Artist Development and Exposure–Specializing in Modern Rock Radio Promotion

Gemini Club

Gemini Club

 

Gemini ClubGemini Club

The End Of Your Life

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Gemini Club is a four-piece electronic influenced indie-rock band whose unique live shows have been tearing up the Chicago scene for the last three years as they have become a not-to-miss live phenomenon. Far from the conventional live performance, Gemini Club have enhanced their live appearances with a specially designed rig that allows for on-the-fly remixing of their own songs, meaning each Gemini Club show is different from the last. This unique musical event has resulted in them sharing the stage with acts as varied as AWOLNATION, Interpol, The 1975, Metric, Panic! At The Disco and Cut Copy (to name a handful).

 

As the band continued its rapid ascent, a constant touring schedule this year also allowed them some high profile festival slots at Lollapalooza, Hangout Festival and Firefly Festival. Look for the band to hit the road again in early 2015 in support of their forthcoming "The End Of Your Life" EP.

 

"We've been in the studio a ton and playing shows, and now we're finally putting out what we've worked so hard on. 'Empty Bed' has an interesting duality between the dark verses and bright choruses--like you're going through a long tunnel until you reach daylight. Everyone has uncertainty in their lives, and to me, 'Empty Bed' is about being able to move past it."--Tom Gavin of Gemini Club

 

+ "Empty Bed" on Soundcloud has Already racked up 150K spins After Just 3 Weeks and some change!

 

+ "For fans of Bastille, Empire Of The Sun...This Chicago band has the ability to traverse the full spectrum of indie-dance....sharp songwriting, dance-floor beats and dynamic performance skills have seemed to finally click"--Time Out Chicago (at Lollapalooza)

Listen: "Empty Bed"  

Born Cages

Born Cages

11/28 Brooklyn Night Bazaar - Brooklyn, NY
12/02 Rockwood Music Hall - New York, NY

 

Born CagesBorn Cages

Rolling Down The Hill

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Last year Born Cages released "The Sidelines EP" on Washington Square, an imprint formed by Razor & Tie. "The Sidelines EP" (on iTunes) was produced by Jon Kaplan (Walk The Moon) and Olivier Straus (Arctic Monkeys, Matt & Kim) at Mission Sound in Brooklyn, NY. Born Cages boundless style encompasses arena-size energy and folk-inspired melody and song craft. The band’s music walks a fine line between timeless rock grandeur and artful indie alternative. A balance that seems gracefully concocted yet flows naturally by the band’s collaboration with their producers.

 

Lead singer and guitarist Vlad Holiday formed Born Cages in 2011 and the group dove head-first into New York City’s eclectic indie rock movement. He is joined by high school friend Amanda Carl on keyboards, Dave Tantao on drums, and Matt Maroulakos on bass. Born Cages has already shared bills with acts as varied as Har Mar Superstar, Royal Teeth, The Pretty Reckless and Said The Whale and were even handpicked by Guns N’ Roses to be the sole support band on two sold out GN’R club shows.

 

With first single "Rolling Down The Hill" out now on 7-inch and digitally, the new album lands February 2015.

 

“Beautifully straddles the line between dreamy and discordant.” - Filter Magazine

 

“100 Bands You Need to Know” – Alternative Press

 

“blend of 80s-influenced synth/guitar work and modern pop-rock sounds” – Vice/NOISEY

Listen: "Rolling Down The Hill"  

Sleater-Kinney

Sleater-Kinney

2/08 Knitting Factory Concert House - Spokane, WA
2/09 Knitting Factory Concert House - Boise, ID
2/10 The Depot - Salt Lake City, UT
2/12 Ogden Theatre - Denver, CO
2/13 Slowdown - Omaha, NE
2/14 First Avenue - Minneapolis, MN
2/15 The Riverside Theater - Milwaukee, WI
2/17 Riviera Theatre - Chicago, IL
2/22 House Of Blues - Boston, MA
2/24 9:30 Club - Washington, DC
2/25 9:30 Club - Washington, DC
2/26 Terminal 5 - New York, NY
2/27 Terminal 5 - New York, NY
2/28 Union Transfer - Philadelphia, PA
3/01 Stage AE - Pittsburgh, PA

 

Sleater-KinneySleater-Kinney

No Cities To Love

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Sleater-Kinney surprised fans by including the new song "Bury Our Friends" as a one-sided 7" with the October 21 release of "Start Together", a limited-edition vinyl boxed set comprising remastered versions of their seven previous acclaimed albums.

 

The trio - Corin Tucker (vocals/guitar), Carrie Brownstein (guitar/vocals) and Janet Weiss (drums) - recorded "No Cities To Love" in secret at Tiny Telephone Recordings in San Francisco in early 2014, with additional sessions at Kung Fu Bakery Recording Studios in Portland, and Electrokitty Recording in Seattle. John Goodmanson, who helmed four previous Sleater-Kinney albums, produced "No Cities To Love".

 

"We sound possessed on these songs," says Brownstein, "willing it all - the entire weight of the band and what it means to us - back into existence."

 

Sleater-Kinney formed in Olympia, WA in 1994, and set a new bar for punk's political insight and emotional impact, earning the mantle of "America's best rock band" (Greil Marcus/Time Magazine) along the way. Since the 2005 release of "The Woods", which Entertainment Weekly called "a masterpiece," Tucker has released two albums with the Corin Tucker Band, while Brownstein and Weiss released one album with Wild Flag. Brownstein also co-created and co-stars in the IFC series 'Portlandia,' and Weiss has recorded and toured with Quasi and Stephen Malkmus and the Jicks, among others.

"Best New Track"--Pitchfork (they gave the new "Start Together" vinyl box 9.2 Best New Reissue!)

"Kicks a whole lot of ass."--Stereogum

 

"'Bury Our Friends' suggests Sleater-Kinney remains vividly multidimensional. A distorted declaration that opens with dueling guitar lines and a booming beat, the song arrives with angular urgency."--LA Times

 

"Incredibly catchy"--NPR Music

Listen: "Bury Our Friends"  

Hookworms

Hookworms

 

HookwormsHookworms

The Hum

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With the announcement of their new single, Hookworms share the perfect encapsulation of everything that the second studio album "The Hum" is set to be. “On Leaving” takes the blueprint of critically acclaimed debut – proto-punk, garage rock, Washington DC hardcore, 80’s British spacerock – and further stamps it with the band’s seal.

 

"The Hum" comes eighteen months after the band’s debut album "Pearl Mystic" - a record that steadily went on to become one of 2013′s most impactful breakout statements. Even more ferocious and uncompromising than its predecessor and yet more melodic and focused than the band have ever recorded, "The Hum" further cements the band’s status as a vital force in British independent music.

 

“We were writing 'Pearl Mystic' to an audience in the same way your diary has an audience”, says guitarist SS. “It’s written to one but if no one ever reads it that’s not a big deal. This time round though we knew we had a really clear audience, so 'The Hum' is really about different freedoms and constraints – with 'Pearl Mystic' the possibilities were almost too vast, this time around we had a much clearer idea of what the record should be like and that became freeing because we didn’t need to worry about its direction so much.”


That word “free” is a good way to approach "The Hum", a record that could only be made by a band in total command of their personality. “It’s like that bit on Fugazi’s Instrument documentary where Brendan Canty says that a jam they’ve got sounds ‘good, but not Fugazi’ ”, says MJ – “we sound more like Hookworms rather than anyone else on this record.”


"It’s like having every nerve and sense available to the average human, and seeing it thrown into a blender. That’s the only reasonable way to describe Hookworms’ bustling, skittering and skizzing routine. They leap into the gut. They throw everything into the fire in one fatal blow. Distortion’s just childsplay for these guys."--DIY Magazine

 

"Awesome Leeds outfit Hookworms provide psychedelic rock that's heavy, engrossing and euphoric. In a live setting they storm along with a hefty motorik thrust, and play very loud indeed."--Time Out London

Listen: "On Leaving" (radio edit)  

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My Brightest Diamond

11/20 White Rabbit Cabaret - Indianapolis, IN
12/02 Larimer Lounge - Denver, CO
12/03 Urban Lounge - Salt Lake City, UT
12/05 Doug Fir Lounge - Portland, OR
12/06 Crocodile Cafe - Seattle, WA
12/10 Great American Music Hall - San Francisco, CA
12/12 The Roxy - Los Angeles, CA
12/13 The Casbah - San Diego, CA

 

My Brightest DiamondMy Brightest Diamond

This Is My Hand

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Not many people can front a rock band, sing Górecki’s Third Symphony, lead a marching band processional down the streets of the Sundance film festival and perform in a baroque opera of their own composing all in a month’s time. But Shara Worden can.

 

Her multi faceted career as My Brightest Diamond, which began with an acclaimed independent rock record, has reflected her journey into the world of performing arts. "This Is My Hand", her fourth album, marks a confident return to rock music, one informed by her mastery of composition and a new exploration into the electronic.

 

Born in diamond-rich Arkansas and then raised all around the country, Worden came from a musical family of traveling evangelists. She went on to study operatic voice and then classical composition after a move to New York City.

 

Shara began issuing recordings as My Brightest Diamond in 2006, following a protean period in the band AwRY, and joining Sufjan Stevens’ Illinoisemakers live ensemble. Asthmatic Kitty Records released her debut album, "Bring Me The Workhorse" in 2006, "A Thousand Sharks’ Teeth" in 2008, and 2011’s "All Things Will Unwind", which featured songs written for the chamber ensemble yMusic.

 

In between My Brightest Diamond, well known fans became collaborators, and collaborative projects amassed. Highlights include singing in Laurie Anderson’s 2008 show “Homeland,” delivering guest vocals on The Decemberists’ 2009 Hazards of Love album and subsequently joining them on tour, performing in Bryce and Aaron Dessner’s multimedia presentation “The Long Count,” singing and recording for Pulitzer Prize winning composer David Lang and singing in Sarah Kirkland Snider’s “Penelope” and “Unremembered.” Shara has also worked with David Byrne (on his concept musical “Here Lies Love”), Fat Boy Slim, Bon Iver and The Blind Boys of Alabama.

 

"Combining brainy indie-pop with touches of art-rock and classical music, Worden's work radiates brilliance to match her considerable ambition."--NPR

 

"....extraterrestrial....ethereal, flat-out weird vocal styles more spiritual than human."--Consequence Of Sound

 

"The arrangements flutter with violins, flutes, winds and horns of all kind and show off Worden's creativiy and remarkable grasp on compositional theory."--PASTE

Listen: "Lover Killer"  

CARL BARÂT & THE JACKALS

Carl BarÂt & The Jackals

 

CARL BARÂT & THE JACKALSCarl BarÂt & The Jackals

Glory Days

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Fresh on the heels of three sold out shows at London’s Alexandra Palace with The Libertines, Carl Barât and his new band The Jackals unveil their debut single "Glory Days".

 

"Glory Days", produced by Joby J. Ford (The Bronx) is taken from the Carl Barât and The Jackals much-anticipated, as yet untitled forthcoming album, out on Grand Jury Music in the US and Cooking Vinyl Records in the UK in early 2015.

 

The single, like the album, was recorded in LA and features guest musicians, such as Beastie Boys percussionist Alfredo Ortiz. "I actually started making this record solo, but the long and short of it is I just didn’t like my own company," says Carl, adding that he soon realized that he wanted to get a new band together.

 

Rather than call up some old mates to recruit for The Jackals, Carl decided to post a few ads online asking if there were any likeminded souls out there who wanted to try their luck at playing with him. The response was overwhelming, with thousands of people replying. Carl adds "I was lucky, because I found a bunch of people who genuinely fit together as a gang."


"A tribute to the Clash's feral reggae-punk"--Stereogum

 

"Barât has brought a lot of what made The Libertines so effective in this new project, mostly the endless attitude and slightly ramshackle approach and song structures."--Consequence Of Sound

Listen: "Glory Days"  

Francisco The Man

Francisco The Man

12/04 Witch Room – Sacramento, CA
12/05 Crazy Horse – Boise, ID
12/06 Bartlett – Spokane, WA
12/07 Barboza – Seattle, WA
12/08 Mississippi Studios – Portland, OR
12/10 The Rickshaw Stop – San Francisco, CA
12/11 The Crepe Place – Santa Cruz, CA
12/16 The Echo – Los Angeles, CA
12/17 Soda Bar – San Diego, CA
12/18 The Rhythm Room – Phoenix, AZ

 

Francisco The ManFrancisco The Man

Loose Ends

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It took roughly seven years, a teenage instrumental rock band, a debut EP, additions and subtractions, a roller rink and a near death experience to arrive at Francisco The Man. Following a two year hiatus beginning in 2008, the band relocated from Riverside to Los Angeles, bringing along a new addition, guitarist Brock Woolsey. With the help of Small Plates Records, they released two 7"s, "In The Corners" and "Tiger".

Francisco The Man's debut LP, "Loose Ends" (out 10/28), gives its audience a more encompassing look at the band. With each song, more and more honesty permeates through the lyrics. "I think the LP shows a broader, more realized version of Francisco The Man," Scotty Cantino explains.

From the beginning of the first track, questions and anxieties are the substance. With each subsequent verse and track, they seem to find the answers in themselves. "Even though I write the songs, we really hash them out....Arrangements and parts are formed on the fly. It's constant improvisation," Scotty says. Each song comes with a certain message, but with a sound that blends garage rock, new wave and shoegaze, the message becomes enveloped in something completely different.

 

"the kind of ripping, radio-ready alt rock song that actually has some bite and staying power. With soaring, arena-filling guitar work and Cantino's formidable fronting abilities, look for Francisco The Man to really turn some heads with their first full-length."--Consequence Of Sound (on "Big Ideas")

"Indie in theory, but with big-tent ambitions..."--Pitchfork

Listen: "Big Ideas"  

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Johnny Marr

11/22 Newport Music Hall - Columbus, OH
11/23 St. Andrews - Detroit, MI
11/25 Vic Theatre - Chicago, IL
11/26 Arvest Bank Theatre - Kansas City, MO
11/28 Gothic Theatre - Denver, CO
11/29 Belly Up - Aspen, CO
12/01 Top Hat Lounge - Missoula, MT
12/08 Neumos - Seattle, WA
12/10 Wonder Ballroom - Portland, OR
12/11 Wow Hall - Eugene, OR
12/12 Ace of Spades - Sacramento, CA
12/14 Independent - San Francisco, CA
12/15 Independent - San Francisco, CA
12/16 Glass House - Pomona, CA
12/18 Belly Up Tavern - Solona Beach, CA
12/19 El Rey Theatre - Los Angeles, CA
12/20 El Rey Theatre - Los Angeles, CA

 

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)  

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Avi Buffalo

11/20 Sunset Tavern - Seattle, WA
11/22 Doug Fir Lounge - Portland, OR
11/24 Harlow's - Sacramento, CA
12/3 Soho Restaurant and Music Club - Santa Barbara, CA
12/4 Brick & Mortar Music Hall - San Francisco, CA
12/5 The Echo - Los Angeles, CA


 

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"  

A. Sinclair

A. Sinclair

10/30 Mohawk - Austin, TX

 

A. SinclairA. Sinclair

Pretty Girls

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A stalwart of Austin indie rock and one of the city's most highly regarded songwriters, Aaron Sinclair has teamed up with Dangerbird Records for the national release of the new album "Pretty Girls" under the moniker A. Sinclair. 12 songs are available digitally now and a 6-song 10" vinyl EP arrives October 28. A. Sinclair’s recent releases have drawn the attention of press around the country, intrigued by a sound that the Austin Chronicle described as "tension-driven" with "tight, rough riffs and sharp post-punk lines." SPIN remarked on the underlying feeling of "twitchy paranoia" that permeates Sinclair's songwriting, which Baeble Music described as having a "strung- out urgency."

 

A. Sinclair’s rock passport has a number of notable stamps: First Houston, his hometown, where he initially picked up a guitar with friends and considered it to be a reasonable enough vehicle by which to leave. Then it was on to Boston, where Sinclair established himself in the mid-aughts first as the drummer for Drexel and then as a member of The Lot Six, the widely-beloved band that grew out of that city’s fertile Tarantulas punk scene, and with whom Sinclair crisscrossed the country for 4 years, steadiy building a loyal following on the East Coast until it was over in 2006.

 

Meanwhile, Sinclair made a name for himself with his own band Frank Smith, the band through which he explored a rootsier sound while touring, recording, and collaborating with friends like Juliana Hatfield, who released two of the band's albums on her own label.

 

Later that year, Sinclair made the decision to relocate to Austin in his home state of Texas and rebuild first his band and ultimately, himself. With a fresh start, a new band name and a collection of songs that more than validate the impressive display of resolve, A. Sinclair's 'Pretty Girls' is the sound of an artist crashing ahead, unafraid to dig in even harder on being great, even if it means blowing it all up first.

 

Paste praised A. Sinclair's ability “let the music speak for itself” with a sound that can only be described as “full-on rock," while the critics at the UK site The Line of Best Fit were drawn to the combination of "massive guitars" and "boozy vocals," with "swagger, melody and timeless drive.”

Listen: "How Many Ways" (clean radio edit) 

Primus

Primus

11/21 Orpheum Theatre - Los Angeles, CA
11/22 Fox Performing Arts Center - San Diego, CA
11/23 Center for the Arts - Riverside, CA
12/31 Fox Theatre – Oakland, CA
1/02 Arlene Schnitzer – Portland, OR
1/03 Paramouth Theater – Seattle, WA

 

Primus

Primus

Primus & The Chocolate Factory w/The Fungi Ensemble

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The definitive Primus line-up (Les Claypool, Larry LaLonde/guitar and Tim Alexander/drums) is back together and set to release their first full-length studio album in nearly 20 years! "Primus & The Chocolate Factory w/The Fungi Ensemble" is Out 10/21!

Les Claypool brings us up to speed: "I think like a good portion of the planet, we were all pretty put off by the remake of the 'Willy Wonka' movie-the Tim Burton version. I really wanted to pay homage to a film [1971's 'Willy Wonka & The Chocolate Factory', starring Gene Wilder] that was very important to me as a kid and very influential to me musically. And as opposed to just going in and recording the songs and playing them the way they are in the film, we twisted them up a bit....twisted them up a lot."

The LP will be released on chocolate-colored vinyl, but if you’re as lucky as Charlie Bucket or Veruca Salt, you just might score one of the five golden records that will be scattered around the world on release day.

Listen: "Golden Ticket " (radio edit) 

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Afternoons

10/17 El Cid - Los Angeles, CA

 

BlankAfternoons

Say Yes

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When Afternoons burst onto the L.A. scene in 2008, you’d have thought there wasn’t an arena big enough to hold them. An early song, “Say Yes,” hit the radio, and Shepard Fairey designed a poster for it. The seven-piece collective went to work on more music, occasionally gathering to play exhilarating live shows and stoke the fires of anticipation for a proper release.” – Kevin Bronson / LA Weekly

 

…Then came big name management and publishing, along with the requisite creative meddling and an unnecessary, unheralded name change. And just like that, much of the original mystique and momentum was lost.

 

Afternoons now returns a six piece, with the songs and shows they had envisioned all along. Sonically expansive yet lyrically concise. Starry-eyed at times, sardonic at others, and ever and always a mass spectacle.

Listen: "Gloria" (Radio Edit)  

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Soft Swells

12/04 The Satellite - Los Angeles, CA

 

Soft SwellsSoft Swells

Floodlights

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Soft Swells. Sure it’s a band name (in fact, it’s this band’s name), but it is also a surfing term. Tiny, easy to ride waves that beginners keep an eye out for to build their aquatic confidence up. But what happens when you outgrow those small waves? Do you stop surfing? Or do you step up and try to tackle the biggest waves the ocean has to offer? Tim Williams, the mastermind behind Soft Swells (the band) has been moving towards this moment for years now. Tim started Soft Swells in an effort to reach new heights, and over the course of a full length and an EP, the music has gotten more sophisticated, and the sound of the band has gotten bigger. So if the band’s previous work could be described as soft swells, than their new album "Floodlights" is like an enormous tidal wave from an action movie. Absolutely everything about the band has gotten bigger. Where once there was just Tim with the help of producer/keyboardist Dave Lynch and a lot of studio magic, there is now a fully formed band.

 

In a (successful) experiment to capture the fun and excitement of their live shows on record, Tim brought a motley group of wildly talented musicians together in the studio to lay down all the tracks. Most of the record was tracked by producer Dave Lynch (the other Dave Lynch) at The Electric Zoo in Eastbourne UK, with Soft Swells’ touring bass player and multi-instrumentalist Christopher Pappas at Tim’s side, and a guest appearance by resident UK drummer Phil Wilkinson (Jake Bugg, Brian Eno). As if that wasn’t enough, Misty Boyce (Sara Bareilles), Jonathan Visger (Dale Earnhardt Jr Jr) and Soft Swells’ touring guitarist Kyle Frederickson all contributed their talents via satellite. Well, via email.


This impressive roster of personnel leaves Soft Swells sounding invigorated, like a whole new band. A big, stadium sized band to be exact. Drums shake, organs swell, guitars rock and vocals soar. This is no longer a band trying to figure out how to replicate the sound of their albums on stage, because they brought the stage to the studio. Tim’s new air of confidence isn’t just due to the stellar lineup, but also because of his recent marriage to the love of his life, Sabrina, who is a constant encouragement to Tim to take chances, and to do what she knows he is capable of.


"Soft Swells channel the Technicolor guitar-pop of Summerteeth-era Wilco, balancing high-flying synthesizer parts against guitars straight from the garage."--MTV Buzzworthy Artist

Listen: "Floodlights"