured. Her lyrics may ramble, but each word is carefully chosen. She is, however, no perfectionist. In fact, she may be an imperfectionist: Barnett strives to fine-tune her songs as much as possible, but she knows that their flaws—a missed note here, a flubbed line there—can make the music sound more human, more relatable, more sympathetic. "My songs follow me as a normal human with normal emotions," she explains, "so there are great highs and great lows. They span everything in my life."
Barnett and her band—which includes Dan Luscombe on guitar and the surprisingly nimble rhythm section of Bones Sloane on bass and Dave Mudie on drums—recorded the album at Head Gap Studio in Melbourne during the fall of 2014. "We'd start midday and work until quite early in the morning," she says. "Of course, half the time is sitting around waiting for the engineer to get a mic into place or something like that." The band used the downtime to take these songs apart and put them back together again. Nothing was taken on faith; every note and every word was parsed.
"We didn't just go in and bang it out. We mucked around with it. There was the panic of not having the songs prepared, but I think that energy works for the album. And we were drinking a lot of coffee." (The process was documented by photographer Tajette O'Halloran, whose images are included in the liner notes.)
Writing these songs can be a drawn-out and nerve-wracking process, especially when she finds herself recording a song that she hasn't written yet, but it pays off beautifully on "Sometimes I Sit and Think...". It's a beguiling collection of songs that reveals her as an ambitious songwriter with an ear for clever turns of phrase and an eye for story-song details that are literate without being pretentious. Barnett even did the artwork and hand lettering for the liner notes, showcasing a whimsical style similar to indie comics or the sketches of Eric Chase Anderson (who does most of the sketches for his brother Wes' films).
Now that these songs are on record, she will not stop tweaking and perfecting them. The more she lives with them—the more she plays them out, the more fans react to them—the more alive they sound to her, often disclosing new meanings and direr implications. "They keep revealing themselves," she says. "They change from touring and recording. They morph and change form and can end up sounding completely different. I hope it's like that forever."
Listen: "Pedestrian At Best"