Swedish rock duo Johnossi is gearing up for their first US release since their self-titled debut came out here in 2007. "Transitions" is the band’s fourth full-length studio album and for it the band added some strings and invited The Soundtrack of Our Lives founding member and kebyboardist Martin Hederos to join them in the studio. In addition, they enlisted the help of Peter Bjorn and John’s Bjorn Yttling (Lykke Li, Franz Ferdinand, Shout Out Louds) and Miike Snow’s Pontus Winnberg to act as executive producers.
Listen: "What's the Point"
Lucius knew from the start they were on to something special. Centered around the powerful voices and compelling songwriting of Jess Wolfe and Holly Laessig, the Brooklyn band has evolved from a promising duo into a dynamic quintet whose debut "Wildewoman" is lauded by The New York Times as “an art school take on girl group soul.”
Hailed by The Boston Globe as “the most welcome addition to pop music this year”, "Wildewoman" has landed on numerous critics’ year-end best of lists. Admired by PASTE for its “strong song structures, substantive lyrics and precise playing” and included in NPR’s top 50 albums of 2013, Lucius pairs the synchronous vocals of Wolfe and Laessig, who play synth and keyboards, with guitars and drums from Dan Molad, Peter Lalish and Andrew Burri. Together, they make music that evokes classic girl-group pop and iconic rock ’n’ roll with a modern twist, that belongs solely to Lucius. But none of it happened overnight.
“We’ve been singing together for almost nine years,” Wolfe says. “We never wanted to rush anything. We never looked for a record deal before it felt like we needed one, and we never wanted to be on tour until we felt like we could sustain ourselves on the road. It was important for us to hone our craft.”
Wolfe and Laessig met in college in Boston, bonding over a love of old-school soul, David Bowie and the Beatles. They sing as though each is one half of the same voice, with riveting, resonant unison harmonies that feel instinctive as their voices diverge and then meld together on the ineffably catchy title track.
“We started singing in unison because we were always drawn to doubled vocals on recordings,” Wolfe says. “We figured it couldn't hurt to try it in a live setting and it just felt like our voices were supposed to be sitting together - an automatic vocal kinship. In truth, many of our intentional decisions, when it comes to sounds and arrangements and even band setup, have been happy accidents.”
After their initial musical gathering, the pair started writing songs together, exploring a sense of otherness that each had felt growing up, and pairing it with arresting musical arrangements: from bright acoustic guitars and heartbroken vocals to layers of irresistible rhythm and bold melodies.
“Jess and I have shared unusually parallel experiences,” Laessig says. “We were both bullied during adolescence, which lit a fire in each of us. We have both experienced relationships and love on a similar timeline, so when we write songs together we have a natural empathy. The themes that run through this record reflect the struggles and realizations of becoming an adult, and of being a bit of an outsider sometimes, but embracing it. I think that's something people can relate to.”
In 2007, Wolfe and Laessig moved to Brooklyn’s Ditmas Park, taking up residence at the Bromley House, which had, unbeknownst to them at the time, been a music school and recording studio for more than 60 years prior. Wolfe and Laessig established an open-door policy for the strong local community of musicians. First came Molad, a drummer, producer and engineer whom Lucius sought out for some early recording sessions (he also co-produced "Wildewoman"). He introduced them to Lalish, his former bandmate in the indie-pop trio Elizabeth and the Catapult. Later, Molad met Burri while working on a different recording project, rounding out the Lucius family.
At the same time, Lucius was developing the memorable visual look the band employs onstage — “dressing the sound,” they call it. Taking inspiration from strong visual artists, and citing Bjork, Bowie, Warhol and Prince as style icons, the women are bedecked in a seemingly endless array of identical head-to-toe ensembles, complimented by the men’s sharp, tailored style.
Listen: "Turn It Around"
Make My Head Sing…
Out April 15, the new album from Jessica Lea Mayfield was co-produced with her collaborator, bassist and husband Jesse Newport and was recorded at Nashville’s Club Roar studio. Of the new music Mayfield comments, “The whole record is just me and Jesse and my drummer Matt Martin. I think a lot of my favorite bands are guitar, bass and drums. I wanted to simplify things. Bands are so big these days, I wanted to get in the studio and make a rock record and hear real guitar tones and something heavy.”
"Make My Head Sing…" follows Mayfield’s 2011 release, "Tell Me", which was produced by The Black Keys’ Dan Auerbach and was described by Rolling Stone, which named her an Artist to Watch, as “a disarming collision of stark country balladry, dynamic alternative rock and arty electronic pop.” Additionally, the Associated Press asserted, “Tell Me is the portrait of a precocious girl growing into self-assured womanhood and a producer reaching the peak of his powers. It is a dark and moody album, full of delights throughout, and if it doesn’t make Mayfield a star, that too will be heartbreaking,” while Spin Magazine included Mayfield in their “The Next Big Things: 11 Artists You Must Hear in 2011” feature, calling her a “smart-ass country-rock ingénue.” She also made her network television debut on the “Late Show with David Letterman,” performing the album’s first single, “Our Hearts Are Wrong,” which NPR Music praised as “…genuinely moving”.
"Matches a grunge-era deadpan with gnarly leftfield roots music in service of haunting, smoldering rock 'n' roll."--Stereogum
Listen: "I Wanna Love You"
Future Islands believe in true love, you can tell that because their songs speak through our lives. It’s as if their music has always been with us, soundtracking every great hope, dawning realization and broken promise. Every fond embrace, each leap of faith. Over the last eight years Baltimore’s most quixotic and emotionally involving trio have maintained an admirable level of skill and pace, never slowing down for the corners. It’s vocalist Samuel T. Herring, William Cashion (bass, guitars), and Gerrit Welmers (keyboards, programming, guitars) who find themselves responsible. Their sound is at once beguiling and irresistible. It’s one part melancholic, one part euphoric; full of animated basslines, robust drum machines and questing keyboards, all set off by Sam’s remarkably distinct, soaring vocal.
Returning with their new album "Singles", Future Islands have refined their unique sound further still. Chris Coady (known for his enduring work with Beach House, TV On The Radio, Grizzly Bear) mixed and produced the album, leaving his luminous fingerprint across the album’s radiant collection of pulse-grabbers and slow-burners. Packing an ever harder punch, it makes for a deeply resonant listen; an affectionate hand on the shoulder. "Singles", the band’s fourth full length, is a decidedly polished sounding album, it’s glossy like unapologetic pop, silken and lustrous, but check it’s pockets for the stockpile of realism.
"Seasons (Waiting On You)" kicks off the record in a decidedly jubilant yet soulful manner, typical of the band’s most recent 7”s. It’s got all the passionate delivery and exuberance you’ve come to expect from Future Islands, only there’s a new found relaxed distance and maturity at play. “People change, but some people never do” Sam wistfully calls out, fighting the corner for each nagging doubt and irrepressible desire that won’t back down.
"Singles" is a bold album of wandering reflections and haunted wonder. It’s an album that keeps running from the off and keeps running from a restlessness that threatens to consume. Suddenly you realize they’re more enthralled by the notions of romanticism and idealism that never fail to lead all hearts astray. Future Islands have always been there, on the outside looking in. With "Singles" they step inside us and start looking out and it’s a joy to finally join them.
Listen: "Seasons (Waiting On You)"
2014 sees Sheffield-based dreamers The Crookes release their 3rd LP, "SOAPBOX" becoming the first band to release three full-length albums on Fierce Panda since indie heroes Death Cab For Cutie. Over the past four years they have also released a string of stand alone singles, one mini-album, and racked up an international gig-count that puts most other modern bands to shame, prompting BBC Radio's Steve Lamacq to describe them as “one of the most hardworking and prolific bands of the underground.”
2013 saw The Crookes on tour supporting friend and Sheffield hero Richard Hawley, showcase at SXSW in Austin, Texas (where they were spotted and signed by Modern Outsider Records) and play two critically acclaimed shows in New York, all before disappearing to Italy for two months to record in a secluded church in the Italian countryside. The result was "SOAPBOX", an album that is tougher and more ferocious than anything they’ve previously released.
“Something has changed in us” the band says. “We are no longer wide-eyed and naive, but we are still more determined than ever. The world deals blow after blow until its final blow stops you caring… but still we care more than we ever have, we are still resolute in our belief.” "SOAPBOX" was made by hands calloused through hard work and an adherence to an old fashioned way of doing things. “The most obvious theme that runs through the entire album is the idea of The Outsider” frets guitarist and lyricist Daniel. “As a band that seems to suit us… never invited inside, but never wanting to be. I can empathise more with the madman standing on his soapbox, slowly gaining an audience by speaking with passion and honesty."
The hard work has paid off. Whilst on the road The Crookes have built up a cult following known as the “Bright Young Things” and are at the forefront of the nascent New Pop movement in the UK guitar scene. This devoted fan base has translated to sold out concerts around the world including three shows in Tokyo and the main room of the legendary Paradiso club in Amsterdam as well as headlining festivals in Germany, Holland, America and Spain.
The Crookes have recorded live Sessions on BBC Radio's 1,2,4,5 and 6, had their song "Backstreet Lovers" voted number 24 in the Single of the Year Campaign on 6Music and frequently play listed on stations throughout Europe, Asia and South America and being chosen by MTV Canada to represent emerging music from the UK.
Listen: "Before the Night Falls"
The most important element of Warpaint’s second, self-titled album is space. The hauntingly lovely sounds that comprise its 12 songs are punctuated by a distinct absence of sound, one that elevates the band’s music to a new place of depth and emotional poignancy. For the Los Angeles rock band crafting a second album offered an opportunity to expand the ethereal, hypnotic songs on their 2010 debut "The Fool" and to mirror their extensive live experience on a recording while allowing for the inclusion of more room.
Listen: "Keep It Healthy" (radio edit)
Hush or Howl
Black Pistol Fire is a Canadian Rock and Roll duo that split’s time between Toronto, Ontario and Austin, Texas. Their wild and energetic rock-and-roll sound has been described as a mix of classic southern rock and garage punk, garnering comparisons to early Kings of Leon, Creedence Clearwater Revival, The White Stripes, and Clutch. It's clear that the band's sound spans many different eras and subgenres, relying on a classic rock and roll sound that has been updated for our modern times.
Black Pistol Fire features Kevin McKeown on Guitar/Lead Vocals and Eric Owen on Drums. The two have been friends since kindergarten and began playing music together when they discovered a shared passion for rock and roll music in high school. The two became founding members of rock and roll trio The Shenanigans. With The Shenanigans, they recorded an LP titled Bombshell Baby. After things with The Shenanigans and Toronto got stale, the two wanted a change of scenery and to try out something new. They then packed up their instruments and a bag of clothes and headed south. The band finally settled down in Austin, Texas in 2009 and Black Pistol Fire was born.
Arriving in Austin, the two began rehearsing as a duo. While they had previously done this to write songs for The Shenanigans, there was one crucial difference this time around: there would be no bass to be added later. They soaked up all that the Austin music scene had to offer, and their music developed a more distinctive "southern" sound. Like every good band, they lived in poverty and survived off a steady diet of potatoes while rehearsing, writing, and creating new material in a garage they had rented.
While playing a local Austin hotspot, Producer Jim Diamond (The White Stripes, The Von Bondies, Jon Spencer Blues Explosion) approached the band about recording their next record. That album was recorded in 2 separate sessions, mainly off the floor, on to 2” tape. The LP, simply titled “Black Pistol Fire” was released in February 2011 in select record stores in North America, at live shows, and worldwide through ITUNES. The LP garnered a positive critical response from publications such as the Austin Chronicle, Pop Music Matters, and the Houston Press. The band has also seen their music used in television shows such as 90210, Hawaii 5-0, Suits, WWE RAW, Sons of Anarchy and The Protector. Throughout, they have been touring the USA and Canada, completed a successful European tour, as well as playing festivals such as SXSW, and Headlining Rock the Republic, and Mr. Fest. They have supported the likes of Band of Skulls, State Radio, Shonen Knife, and Lucinda Williams.
The band recorded follow up "Big Beat 59" with producer Michael Rocha in Toronto, and it was released in August 2012. As a pre-cursor to the album, the band also recoded the 5 song EP "Shut-up!" a tribute to Little Richard, which was released in May 2012. The band has crossed the country promoting the LP including opening slots with Band of Skulls and a tour with State Radio that included a stop at New York City's famed Webster Hall.
Black Pistol Fire didn't waste anytime when not on the road and recorded the follow-up to "Big Beat '59" in the spring of 2013. Once again the album, Hush or Howl, was recorded with good friend Michael Rocha, this time in Austin, TX. The album has a release date of April 1, 2014 through Modern Outsider Records. The band gained further momentum during SXSW 2013 where The Huffington Post called the band "the next big thing" and "the most energetic and musically versatile of all the bands playing the festival". Things just keep on picking up and 2014 promises to be a BIG YEAR for the boys of BPF!
Listen: "Dimestore Heartthrob"
Merrill Garbus has performed as tUnE-yArDs since 2009, and that band name has always been synonymous with forward movement—whether because of her explosive performance style or the always-surprising way in which her songs unfold. First gaining notice with the debut "BiRd-BrAiNs", which The New York Times called “a confident do-it-yourselfer's opening salvo: a staticky, low-fi, abrasive attention-getter,” Garbus forged a reputation as a formidable live presence through relentless touring. In 2011, tUnE-yArDs released its second album, "w h o k i l l", a startling and sonically adventurous statement that led to a whirlwind period where Garbus and bassist Nate Brenner accrued accolades from critics (including the #1 spot on the Village Voice's 2011 Pazz and Jop poll), performed in front of increasing numbers of rapturous crowds around the world, and collaborated with the likes of Yoko Ono and ?uestlove. It was a thrilling ride, but it was one that needed a little bit of recovery afterward.
"I took the Fall [of 2012] off and started taking both Haitian dance and drum lessons," says Garbus of the post-w h o k i l l period. "It was nice; I was trying to be healthy and have a good time. And then, in January , I was like, 'I have nothing.' I've never had nothing before—I've always had some songs that I'm planning on recording; I've always been working live with the looping pedal and writing that way. And I thought, 'OK, if I'm going to grow as an artist, I need to do this differently.'
"So I went to my studio five days a week and told myself I would be doing two demos a day. I also had rules: 'This week I'm only going to write using drum machines'; 'This week I'm going to write using vocal melodies first, and build something around that.' At the end of that, I had about 30 demos."
Those demos would eventually gel into "Nikki Nack", the stunning third album by the Oakland-based band. A complex, textured statement that's a showcase of how Garbus's songwriting has blossomed, and a testament to how current technologies can combine with themes from the past—Saturday mornings spent watching Pee-Wee's Playhouse, puppet shows based on Jonathan Swift's A Modest Proposal, hard days made less so by the refuge provided by top-40 radio—to create something utterly original.
"It was weird what stuck," Garbus says of the writing process. "The first song that felt finished is not on the album, and I almost scrapped ‘Water Fountain.'" That pulsing track's post-apocalyptic vision is presented as a sing-along, a tale of streets where once-useful structures have been rendered into disintegrating husks with Brenner's bass playing providing an increasingly concerned counterpoint. "I almost threw it away," she recalls, "because it sounded like a kids' song. But I really liked the theme, which mirrored what I was seeing in Oakland—people don't want to pay taxes, but the taxes are paying for the water fountain, and for the trash to be picked up, all these bare essentials."
Having studied both Haitian dance and drumming during her downtime, Garbus also visited the island nation in the spring of 2013 (she penned a piece about her time there for the online magazine The Talkhouse). The trip informed the record both spiritually and practically, and led to Garbus adding another instrument into tUnE-yArDs' musical arsenal (which, as she documented online, includes items like a bag of rice and a stool this go-round). "There's this drum called the boula; it sets the tempo for all the other drums," she says. "It's the smallest drum, and it's played with two sticks, flat to the skin. That element of Haitian drumming acts as the hi-hat, or the metronome, for a lot of the songs on the album."
"Nikki Nack" has uncertainty about both the past and the future, but that's in keeping with Garbus's overall aesthetic of constantly questioning and burrowing for a "new way," tempered by the joy that goes hand in hand with new discoveries. “We worked with other producers for the first time this time around, which required that I humble myself quite a bit. We've worked with other collaborators, of course, like Eli Crews as a recording and mixing engineer again, but to ask Malay (Alicia Keys, Frank Ocean, Big Boi) and John Hill (Rihanna, Shakira, M.I.A.) for input on the tracks I had to let go of tUnE-yArDs being rigidly my production. I have a very specific vision for the sound of the band and I don't think women producers get enough credit for doing their own stuff, so I was resistant – but we grew, Nate and I both, and the songs grew. And it turns out that's what's most important: the songs, not my ego.”
Listen: "Water Fountain"
Hamilton Leithauser announces his debut album "Black Hours" (out 6/3)--inaugurating a new chapter in an already remarkable career from The Walkmen front man. The album brings Leithauser full circle and then some, from lonely midwinter piano-and-vocals sessions, to loud, live Rock n Roll group and back again. Featuring Leithauser with a slew of talented collaborators including Rostam Batmanglij (Vampire Weekend), Morgan Henderson (Fleet Foxes), Richard Swift (The Shins) and Paul Maroon (The Walkmen), the album showcases Leithauser at his most passionate, personal and free.
In its orchestrated rhythms, dynamic vocals and generous production, "Black Hours" speaks from one booming voice. The instrumentation provides muscle and texture: Maroon covering a wide range of acoustic and electric guitars as well as grand piano; Batmanglij switching between guitar, harpsichord, piano, bass and harmonica; Henderson takes the marimba and upright bass, and Swift lays down impressive drums on seven tracks. Amber Coffman from Dirty Projectors provides backing vocals on several numbers and even Hugh McIntosh from Leithauser's first band, The Recoys, returns to the drum stool for a pair of songs.
Principal recording was done in August 2013 at Vox Studios in Los Angeles, "the oldest private studio in the world," where Nat King Cole, Bing Crosby, Johnny Mercer and countless others cut demos before appearing on air at NBC Studios, just across Melrose Ave.
Skating Polly is an "Ugly Pop" duo made up of stepsisters Kelli Mayo (14) and Peyton Bighorse (18). For the new album, "Fuzz Steilacoom" (out March 18th), the Oklahoma City band traveled to Olympia, WA to record at Dub Narcotic Studios with indie innovator Calvin Johnson (Beat Happening, K Records)! Skating Polly's prior album "Lost Wonderfuls" was produced by another punk legend--Exene Cervenka of X, who has been gushing about the band since she first heard them!
"After I heard the cd I was just so happy that there were two young women out there making such good music on their own in the middle of America."-Exene Cervenka (X)
"In just three years, local rockers Skating Polly already have recorded an album with a punk legend. Who says teenagers are lazy?"-The Oklahoma Gazette
Listen: "Alabama Movies"
Education, Education, Education & War
Things could so easily have stayed the same. After more than 10 years, four albums, platinum record sales, a volley of top ten singles and 3 Brit Awards, it would have been simple for Kaiser Chiefs to sit back and coast a while, to enjoy the warm glow of being one of Britain’s most cherished bands.
“At first the songs came from a very personal anger,” explains Wilson. “But then I thought back to what I’d enjoyed writing about in the beginning, with Employment, and what I enjoyed then was looking around and writing about what I saw. And so over the next year I began to write songs about living in this country, about the thoughts that inspired in me.”
Listen: "Coming Home" (radio edit)
In Cold Blood
White Sea (Morgan Kibby) is best known for collaborations and touring with M83. She's contributed to the band's acclaimed release "Saturdays=Youth", and co-wrote the songs including the hit "Kim & Jessie". She returned to the studio with M83 to contribute to their GRAMMY nominated sixth album, "Hurry Up We're Dreaming." Kibby provided vocals, keyboards, and arrangements as well as co-wrote the album's mulitplatinum ubiquitous smash hit "Midnight City" (amongst others), which enjoyed global chart success.
A venerable remix artist, Kibby has remixed tracks for a range of artists including: Lord Huron, The Naked and Famous, Britney Spears, Demi Lovato, Imagine Dragons, School of Seven Bells, Active Child, Manchester Orchestra, Kevin Devine, New Politics and more.
White Sea's debut album will be out Spring 2014.
"...splits the difference between bleary dream-pop and dramatic synth-rock - like M83, then, but with a more sugary melodic sensibility." -- Stereogum
"2014 is gonna be The Year Of White Sea." -- MTV Buzzworthy
"A soaring, beautifully anthemic new single" -- Gorilla Vs. Bear
Listen: "They Don't Know" (radio edit)
The Double EP: A Sea of Split Peas
Courtney Barnett is a Melbourne-based guitar player & singer & songwriter. In 2012 she started her own label, Milk! Records, and released her first EP "I’ve Got A Friend Called Emily Ferris" to glowing reviews around Australia. That quickly snowballed into international critical acclaim in 2013 with her second EP "How To Carve A Carrot Into A Rose". The two EPs are combined to form the full-length debut, “The Double EP: A Sea of Split Peas”.
Courtney’s February tour dates sold out weeks in advance, but she'll be back for a full tour to follow in late Spring including Coachella and then onto select major festivals this summer. The official U.S. release of “The Double EP: A Sea of Split Peas” comes April 15th on Mom+Pop.
“Barnett’s music builds on the wordy irreverence of mid-’60s Bob Dylan and a Byrds-ian blend of psychedelia, folk and country” – Pitchfork
“Tales that unspool like barstool revelations and sound like some hybrid of Kimya Dawson and Kurt Cobain” - Rolling Stone
“Shows off a mind that’s racing at a hundred miles an hour” – NME
Listen: "Avant Gardener" (radio edit)
Matthew Hemerlein, the man behind Lo-Fang, is classically trained in violin, cello, bass, piano and guitar, performing all the instruments on his debut record. Highly detailed, the album has roots in electronic, R&B, classical, and folk music, cast through a pop prism.
Listen: "When We're Fire" (radio edit)
who needs you
The Orwells are five guys from Chicago, IL, playing rock 'n' roll music with an unmatched ragged intensity. Cousins Mario Cuomo (vocals) and Dominic Corso (guitar), twins Grant (bass) and Henry Brinner (drums), and Matt O’Keefe (guitar) have been playing together since late 2009, when they were in 9th grade. Although one might try to simply sum up their sound as garage or punk, it isn’t that simple. The Orwells' sound comes from a deeper, different place that is both long forgotten and yet timeless. Their live show is frenetic, charged and feels like it could go off the rails at any moment-with the audience in full participation. NPR called them a "thrilling, charismatic teen garage-rock band with infectious energy".
“FINALLY! Now we’re getting somewhere! That was wonderful.”
-- the man himself after the band killed it recently on Letterman
Listen: "Who Needs You"
A little over a year and a half ago, songwriter/composer Keegan DeWitt and multi-instrumentalist Jeremy Bullock stripped down a small Nashville row house to build a custom studio. In this space, and together with friend and drummer/producer Dabney Morris, they would record and eventually form Wild Cub around their debut album "Youth". Initially shared digitally a little over a year ago, the album will now see a wide release through Mom+Pop on December 10th as infectious debut single “Thunder Clatter” sits in rotation on SiriusXM’s AltNation.
The album transitions seamlessly between infectious electro-pop, tropical rhythms, and quiet washes of cinematic new wave reflection. It’s this evocative, cinematic quality that characterizes Wild Cub’s songs, influenced heavily by DeWitt’s extensive work in composing film scores (including 2013’s Academy Award-winning short documentary Inocente; 2013’s Sundance Audience Award for Best of NEXT winner This Is Martin Bonner; and 2010’s Cold Weather).
Since its initial small release, press and touring around "Youth" has mounted steadily and surely. Paste, Consequence Of Sound, MTV Hive, and The Wall Street Journal’s Speakeasy blog (’12 Acts to Watch at the 2012 CMJ Music Marathon’) all shortly took notice. Things began to take on a break-neck pace of their own in early 2013, with Wild Cub performing at designer Rebecca Minkoff’s Fall ’13 NY Fashion Week show, snagging NylonMag.com’s ‘Band Crush’ stamp and major support from influential station KEXP (“…[Wild Cub’s] brand of darkly-tinged new wave recalls elements of the youthful abandon of John Hughes soundtracks, the baleful allure of Greg Dulli, and the clockwork electronics of New Order’s middle period”), while “Thunder Clatter” was highlighted in Entertainment Weekly’s ‘Singles Swap’ feature.
"Youth" gained notable UK press attention at this time from Clash Music, The Guardian, The Line Of Best Fit, and Top Shop, as Wild Cub’s tracks, remixes, and visually arresting videos continued to premiere in the States on sites including InterviewMagazine.com, RollingStone.com, Noisey, and SPIN.com, among others. The band completed its first two US tours and hit festivals like SXSW (playing eight shows), Hangout Fest, and Lollapalooza (including a sold-out afterparty with UK stand-outs Palma Violets), while Alt Nation began championing Wild Cub as DJ Jeff Regan independently added “Thunder Clatter” to heavy rotation. Roughly 18 months since recording the first rough sketches of Youth in that row house in Nashville, Wild Cub headlined a brimming crowd at New York’s Bowery Ballroom after selling out both the Mercury Lounge and Glasslands a few months prior.
In addition to fall festival dates that include a stop at Austin City Limits, Wild Cub will travel to the UK for two debut London shows in November, where “Thunder Clatter” has made waves on the Spotify Viral and iTunes Top Singles charts after soundtracking a Bose ad. "Youth"’s wide release through Mom+Pop will also include two bonus tracks, “Blacktide” and “Lies.”
Listen: "Thunder Clatter" (radio edit)