Artist Development and Exposure–Specializing in Modern Rock Radio Promotion

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Avi Buffalo

9/08 Neumos - Seattle, WA**
9/10 Doug Fir Lounge - Portland, OR**
9/12 Great American Music Hall - San Francisco, CA**
9/13 El Rey - Los Angeles, CA**
9/14 Casbah - San Diego, CA**
9/20 Rough Trade N.Y.C. - Brooklyn, NY
10/28 Larimer Lounge - Denver, CO
10/29 Reverb - Omaha, NE
10/31 Old Rock House - St. Louis, MO
11/1 The Stone Fox - Nashville, TN
11/2 OK Productions - Decatur, GA
11/4 DC9 - Washington, DC
11/6 Mercury Lounge - New York, NY
11/8 Great Scott - Boston, MA
11/9 Boot & Saddle - Philadelphia, PA
11/11 Club Cafe - Pittsburgh, PA
11/12 MOTR Pub - Cincinnati, OH
11/13 Empty Bottle - Chicago, IL
11/14 Seventh St. Entry - Minneapolis, MN
11/15 Mad Planet - Milwakee, WI
11/16 Vaudeville Mews - Des Moines, IA
11/18 Neurolux - Boise, ID


** with Owen Pallett

 

Avi Buffaloavi buffalo

At Best Cuckold

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Embarking upon a sophomore effort can be a daunting task for any young upstart, and there’s no denying Avi Buffalo’s own bar was set quite high with 2010’s celebrated eponymous debut. Fear not, dear fans/family/friends/friends of friends/newcomers, there’s nothing in this tale about The Second Album—a.k.a. "At Best Cuckold", that even remotely resembles a slump; in fact, it would be entirely appropriate to say that this Long Beach, California, enterprise is getting better with age.

 

Ah, yes, age—much was made of it when Avi Buffalo’s first album hit the ground running, and for good reason: While their Millikan High School classmates were preoccupied with quaint and youthful pursuits, the musicians behind Avi Buffalo were busy making an off-kilter pop gem that eventually bowled over NME, The AV Club,Pitchfork, the BBC, and numerous other outlets on both sides of the Atlantic whose tastes are respected by the general public. Like a lot of kids their age, the Buffaloes celebrated the end of high school in Europe, but instead of visiting the Louvre and Buckingham Palace, their overseas journeys took them to the festival stages of Reading, Leeds, Glastonbury, the Pavement-curated All Tomorrow’s Parties in Minehead, and beyond.


So is Avi Buffalo a he or a them? The answer is a definitive yes, as leader Avigdor Zahner-Isenberg has lent his musical nickname—bestowed in childhood by a pal who’d picked up on his friend’s inclination toward spicy chicken wings—to this full-fledged outfit that works something like a solo project in the studio and then builds into a band onstage. Not that he goes it alone when recording—to the contrary, many able-bodied compatriots, including longtime collaborator Sheridan Riley, have assisted with committing his songs to tape—but everything begins and ends with Avi, and after ending a year on the road in support of the first record, he decided to take his time beginning work on the second.


The creation of "At Best Cuckold" turned out to be a three-year journey; a stretch of time that resembles its predecessor. While transitioning from teenager to twentysomething and traversing the interpersonal wilds which accompany that age, Avi kept playing music (even picking up a new instrument every now and again), collaborated with and produced several friends (including Kevin Litrow’s N.O.W. project and Douglas James Sweeney’s Arjuna Genome), and even started DJing. He also wrote new songs, and by the time 2013 rolled around, it was time to begin capturing his latest sparks—with that, the band headed into the studio on New Year’s Day.


Two weeks later, the basic tracks for "At Best Cuckold" were recorded, having been captured at Tiny Telephone, the analog-friendly San Francisco studio run by John Vanderslice of John Vanderslice fame. The engineering was actually handled by Jay Pellicci (The Dodos, Deerhoof, Sleater-Kinney), though during his stay, Avi had a chance to play with the head honcho when he was asked to contribute to JV’s tribute to Bowie’s Diamond Dogs. Needless to say, Avi has nice things to say about the place.


Lyrically, there are a lot of unsettled emotions on the album; a product of Avi observing the world around him and writing “about life, dealing with relationships and yourself, and trying to keep your head up and keep learning amidst whatever it is you’re going through.”

 

At the ripe old age of 23, Avi Buffalo is ready to take on the world (again), armed with all of the experience he’s compiled over the past few years. And he’s made sure the second time around will be just as memorable as the first.

Listen: "So What"  

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Johnny Marr

 

Johnny Marrjohnny marr

Playland

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Last year, Johnny Marr enjoyed a monumental start to his solo career with an abundance of critical acclaim (including the honor of being named NME's 'Godlike Genius') for his Top 10 debut solo album "The Messenger". Meanwhile, the legendary guitarist for The Smiths' shows were celebrated on Both sides of the pond for his ability to combine the best of his new material with select highlights from The Smiths and the rest of the his extensive back catalog with other artists.

Johnny Marr's upward trajectory continues unabated with the release of "Playland". Work on the album commenced in London this past spring as soon as the year of touring support for "The Messenger" came to a close. It finds Marr continuing the creative connection that was forged last album with collaborator and co-producer Doviak, as well as the other musicians who performed on the album and accompanying tour.

As Johnny states, "When 'The Messenger' came out I kept on writing. I liked that the band had a momentum going on tour and a connection with the audience, and I thought that energy would be good to capture on the new record."

According to Marr, written around a common theme of "songs that move at the speed of life," "Playland" captures much of the spirit that made "The Messenger" so memorable with energetic, post-punk songwriting complemented by his characteristic guitar style, thought-provoking lyrical ideas and poised vocal phrasing. Marr continues "It's important to sound like your environment and of this record that's London and Manchester. The feeling of the cities and the people make it into the music."

Listen: "EASY MONEY" (radio edit)  

Fiance

FiancÉ

 

FianceFiancÉ

EP1

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Newark is a small city in Delaware, home to a little more than 30,000 people, a university and a burgeoning music scene. Most notably, though, it’s the birthplace of Fiancé, a four-piece experimental pop group who are bringing their local vibe to a grander level. The band’s members have been friends since grade school, always playing in and out of bands together over the years as they grew up. In January of 2013, Andrew, Jeff and Tyler got together and started a new project they dubbed Fiancé. The idea behind the group was vague, with the only goal to make music together that they all enjoyed.


By June, the band had added local Delaware musician Brian Bruce on the drums. Based in a big farmhouse in Newark where the musicians have lived over the past few years, Fiancé have established themselves as a local staple. They helped to cultivate the music scene by hosting parties and shows at their house, highlighting DJ’s and bands from the tri-sate area.

 

The house also doubles as Fiancé’s recording studio. The musicians wrote the five tracks on their debut, titled "EP 1", over the course of last summer and fall. Produced by Andrew and engineered by friend Ryan Williams, the entire EP was recorded to quarter inch tape on a Tascam 388 tape machine. The tape adds to the gauzy, fuzzed out aesthetic that threads throughout the songs.

 

“Recording in our house gave us the opportunity to experiment with the ways different rooms can effect the sound of a record,” Tyler says. “We have used the design of our house to hone in on our sounds for years and you can hear it on the EP.”

 

The EP opens with the group’s first single, “Era,” a layered, shimmering pop song Andrew and Jeff had initially written for a possible solo project before Fiancé started. “It wasn’t quite finished,” Jeff says. “And the other band members just made it so much better. We’re really proud of it.” “Climb The Stairs,” is a moody rocker that showcases the glimmer of darkness and melancholy in the group’s sensibility. “The songs are ultimately about change,” Andrew says, “Those moments when you realize that what seemed like such a strong connection to something, has become so fragmented that it may not be mendable.”

 

The group is currently translating the aesthetic on their EP into a full-length album. For them, the EP is an apt hint at where Fiancé will go next, but not necessarily a complete indication. “Our goal is to write songs that are meaningful to us,” Jeff says. “If our songs can impact other people in a positive way, then that’s great. But our true goals are more selfish than that. We want to write songs that are more honest then anything we’ve done before, ones that resonate with ourselves.”


"A matrimonial mix of Diiv's billowy shoegaze and Delorean's effervescent dreamwave, FIANCÉ might well be the most exciting band to emerge from Delaware in, well, ever."--NME

"a song that sounds like a hazy day at the beach that will never escape your memory"--Noisey/VICE

"'Era' has heart too, and that's probably the main reason FIANCÉ stand out...a foggy, glazed pop song out of what, on the outside, could be considered complete heartbreak."--This Is Fake DIY

Listen: "Era" (radio edit)  

Owen Pallett

Owen Pallett

9/03 Covenant Fine Arts Center - Grand Rapids, MI
9/04 Metro - Chicago, IL
9/05 Cedar Cultural Center - Minneapolis, MN
9/08 Neumos - Seattle, WA
9/10 Doug Fir Lounge - Portland, OR
9/12 Great American Music Hall - San Francisco, CA
9/13 El Rey Theatre - Los Angeles, CA
9/14 Casbah - San Diego, CA
9/15 The Crescent Ballroom - Phoenix, AZ
9/18 The Mohawk - Austin, TX
9/19 The Loft - Dallas, TX
9/20 Untapped Festival @ Discovery - Houston, TX
9/26 Centennial Theatre - Sherbrooke, CA
9/27 National Arts Centre - Ottawa, CA
9/29 Centre In The Square - Kitchener, CA

 

BlankOwen Pallett

In Conflict

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Owen Pallett's "In Conflict" is full of love songs - more specifically, songs about liminal states and our loved ones locked in battle with them.

“The record is meant to approach ‘insanity’ in a positive way,” Pallett says - emphasis on the ironizing scare quotes around singular notions of insanity.


“Depression, addiction, gender trouble, and the creative state are presented as positive, loveable, empathetic ways of being. Not preferable, per se, but all as equal, valid positions that we experience, which make us human.”

The songs are pretty but deeply unnerving - they cause discomfort in sensuous & seductive ways. While made with the rigour of a classicist, this isn’t classical music or even indie-classical music. Pallett is not just “approved of” by Establishment Art Music people (though he is) - he is also beloved for his accessibility; for the way his art reflects & resonates with Mainstream Pop Culture; for the emotionally cathartic outlet his music provides.

 

"a torrential swirl of strings and percussion that, on first pass, stands among Pallett's finest compositions"--Stereogum (on "The Riverbed")

"The setting is the everyday; the scale is still epic. Turns out, when you take one guy’s fears and hopes and neuroses and splay them across a range of Middle Earth mountains, you get some great songs."--Consequence Of Sound (A-)

"a beautiful and powerful album, light as a feather in its delivery of complicated musical and lyrical ideas, but packing a punch that’s sharp enough to floor most other records released this year."--Time Out London

"for the In Conflict sessions, Pallett's stock as one of indie rock's best ambassadors to pop music reached a new high."--NPR

 

Listen: "The Riverbed"  

FKA twigs

FKA twigs

11/6 930 Club - Washington, D.C.
11/7 Union Transfer - Philadelphia, PA
11/8 Terminal 5 - New York, NY
11/11 Brighton Music Hall - Boston, MA
11/13 Metro - Chicago, IL
11/14 Fine Line - Minneapolis, MN
11/18 Showbox - Seattle, WA
11/20 Regency - San Francisco, CA
11/21 Regent - Los Angeles, CA
11/22 Regent - Los Angeles, CA
11/26 Parish - Austin, TX
11/28 Trees - Dallas, TX
11/29 Republic - New Orleans, LA
12/1 Mercy Lounge - Nashville, TN
12/2 Terminal West - Atlanta, GA
12/3 The Social - Orlando, FL

 

FKA twigsFKA twigs

LP1

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It's a little mind-blowing that the first music FKA twigs ever put out came just 18 months ago. Called simply "EP1", those four self-released tracks were so arresting that almost overnight the internet seemed consumed with trying to work out from where and whom these tracks had come.

 

The 26 year old twigs is about to release one of the year's most anticipated debuts. Called "LP1". It's a testament to her talents as a producer, songwriter and vocalist and it also, she says, marks the exorcising of many of her artistic insecurities. Every melody and every lyric is hers, as they always have been, and she's particularly proud of the minute attention she brought to sonic details.

The only child of a part-Spanish mother and a Jamaican father, twigs grew up in rural Gloucestershire, England. As a shy child, this meant a lot of isolation and time spent alone, but she found she had a talent for dance and still takes ballet and contemporary dance classes. It wasn't until her late teens, when she joined a youth club frequented by local bashment and ragga artists, that she realized she also has a talent for music.

"The debut album from FKA Twigs doesn't drop until August, but the UK songstress has already amassed a hype that made her one of (Pitchfork Festival's) biggest draws. Living up to expectations, the artist born Thalia Barnett moved the crowd with her alien R&B jams and sexy, synchronized dance moves. Next year, she'll need a bigger stage."--Billboard

“One of music’s most intriguing new figures”--Vogue

Listen: "Two Weeks" (radio edit)  

SBTRKT

SBTRKT

10/07 The Masquerade - Atlanta, GA
10/09 Republic New Orleans - New Orleans, LA
10/10 House Of Blues - Houston, TX
10/12 House Of Blues - Dallas, TX
10/14 The Marquee Theatre - Tempe, AZ
10/15 The Belasco Theater - Los Angeles, CA
10/16 The Belasco Theater - Los Angeles, CA
10/17 Fox Theater - Oakland, CA
10/18 House Of Blues - Las Vegas, NV
10/20 Ogden Theatre - Denver, CO
10/21 Liberty Hall - Lawrence, KS
10/23 Riviera Theatre - Chicago, IL
10/24 House Of Blues - Cleveland, OH
10/25 Lincoln Theatre - Washington, DC
10/26 Terminal 5 - New York, NY
10/29 Royale - Boston, MA

 

SBTRKTSBTRKT

Wonder Where We Land

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SBTRKT has announces details of his much-anticipated second album. The London-based producer, songwriter and multi-instrumentalist will release "Wonder Where We Land" on September 23rd.

 

"Wonder Where We Land" follows his critically acclaimed eponymous debut album and a recent interim release of six instrumentals called "Transitions", which joined the creative dots between the first and second albums.

 

Since the release of his debut album in 2011, SBTRKT has cemented his role as one of the most acclaimed electronic artists and performers around. What began as praise in his hometown of London has now reached to every corner of the globe.

 

SBTRKT’s captivating and ever changing live show will be touring the world for the rest of the year.

Listen: "New Dorp, New York" (feat. Ezra Koenig of Vampire Weekend) 

Twin Peaks

Twin Peaks

9/01 Permanent Records - Chicago, IL
9/23 Blue Moose - Iowa City, IA~
9/24 Vaudeville Mews - Des Moines, IA~
9/25 7th Street Entry - Minneapolis, MN~
9/26 The Frequency - Madison, WI
9/27 Pygmalion Music Festival - Champaign, IL
10/14 The Stone Fox - Nashville, TN#
10/15 The Mothlight - Asheville, NC
10/16 Club Downunder - Tallahassee, FL#
10/17 Purgatory at The Masquerade - Atlanta, GA#
10/18 The Pinhook - Raleigh, NC#
10/19 The Barbary - Philadelphia, PA#
10/21 Metro Gallery - Baltimore, MD#
10/22 CMJ - New York, NY
10/25 Brandeis University - Waltham, MA
10/30 Lincoln Hall - Chicago, IL!
11/7-9 Fun Fun Fun Fest - Austin, TX
11/11 The Observatory/Constellation- Santa Ana, CA
11/12 The Echo - Los Angeles, CA
11/13 Soda Bar - San Diego, CA
11/14 Cellar Door - Visalia, CA
11/15 The Bottom of the Hill - San Francisco, CA
11/17 Slabtown - Portland, OR
11/19 The Vera Project - Seattle, WA
11/20 The Bartlett - Spokane, WA
11/21 The Crux - Boise, ID
11/22 Kilby Court - Salt Lake City, UT
11/24 Lost Lake - Denver, CO
11/25 Midtown Art Supply - Omaha, NE


* = w/The Lemons
^ = w/Public Access T.V. and The Lemons
# = w/Tweens
~ = w/NE-HI
! = w/NE-HI and Flesh Panthers


 

Twin PeaksTwin Peaks

Wild Onion

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Don't bother asking Twin Peaks about the deeper meaning of their band name. They simply thought it sounded cool, which explains why their second album "Wild Onion" (out August 5th) isn't as spooky or surreal as David Lynch's short-lived TV show. It's more like a modern day Nuggets, with Black Lips, Thee Oh Sees and Ty Segall curating instead of Lenny Kaye. Not literally, of course. But the spirit of those garage demigods is alive and well alongside subtle nods to everything from the Pixies and Tame Impala to the godfathers of guitar-guided pop music, the Beatles, the Rolling Stones and the Beach Boys.

Having quickly cut 2013's "Sunken", in frontman Cadien's basement so they could sell it on tour, the band was excited to spend more time developing "Wild Onion", a record that reveals a level of maturity beyond all the amp-singeing solos, ragtag rhythms and dizzying voices of three distinct singer-songwriters. Unlike acts who let their egos get in the way, Cadien, Clay and Jack share the spotlight and play to one another's strengths as Connor keeps things moving with a steady beat.

Having just wrapped a national tour in support of their fellow Chicagoans The Orwells and midwest dates with Arctic Monkeys, Twin Peaks are on the road currently with Brit buzz band Eagulls and will follow that with a headline club tour of all major US markets around release date (August--November). There will be festival stops on the way at Pitchfork, Fuck Yeah, Fun Fun Fun, CMJ and more TBA.

+ "...Twin Peaks have perfected the kind of songwriting that puts you in a practiced, happy headlock."-- Pitchfork

 

+ "...a quartet of young Chicago dudes with great taste in band names whose combination of psychedelic jangle and slacker punk grease makes a persuasive argument for the continued relevance of guitar rock." -- Esquire

+ "The Chicago teenagers who make up the band Twin Peaks make a confident old-school indie rock chug that should be beyond their years." -- Stereogum

+ "Their hypermelodic, sometimes psychedelic strain of pop'n'roll is a wild-eyed cousin to the wave of Julee Cruise-indebted bedroom bands their name suggests."-- SPIN

+ "While all the tracks are marked by heavy reverb and a lo-fi sound, each one feels distinct, thanks to the band's knack for melody and its instinct for switching up pace, tone, and guitar attack."-- Under The Radar

+ "stargazing dreaminess and swooning romanticism delivered with Velvets-like swagger." -- NME

Listen: "Flavor"  

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Jungle

9/20 Belly Up Tavern - Solana Beach, CA
9/22 The Crescent Ballroom - Phoenix, AZ
9/24 The Mohawk - Austin, TX
9/25 Fitzgerald's - Houston, TX
9/26 Republic New Orleans - New Orleans, LA
9/27 Terminal West - Atlanta, GA
9/28 Exit In - Nashville, TN
9/30 Black Cat - Washington, DC
10/1 Warsaw - Brooklyn, NY
10/2 Irving Plaza - New York, NY
10/3 The Sinclair - Cambridge, MA
10/7 Crofoot Ballroom - Pontiac, MI
10/8 Thalia Hall - Chicago, IL
10/9 First Avenue - Minneapolis, MN
10/15 The Showbox - Seattle, WA
10/16 Wonder Ballroom - Portland, OR
10/18-19 Treasure Island Music Festival - San Francisco, CA

 

JungleJungle

Jungle

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Jungle want to take you on an infinite holiday, a place called bliss, a great escape from the grey and the everyday – because, as aesthetes from Oscar Wilde to Pharrell Williams knew, there is nothing so serious as fun and nothing as subversive as happiness.

There is no blueprint to Jungle’s irresistible, life-enhancing, report-to-the-dancefloor sound but there are many ingredients. It’s P-Funk and ‘Grand Theft Auto’, it’s Curtis Mayfield and ‘Tron’, it’s the Beach Boys and Joy Division and Marvin Gaye and Can, all cut up and refracted in a London neighbourhood where anything can happen.

Behind the rising buzz – the BBC Sound of 2014 nomination, the 4 millions plus plays of the ‘Platoon’ video, the US tour that sold out on the back of their SXSW appearance before Jungle even had an official record out in America – it’s a DIY story. Working from their home studio in Shepherd’s Bush, the core Jungle duo known only as J and T set out their store long before they came on any label’s radar with a brace of handmade mini-classics. A couple of singles – ‘The Heat’’s supple 4am soul snap, the ice-cold search-and-destroy beats of ‘Platoon’ – connected 2014 and 1974, London with Rio and New York, the feet with the unconscious mind.

Adding to the buzz and mystique were game-changing videos, made by the band and their mates, featuring skaters the High Rollaz and a stunning 6-year old breakdancer called Terra. They racked up major views on YouTube and spread the word far beyond the music hardcore that here was something different. Inscrutable press photos compounded the intrigue, suggesting that there might be two people in Jungle or there might be thirty. Who could tell? Like their sonic ancestors Public Enemy or The Art Of Noise, Jungle were a delicious riddle, an enigma with attitude.

J and T are a pair of sound obsessives called Josh and Tom, sharp and meticulous West Londoners who each play “pretty much everything” and tend to finish each other’s sentences too. “The initials weren’t a big deal, they’re just our nicknames,” explains T. “We weren’t trying to hide ourselves, but we didn’t want the whole thing to be about us. We wanted it to be about at the music. ”

They’ve known each other they were ten years old, when J moved in next door to T’s house in Shepherd’s Bush back in 2000. T lived a mere stone’s throw from the legendary Townhouse Studios where (omens ahoy) everyone from ABC to Frank Zappa recorded. J climbed over T’s back garden wall and they’ve stayed friends ever since, from the time he tried to sell T his first guitar for £20 (Tom: “it was broken”) through roller-skating to sharing music – Red Hot Chili Peppers, Jehst, Braintax – to their first experiments with making their own.

“You know what it’s like,” says J. “You get a guitar and a busted old PC, then you find a bit of software on the Internet and suddenly you’re actually doing it. Even when we were kids the idea was, Yeah, we can do that. You don’t need a label or expensive equipment to make music. You just need to have a go.” Their interest in sound became an obsession. At school T spent a year dissecting Marvin Gaye’s ‘What’s Going On’ and the Beach Boys’ ‘Pet Sounds’ until he knew them inside out, two records he still adores for their marriage of recording technology with pure joyous emotion.

Shepherd’s Bush gave them a musical identity before they even knew they wanted one – that stew of hip hop, rock, electronica, soul and reggae that comes from a true culture collision. “We love it round there,” says T. “All of our mates are there. It’s one of those parts of London that’s kept its identity.”

So they threw themselves into finding a sound that only they could make. Something epic and rhythmic, euphoric and sexual. “It’s always been visual for us,” explains the enthusiastic J. “We want the feel of a video game or a cartoon landscape, a hyperreal, colourful, surreal place. We want everything to be realer than real.”

Half recorded at home and finished in the studios of their new label XL, where The xx made their own first album, Jungle’s intoxicating self-titled debut delivers all that and more. There’s technique and care in these seemingly weightless tracks but above all it feels effortless, a breath of fragrant fresh air, a touch of psychedelic sweetness for sour times.

Listen: "Busy Earnin"  

Colony House

Colony House

9/02 Black Sheep - Colorado Springs, CO
9/03 LARIMER LOUNGE - Denver, CO
9/04 Kilby Court - Salt Lake City, UT
9/05 Neurolux - Boise, ID
9/06 Barboza - Seattle, WA
9/07 The Big Dipper - Spokane, WA
9/09 Doug Fir - Portland, OR
9/10 Neck Of The Woods - San Francisco, CA
9/12 Satellite - Los Angeles, CA
9/13 San Diego Music Thing - San Diego, CA
9/14 Backstage Bar - Las Vegas, NV
9/16 Pub Rock - Phoenix, AZ
9/17 191 Toole - Tucson, AZ
9/18 Low Spirits Bar - Albuquerque, NM
9/19 Jake's Sports Cafe - Lubbock, TX
9/20 Vanguard - Tulsa, OK
9/23 George's - Fayetteville, AR
9/24 Record Bar - Kansas City, MO
9/25 The Demo - St Louis, MO
9/26 Midpoint Music Festival - Cincinnati, OH
9/27 Mercy Lounge - Nashville, TN
10/01 The HI-FI - Indianapolis, IN
10/03 Club Garibaldi - Milwaukee, WI
10/04 Schuba's - Chicago, IL
10/05 Turf Rock - Minneapolis, MN
10/06 Reverb Lounge - Omaha, NE
10/08 Fitzgerald's - Houston, TX
10/09 Grand Stafford - Bryan, TX
10/11 Prophet Bar - Dallas, TX
10/12 ACL - Austin, TX
10/14 Gasa Gasa - New Orleans, LA
10/16 Bottletree - Birmingham, AL
10/17 The Earl - Atlanta, GA
10/18 Evening Muse - Charlotte, NC
10/19 Cat's Cradle - Carrboro, NC
10/21 U Street Music Hall - Washington, DC
10/22 MilkBoy Philly - Philadelphia, PA
10/24 CMJ - New York, NY
10/26 Brighton Music Hall - Boston, MA
10/28 The Club at Stage AE - Pittsburgh, PA
10/29 Beachland Tavern - Cleveland, OH
10/30 The Basement - Columbus, OH


 

Colony HouseColony House

When I Was Younger

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Colony House, a trio from Nashville, TN will release their first full- length album "When I Was Younger" via Descendant Records (The Lone Bellow) on July 22nd. A.V. Club provided a first taste of the album in the single “Silhouettes".

"'Silhouettes' is quite an interesting song and serves a very specific purpose on this record,” says lead singer and songwriter Caleb Chapman. “For an album that has a fair amount of emotional twists and turns, this track is meant to be a constant. 'Silhouettes' is a steady reminder for the soul not to allow the dark moments in life to overshadow all the beautiful ones we live every day.”

 

Guitarist and principal songwriter Chapman writes effortlessly infectious tunes that resonate with personal experience and emotional depth. The songs' messages of hope and perseverance are matched by the organic musical rapport of Caleb and his bandmates, brother Will Chapman on drums and Scott Mills on lead guitar and harmony vocals.

Listen: "Silhouettes"  

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White Lung

9/02 Great Scott - Boston, MA
9/03 Glasslands - Brooklyn, NY
9/04 DC9 - Washington, DC
9/06 Hopscotch Festival - Raleigh, NC
9/07 The Atlantic - Gainesville, FL
9/08 529 - Atlanta, GA
9/09 The End - Nashville, TN
9/10 Subterranean - Chicago, IL
9/13 Basilica Soundscape - Hudson, NY
12/03 Doug Fir Lounge – Portland, OR
12/04 Chop Suey – Seattle, WA

 

White LungWhite Lung

Deep Fantasy

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Resilient and hard hitting rock n’ roll outfit, White Lung have just released their third album "Deep Fantasy". The band is every bit as confrontational as before, but they’ve managed to open their sound up just enough to draw listeners in before kicking them in the face. In a good way.

 

After a year plus of near constant touring behind their last album "Sorry" - which won raves from Pitchfork, Rolling Stone and Interview - White Lung slimmed to a trio in the studio; vocalist Mish Way, drummer Anne-Marie Vassiliou and guitarist Kenneth William. "Deep Fantasy" was made primarily in Vancouver with producer Jesse Gander (who also did both "Sorry" and their 2010 debut "It’s The Evil") in just two, ten day-long sessions at the end of last year and the start of this one. William handled bass duties on "Deep Fantasy" while Wax Idols’ Hether Fortune will take up bass and backing vocal duties on tour for the foreseeable future.

 

Way is more provocative and melodic than ever on "Deep Fantasy", lyrically surveying addiction (“Drown With the Monster”), body dysmorphia (“Snake Jaw”) and sexual dynamics (“Down It Goes,”) amongst other dinner table topics. William, a devotee of Johnny Marr “plays with the speed of an 80s hardcore dude” whirled in Vassiliou’s relentless and seemingly effortless approach to drumming.

 

"Punk rock battling the patriarchy while doling out melody under the table. Mish Way is one of the smartest and fiercest singers in the underground..."--Rolling Stone

"In Way, White Lung boast the most electrifying frontwoman of 2014."--NME (7/10)

"...loud, large and aggressive, but more advanced than White Lung’s first two albums...delivers on the band’s long-implicit promise of punk as brainy as it is emotionally raw."--The FADER

"...perhaps expressing the futility and repressed anger one feels when faced with the realization that the loudest people have the least to say and they won't ever shut the f*ck up. This all could be totally misreading Way, and maybe you just want to thrash to it, but therein lies the power of 'Face Down'-the mere energy it conveys inspires the listener to make whatever message they want out of it and to make it heard over the surrounding noise and chatter."--Pitchfork (Best New Track)

Listen: "Face Down"  

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St. Paul & The Broken Bones

9/17 Americana Music Assoc. Awards - Nashville, TN
9/18 Track 29 - Chattanooga, TN
9/19-20 Bristol Rhythm & Roots - Bristol, TN
9/25 Midpoint Music Festival - Cincinnati, OH
9/26 Roots N Blues BBQ Festival - Columbia, MO
9/27 ACANSA Arts Festival - Little Rock, AK
9/28 Levitt Shell - Memphis, TN
10/3-5 Hardly Strictly Bluegrass Festival - San Francisco, CA
10/10 Tabernacle - Atlanta, GA
10/11 Southern Ground Music & Food Festival - Charleston, SC
10/12 Fall For Greenville - Greenville SC
10/14 The Neighborhood Theatre - Charlotte, NC
10/16 9:30 Club - Washington DC
10/17 Beacon Theatre - New York, NY
10/18 Electric Factory - Philadelphia, PA
10/21 Paradise - Boston, MA
10/23 Jefferson Theater - Charlottesville, VA
10/24 Orange Peel - Asheville, NC
10/25 Ryman Auditorium - Nashville, TN
10/26 Life Is Beautiful - Las Vegas, NV
10/29 The Ready Room - St. Louis, MO
10/30 Metro - Chicago, IL
10/31 The Vogue - Indianapolis, IN
11/01 St. Andrews Hall - Detroit, MI
11/03 Musica - Akron, OH
11/05 Mr Smalls Theatre - Pittsburgh, PA
11/13-14 Alabama Theater - Birmingham, AL
11/16 Bear Creek Festival - Live Oak, FL
12/31 Marathon Music Works - Nashville, TN
1/17-24 Cayamo Cruise - Miami, FL
1/30 Athens City Middle School - Athens, TN

 

St. Paul & The Broken BonesSt. Paul & The Broken Bones

Half The City

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Grit, elemental rhythm, tight-as-a-drumhead playing, and a profound depth of feeling: these are the promises of a great soul band. And St. Paul & The Broken Bones deliver on those promises.

 

"Half The City" is the compelling full-length Single Lock/Thirty Tigers debut of the Birmingham, Alabama-based sextet, who have already created a maelstrom of interest with their roof-raising live shows and self-released four-song 2012 EP. Produced by Ben Tanner of Alabama Shakes, and recorded and mixed in the storied R&B mecca of Muscle Shoals, Alabama, the album harkens back to the region’s classic soul roots while extending the form with electrifying potency.

 

Front man Paul Janeway’s handle “St. Paul” is a wry allusion to the vocalist’s grounding in the church. Like many a legendary soul singer, Janeway, a native of the small town of Chelsea, Alabama, was raised on the gospel side, in a non-denominational, Pentecostal-leaning local church. Virtually no non-religious music could be heard in his devout household. Janeway says, “The only secular music that I heard at all was a ‘70s group called the Stylistics, and Sam Cooke. That was about it. The rest of it was all gospel music. When I was about 10 years old, I was groomed to be a minister. My goal in life until I was about 18 years old was to be a preacher.”

 

He adds, “My pastor was the reason that I learned to play guitar. They would let me play guitar and sing in church. What was weird was that he would never let me sing lead – I’d sing background vocals. I always thought, ‘Well, maybe I’m just a good background vocalist.’ So I never thought I could really, really sing, at all. I never thought it would be a living, ever.”

 

Though his time in the church exposed Janeway to key influences in gospel music – the Mighty Clouds of Joy, Alex Bradford, Clay Evans – he began moving away from his youthful path in his late teens. He began attending open mic nights in Birmingham’s clubs and diversified his listening, excited by some decidedly left-of-center talents. “Tom Waits and Nick Cave were the really big attractions,” he says. “They have that passion. They’ve built this aura. They’re showmen to the teeth. And that’s what got me – it’s like going to church, in a weird way. At about the same time, I began listening to the great soul singers like Otis Redding, James Carr, and O.V. Wright. I was trying to find something that made my earbuds tingle.”

 

All six members of the Broken Bones share writing credit on 10 of the songs on "Half The City", with Janeway contributing lyrics. “We firmly believe in a shared, communal writing process,” the singer says. “These guys are extremely talented. The drummer wrote horn parts. Browan threw something in. It’s very collective. We just get in a room. Sometimes we’ll have the scales for a song, or sometimes we’ll have this little riff. That’s how we do it.”

 

In Tanner -- who logged time at Muscle Shoals’ aptly named FAME Studios, where scores of memorable soul records were cut -- St. Paul and the Broken Bones found a like-minded producer and label boss. "Half The City" is among the first releases on Single Lock Records, the imprint co-founded by Tanner, John Paul White of the Civil Wars, and Will Trapp

 

Reaching back nearly 50 years to methods employed the great epoch of deep Southern soul, Tanner and the group eschewed studio trickery for an in-the-moment approach during sessions at the Nutthouse in Muscle Shoals, AL. Fittingly, the album was mixed at FAME. Janeway explains, “We said, ‘We’re doing this as old-school as we can.’ We did it to tape. We did it live. What you hear is taken from about three takes, and we took the best take. I love it. It’s raw. You hear all the scrapes.” Special guests include Al Gamble on piano, organ and wurlitzer, Daniel Stoddard on pedal steel, Jamie Harper on baritone sax and Tanner on piano, organ and background vocals.

 

"Half The City" – vital, direct, emotionally affecting – presents the same engaged, high-voltage, in-the-pocket sound that St. Paul & The Broken Bones produce at their live dates, where Janeway’s extroverted performing style enraptures his audiences.

 

“I’m going to be dancing, getting in the aisles, climbing on tables,” he says. “That’s just the way we do it. It really takes me back to church. There’s not a lot of difference. When I get on stage, it’s, ‘All right, it’s time to pour it on.’”

Listen: "Call Me"  

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Grimes

8/30 Made in America Festival - Philadelphia, PA

 

GrimesGrimes

Go

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Grimes is back with a new track, her first in almost two years. Being gifted to fans, 'Go' features Blood Diamonds and was first heard when she played it out live at Governor's Ball in New York a few weeks back.

 

Grimes is currently working on her follow-up to 2012's Visions.

 

“It’s our summer jam so we figured we should put it out cuz I am very bored of waiting to finish my album b4 releasing new music haha."--Grimes


"it’s a fascinating example of what happens when Grimes pushes her spectral, strobing pop style into a more readily digestible direction. Its gigantic globs of crowd-pleasing bass don’t distract from its straight-up beauty at all, and if this is Grimes’ new direction, I am all for it."--Stereogum

"a backdrop of screams, New-Wave keyboards and EDM stuttering as she sings about dreams, memories and escapism"--Rolling Stone

 

Listen: "Go"  

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Handsome Ghost

7/23 Rockwood Music Hall - New York, NY

 

Handsome GhostHandsome Ghost

Blood Stutter EP

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In February 2013 songwriter Tim Noyes found himself faced with a rather serious decision: Make a down payment on a suburban Massachusetts condo and return to teaching High School English or continue his stagnant folk music career where on a good night he'd be lucky to sleep on a Facebook friend's floor.

 

After the realtor declined his application due to lack of credit history, Noyes made a decision to give music one last shot and if this was to be his swan song, he was going to do things entirely on his own terms. Sick of the I-95 corridor, he went to Color Study Studios in rural Goshen, VT (pop. 164) to make a record. Across six months there, with the help of two producers, Noyes created a set of songs through a process that ended up more a cathartic recollection then a last shot at success.

 

The introspection and reflection lead Noyes far away from his world of indie-folk. Instead of tracking live with a band, at Color Study he began each song by simply choosing a tempo and laying down a lead vocal. After that, anything was fair game. A mixture of electronic beats and synths soon surrounded his deliberate lyrics and Y2K-R&B-tinged melodies. He pushed himself vocally to a higher register and for the first time added effects like auto-tune, delay, distortion or whatever the song seemed to call for. The result, a friend remarked, "sounds like a Handsome Ghost."

 

“I don't know which came first, “Blood Stutter” or Handsome Ghost” says Noyes. “I have always had a secret, complicated love for electronic music, but I had only ever tried to write folk songs. It wasn't until I sat down in my apartment and sang the first few lines to “Blood Stutter” that I realized I was ready to make something very, very different. If Handsome Ghost was part of me from the start, this is the song that woke me up to it.”

Listen: "Blood Stutter"  

The Apache Relay

The Apache Relay

8/28-29 Fayetteville Roots Festival - Fayetteville, AR
9/17 Egyptian Room - Indianapolis, IN
9/18 Simon Estes Ampitheater - Des Moines, IA
9/20 Festival Palomino - Shakopee, MN
9/23 The Gramophone - St Louis, MO
9/24 Stickyz Rock'N'Roll Chicken Shack - Little Rock, AR
9/26 Index Festival - Dallas, TX
9/27 Lamberts Downtown Barbecue - Austin, TX
9/28 Texas Red's Festival - Bryan, TX
9/30 Gasa Gasa - New Orleans, LA
10/11 Cask & Drum - Birmingham, AL
10/15 The Riot Room - Kansas City, MO
10/17 GOTHIC THEATRE - Englewood, CO
10/21 Kilby Court - Salt Lake City, UT
10/22 Knitting Factory Concert House - Boise, ID
10/24 Tractor Tavern - Seattle, WA
10/26 Doug Fir Lounge - Portland, OR
10/28 Great American Music Hall - San Francisco, CA
10/29 El Rey - Los Angeles, CA
11/04 Deluxe at Old National Centre - Indianapolis, IN
11/06 Varsity Theater - Minneapolis, MN
11/07 The Metro - Chicago, IL
11/08 The Rave - Milwaukee, WI
11/09 20th Century Theatre - Cincinnati, OH
11/11 The Shelter - Detroit, MI
11/14 Port City Music Hall - Portland, ME
11/15 Brighton Music Hall - Boston, MA
11/16 Fete - Providence, RI
11/18 World Cafe Live - Philadelphia, PA
11/20 9:30 Club - Washington, DC
11/21 Irving Plaza - New York, NY

 

The Apache Relaythe Apache Relay

The Apache Relay

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Michael Ford Jr. was a music business major when he met The Apache Relay in a Belmont University dorm. They were already deep into “a very Americana, very rootsy” sound, and before long the band was backing up Ford around campus, and soon everywhere else. Ford Jr. dropped out of college, and the group gigged relentlessly behind their 2009 debut "1988" and 2011’s breakthrough "American Nomad". Midway through their touring in support of "American Nomad" Ford, Jr’s brother joined the band rounding out the group’s line up and sound.

 

While touring in support of the album The Apache Relay found themselves opening for Mumford & Sons and hitting such festivals as Bonnaroo, Newport Folk Festival, Firefly Music Festival, Voodoo Music Experience, among others.

 

The writing sessions for their new album, "The Apache Relay", were the first time the Nashville-based group stopped to catch their breath in years. Inspired by Shelby Lynne and Richard Swift, and working with producer Kevin Augunas (Cold War Kids, Edward Sharpe) at Fairfax Recordings, formerly known as the famous California studio Sound City, The Apache Relay shows a band eager to push past their boundaries, and commitment to always evolving their sound.

 

"They've got kind of an Arcade Fire meets boys raised on gospel and Bruce Springsteen approach to what they do."--Huffington Post

 

"Glorious vocals and an infectious melody make for a thoroughly charming pop-rock outing from this Nashville outfit."--USA Today

 

"On 'Katie Queen Of Tennessee'...the Nashville band [moves] beyond folk-rock with Wall of Sound-style production."--Rolling Stone

Listen: "Katie Queen Of Tennessee"  

Interpol

Interpol

9/02 The Temple Of Dendur - New York, NY
9/04 Bowery Ballroom - New York, NY
9/16 Paramount - Seattle, WA
9/17 Crystal Ballroom - Portland, OR
9/19 Ace Of Spades - Sacramento, CA
9/20 Fox Theatre - Oakland, CA
9/22 Fox Theater - Pomona, CA
9/24 House of Blues - San Diego, CA
9/26 The Depot - Salt Lake City, UT
9/27 Ogden - Denver, CO
9/29 Granada - Lawrence, KS
9/30 Cains - Tulsa, OK
10/02 Southside - Dallas, TX
10/03 House of Blues - Houston, TX
10/04 Austin City Limits - Austin, TX
10/05 Stubb's Bbq - Austin, TX
10/07 House of Blues - New Orleans, LA
10/09 Minglewood Hall - Memphis, TN
10/11 Austin City Limits - Austin, TX
11/06 Jannus Landing - St. Petersburg, FL
11/07 House of Blues - Orlando, FL
11/08 Fillmore - Miami, FL
11/10 Tabernacle - Atlanta, GA
11/11 Marathon Music Works - Nashville, TN
11/12 Riviera Theatre - Chicago, IL
11/14 First Avenue - Minneapolis, MN
11/15 The Pabst Theatre - Milwaukee, WI
11/17 Newport Music Hall - Columbus, OH
11/21 House of Blues - Boston, MA
11/22 Union Transfer - Philadelphia, PA
11/24 Terminal 5 - New York, NY
11/26 Terminal 5 - New York, NY
11/29 9:30 Club - Washington, D.C
11/30 9:30 Club - Washington, DC

 

InterpolInterpol

El Pintor

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Interpol will release their first album in four years, "El Pintor," September 9th. Recorded at Electric Lady Studios and Atomic Sound in New York City, the ten tracks on "El Pintor," - taut and epic in equal measure - find the band completely reinvigorated after a two and a half year break from touring.

 

All songs on "El Pintor"were written and produced by Interpol, with Daniel Kessler playing guitar and piano, Samuel Fogarino on drums, and Paul Banks on vocals, guitars, and taking over bass duties for the first time. The album also features Brandon Curtis (The Secret Machines) playing keyboards on nine songs, Roger Joseph Manning, Jr. (Beck) playing keyboards on “Tidal Wave,” and Rob Moose (Bon Iver) playing violin and viola on "Twice as Hard.”

 

"El Pintor" was mixed by Alan Moulder, and mastered by Greg Calbi and the band premiered songs from the upcoming album in March while headlining the NME Awards tour in the UK. The Guardian praised their set at London’s Brixton Academy as "lean and powerful.”

 

Speaking of shows, Interpol are touring all summer on the festival circuit including performances at Lollapalooza, FYF Fest, Austin City Limits as well as Governors Ball, Roskilde and Glastonbury just past, and then will tour coast to coast this Fall with dates to be announced soon!

Listen: "All The Rage (Back Home)"  

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The Griswolds

8/28 The Hollow - Albany, NY
8/29 Showcase Lounge - South Burlington, VT
8/30 Montage Music Hall - Rochester, NY
9/03 The Loft - Lansing, MI
9/05 KRBZ Beach Ball - Kansas City, KS
9/06 The Vanguard - Tulsa, OK


^ w/ Miniature Tigers

 

The GriswoldsThe Griswolds

 

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The Griswolds who hail from Sydney, Australia just put the finishing touches on their highly anticipated debut album with Tony Hoffer (M83, Phoenix, Beck). The band have announced that their first single will be “Beware The Dog.” About the song, singer Christopher Whitehall said, “This is the first song Dan and I ever wrote together. It’s about losing someone we were really close with to heavy drug use. ‘Beware the Dog’ is about that journey - the good and the bad times.”

 

Last year The Griswolds released their infectious four-song "Heart of a Lion EP" and upon the release of its first single, “Heart of a Lion,” it was immediately added into high rotation in Australia on triple j radio and was one of the station’s most played tracks of the year. The international airwaves were quick to take notice with the song attracting airplay in over 20 countries worldwide and it also reached #3 on the radio airplay charts in The Netherlands via tastemaker station 3FM and was an iTunes single of the week in the region. Stateside, the release had critics and fans buzzing alike not only with the songs themselves but with their creative videos which all had noteworthy premieres via the likes of MTV Buzzworthy, CMJ and Noisey/VICE to name a few.

 

The Griswolds just wrapped a tour in Australia with St. Lucia which had one of Australia’s leading music blogs, Tone Deaf boasting that they, “…put on an incredible support set that could have easily been redefined as a co-headline spot. The quintet oozed tropical flamboyance and Aussie ambience, and brought with them a euphoric lasso that hooked audiences from the get-go…‘Beware Of The Dog’, showcased the band’s impressive harmonies and raw heavy percussion, giving the song an infectious live presence that, in hindsight, rivaled many of the headliner’s moments.” They also came off some great shows at SXSW to packed houses and rave reviews including making many best of lists such as, The Huffington Post naming them as “30 SXSW Acts About to Break,” The Atlantic “18 Bands to Check Out From South by Southwest 2014,” Buzzfeed “50 Acts You Need To Hear,” AU Review naming the band as “Best Australian Artist at SXSW: The Griswolds” and Reverb naming them in their “The best shows at SXSW 2014” list. The Griswolds will be playing shows throughout the rest of the year including Bonnaroo and Firefly as well as select dates with Gemini Club. More dates will be announced soon.

Listen: "Beware The Dog"