Cold War Kids have announced details of their fifth studio album, Hold My Home, which will arrive via Downtown Records. It serves as the follow-up to 2013’s Dear Miss Lonelyhearts.
The 11-track album was produced by guitarist Dan Gallucci and frequent collaborator Lars Stalfors (Mars Volta, Matt and Kim) at the band’s personal studio in San Jose, California.
1. All This Could Be Yours
3. Hot Coals
4. Drive Desperate
5. Hotel Anywhere
6. Go Quietly
7. Nights & Weekends
8. Hold My Home
9. Flower Drum Song
10. Harold Bloom
11. Hear My Baby Call
Hungry Ghosts is the upcoming fourth studio album by American alternative rock band OK Go. It was produced by Dave Fridmann, with the exception of "The Writing's on the Wall," the album's lead single, which was produced by Tony Hoffer and peaked at number one on the Bubbling Under Hot 100 Singles and number ten on the Hot Rock Songs charts. The record will be more electronic and modern than their three previous studio albums.
1. Upside Down & Inside Out
2. The Writing's on the Wall
3. Another Set of Issues
4. Turn Up the Radio
6. I'm Not Through
7. Bright as Your Eyes
8. I Won't Let You Down
9. The One Moment
10. If I Had a Mountain
11. The Great Fire
The Fruit That Ate Itself is the third EP released by indie rock band Modest Mouse in 1997. The
album was recorded at Calvin Johnsons Dub Narcotic Studios. Originally, the session was
planned to record a 7 release, but it soon expanded into an EP. The track Dirty Fingerprints
also appears on Yoyo A Go Go, a compilation album released by Yoyo Records.
2. The Waydown
4. Dirty Fingernails
5. Sunspots In The House Of The Late Scapegoat
6. The Fruit That Ate Itself
7. Way Down
9. Karmas Payment
After stepping up to the major-label plate with The Moon and Antarctica, Modest Mouse reach back to their roots with Sad Sappy Sucker. Sucker is actually the band's first recording, released in 2001 but created back in 1994. It was shelved in favor of Lonesome Crowded West as their debut, but Sucker is still a fine piece of the Modest Mouse lineage.
Although parts of Sucker are experimental compared to the band's current polish, this isn't some rarity to be enjoyed only by collectors. Breezy melodies build into jagged choruses as singer Isaac Brock shows he can be both tender and playfully aggressive. Most of the songs clock in between two and three minutes, leaving room for numerous gems in the course of the 24-track album. While 12 of the songs come from a recording session with K Records' Calvin Johnson, a chunk of Sucker material comes from Brock's "Dial-a-Song" phase, during which callers heard new songs by dialing into his answering machine. These experiments range from lo-fi combos of distorted instruments and whiny vocals to complete songs, like the bluesy rock jam on "Secret Agent X-9." The Dial-a-Songs--and a message left by Murder City Devils front man Spencer Moody ("Call to Dial-a-Song")--are both comic relief and proof that Modest Mouse didn't gain their indie-rock cult status by accident. The talent's been there from the beginning. --Jennifer Maerz
1. Worms Vs. Birds
2. Four Fingered Fisherman
4. Wagon Ride Return
5. From Point A To Point B
6. Path Of Least Resistance
7. It Always Rains On A Picnic
8. Dukes Up
9. Think Long
10. Every Penny Fed Car
11. Mice Eat Cheese
12. Race Car Grin You Ain't No Landmark
13. Red Hand Case
14. Secret Agent X-9
15. Blue Cadet -3, Do You Connect?
16. Call To Dial A Song
17. 5-4-3-2-1 Lips Off
19. BMX Crash
20. Sucker Betru
Benji is the sixth studio album by American indie folk act Sun Kil Moon, originally released on 11 February 2014 on Caldo Verde Records. Self-produced by primary recording artist Mark Kozelek, the album shares its name with the 1974 film Benji, and was recorded between March and August 2013 at Hyde Street Studios in San Francisco.
Much of the album's lyrical content focuses upon mortality, with primary recording artist Mark Kozelek noting, "Things get heavier as you get older. At 47, I can't write from the perspective of a 25-year-old anymore. My life has just changed too much and my environment around me."
2. I Can't Live Without My Mother's Love
3. Truck Driver
5. Pray For Newtown
6. Jim Wise
7. I Love My Dad
8. I Watched The Film The Song Remains The Same
9. Richard Ramirez Died Today Of Natural Causes
11. Ben's My Friend
“Combining arty atmosphere and patient pacing with a
sound that harkens back to the days when live disco was
giving way to house beats, their sound is both blissful and
brainy.” - SPIN
“Museum of Love moves at a stately pace here, offering a
slow and steady chugger that wraps itself in gauzy vocal
layers and takes its sweet time reaching its climactic
Museum of Love is the musical project of Pat Mahoney
(Founding member of LCD Soundsystem) and Dennis
McNany (Jee Day).
Longtime friends in New York, McNany and Mahoney
found a similar sensibility and a shared vocabulary for
interpreting surroundings, something that began with their
remix of Battles’ “My Machines feat. Gary Numan” and
extended into their creation of a full length record together.
Naming their duo in ode to Daniel Johnston’s song of the
same named, Mahoney divulges, “I had always loved the
song, and had been thinking of what such an edifice would
contain when we were trying to name the project.” McNany
continues, “Pat’s a sculptor, I’m a painter, we make music
and museums are sacred spaces and love is an elusive
McNany did most of the songwriting as well as production
and instrumentation, while Mahoney is on vocals and
of course, drums, but Museum of Love was an entirely
collaborative process as the two edited and arranged
tracks in the studio. Mahoney says the process of
collaboration was energizing, while McNany simply
explains, “making the record was pure pleasure. Waiting
for it to come out has been the hardest thing.”
2. Down South
3. In Infancy
5. The Who’s Who of Who Cares
6. Learned Helplessness In Rats (Disco Drummer)
8. The Large Glass
9. And All The Winners
180 Gram Audiophile Pressing Includes Art Print
Last Ex is the new instrumental rock ensemble led by Simon Trottier and
Olivier Fairfield, long active in Quebec's experimental/punk scene, though
perhaps best known as core members of Timber Timbre, which spawned the
Last Ex project.
Last Ex is the new instrumental rock ensemble led by Simon Trottier and
Olivier Fairfield, long active in Quebec's experimental/punk scene, though
perhaps best known as core members of Timber Timbre, which spawned the
Last Ex project.
Constellation knew nothing of this back story when the label received the
Last Ex demos in spring 2014; we just heard a compelling, compact, coherent,
highly evocative instrumental album that kept worming its way into our ears.
By the tenth time someone in the office said "Let's play that Last Ex stuff
again" – and everyone enthusiastically agreed – it was time to contact the
band. This music belonged in the Constellation catalogue: an instrumental
rock album of superb compositional and melodic sensibility, balancing
minimalism and restraint with atmosphere and tone, bound by a refreshingly
original approach to production.
Last Ex makes ample use of the electric guitar as both lead instrument and
textural sound source, structuring most of the pieces around deliberate
melodic and contrapuntal deployments of Spaghetti Western twang, while
distressing, degrading and redeploying those sonics through Fairfield’s analog
tape-based manipulations. Trottier takes on most of the guitar duties, with
Timbre Timber's Taylor Kirk contributing on a couple of tunes as well. Tight
bursts of trap set rhythms played by Fairfield, and usually captured with just a
couple of microphones, along with consistently excellent basslines laid down
by both Simon and Olivier, propel the album and make this anything but an
ambient listen. Strings appear on several pieces, courtesy Mika Posen (also of
Timber Timbre), in a wide range of textures and treatments.
With its combination of assured lyricism, cinematic guitars, dusky analog
atmospherics and taut percussion, this is a vivid, concise and expressive
instrumental album that sits snugly between fellow label acts Do Make Say
Think and Exhaust on the one hand, Hrsta, Tindersticks and Evangelista on the
other. Fans of early Trans Am, early/mid Tortoise, Calexico and (obviously)
Timbre Timber should appreciate this as a very satisfying grower of an album
as well. Thanks for listening.
1. Hotel Blues
2. Girl Seizure
3. Flûte magique
4. It’s Not Chris
5. Resurrection Drive Part I
6. Nell’s Theme
7. Trop tard
8. Cape Fear
9. Cité d’or
10. Hotel Blues Returns
11. Hotel Kiss
Available On Vinyl Again For The First Time In Over A Decade
The Aislers Set occupy an enviable place in the pop pantheon. Brimming with
drunken romanticism, sharp pop sensibilities, and timeless melodies, The Aislers
Set reveled in the history of great pop, spiking their classicist 60s-tinged tunes
with pure post-punk energy and originality of bands like the Fire Engines and
The June Brides. Every song is a meticulously constructed sound world, where the
arrangement and instrumentation sublimely and uncannily bring each tune to
Edgy and baroque, the band’s final release "How I Learned To Write Backwards"
expertly wound together countless strands of pop history with personality and
atmosphere. Using the past as inspiration rather than blueprint, the echoes you
might hear of Phil Spector's Wall of Sound or Laura Nyro's soulful lyricism are
so well-integrated into The Aislers' sound that they're more akin to the spice in
the stew rather than the stock of the soup.
Although they stopped playing and recording together by 2004 due to life
commitments, their reputation has only grown; sporadic reunion shows and
mini-tours have been met with rapturous response. Alas, Suicide Squeeze is
proud to present the 2014 reissue of the seminal album “How I Learned To Write
Backwards” remastered and resequenced by John Greenham at Infrasonic
Sound in Los Angeles, and on vinyl LP again for the first time in over a decade.
The band will play a select set of shows this fall, and Suicide Squeeze and
Slumberland Records will be teaming up to co-release a new album of singles
and rarities to be released in early 2015.
1. Catherine Says
2. Emotional Levy
3. Languor in the Balcony
4. Mission Bells
5. Melody Not Malaise
6. The Train
7. Attraction Action Reaction
8. The Train #2
9. Through the Swells
10. Unfinished Paintings
11. Sara's Song
Bathtub Love Killings is the debut solo LP from Olivia Jean, the
multi-instrumentalist who cut her teeth in the Third Man stable backing
folks as varied as Karen Elson, Wanda Jackson and Jack White in
addition to fronting the much-loved Black Belles. Jean has accrued a
lifetime of experience in a few short years, from highlight performances
on The Colbert Report, Conan, Late Show With David Letterman and
the Grand Old Opry stage to having one of her songs used as the
theme for the television series Elvira’s Movie Macabre.
Produced by Jack White, Bathtub Love Killings showcases Jean as a
songwriting force to be reckoned with. Playing damn-near every instrument
she could get her hands on, the result is a well-rounded, catchy record that’s
chockfull of ear worm moments.
2. Merry Widow
4. Green Honeycreeper
5. Haunt Me
6. After The Storm
9. Cat Fight
11. Deadly Hex
"...an exemplary experiment in restraint, lush with
a slow-burning, wordless, and ambient Americana
that manages to captivate while avoiding the
histrionics of its post-rock forebears."
- THE NEW YORKER
"...they create minimalist, cinematic music that
combines modern, experimental acoustic sounds
with classical qualities."
"This — not steak finger baskets or soft-serve ice
cream — is what you should like about Texas."
- The ONION / A.V. CLUB
"Balmorhea flashes brilliance only to highlight a
slow-burning constancy that's at the core of one
of the year's early slow wonders."
For the past eight years the duo of Rob Lowe and Michael Muller have nurtured and refined
their creative partnership as the core members of the band Balmorhea. Though their first
album on Western Vinyl Rivers Arms (2008) garnered some remarkable press, their
self-titled debut, recorded in 2006 and released in 2007 best captures the duo's unique
magic as it first blossomed. With no label, distributor, manager, publicist, or booking agent
the duo quietly self-released their first recordings and started playing live shows. Now,
seven years later Western Vinyl is honored to have the opportunity reissue the band's
self-titled album, and make it available on vinyl for the first time ever.
In preparation for this special reissue, the audio was lovingly remastered, drawing out
even more of the nuances…magnifying the sounds of Muller and Lowe's fingers on the
instruments, and teasing out the textures that set these recordings apart from the rest of
their catalog. Simple and sincere, these songs and ambient sounds the duo captured in
these recordings are strangely inviting. Throughout the album the distant sounds of Texas
grackles, the warm summer rain, the steady rhythm of crickets chirping, and creaking
wooden stools, all seeping in to cradle the notes in a restrained din of primordial wonder.
"It's hard to imagine Western Vinyl without Balmorhea. After our fateful meeting in 2007,
we forged a deep and lasting relationship we're all grateful for. We met at an Austin performance on the eve of their first US tour in support of their recently self-released debut
album. Their show that night was one of the most powerful performances I'd ever seen,
and as I looked around the room, it was apparent that I wasn't alone. With the help of a
cellist the group briefly transformed the dingy lounge into a vibrant pulsing cell. I had
experienced deeply moving shows before, but the ecstatic emotions they conjured were
new to me. Calling it electrifying, might sound cliché, but as the hair on my arms and legs
stood at attention, my eyes squinted a bit with concentration, and my head cocked to the
right, the electricity that passed over me felt very real. Over the next few years I had the
pleasure of experiencing dozens of Balmorhea shows, each with a slightly different story
to tell." – Brian Sampson, Western Vinyl
2. Baleen Morning
3. Dream of Thaw
4. In The Rowans
5. A Circumnavigation
6. En Route
7. If You Only Knew The Rain
8. And I Hear The Soft Rustling...
9. We Will Rebuild With Smooth Stones
Like the wild goose that the Portland-based trio are named after, the members of Greylag have all undertaken amazing journeys, migrating as if by homing instinct from different parts of the US, to create a self-titled debut album that s the latest must-have slice of verdant, far-reaching Americana. Greylag is rich in melody, mood and detail with a range that mirrors the distance between their individual birthplaces, creating a personal twist on some timeless musical traditions, embracing electric and acoustic with a sound that s both subtle and forceful.
Meet Andrew Stonestreet (lead vocal, acoustic guitar, originally from West Virginia), Daniel Dixon (lead guitar and other stringed things, keyboards, from Northern California) and Brady Swan (drums, from Texas). The venerated Phil Ek (Band of Horses, Fleet Foxes, Modest Mouse, The Shins) produced the album at Seattle s Avast! Studio, who clearly knows a sublime enterprising combination of roots and rock music when he hears it.
The name Greylag looks and sounds strong but has developed more meaning for the band - It s a wild goose, from which all domestic geese originate, so it s the first survivor, and it s still wild, and doing things its own way - the lag part refers to it being the last bird to migrate. It sits back and watches. We love the connotation.
2. Yours To Shake
3. Arms Unknown
6. Burn On
7. Black Sky
8. One Foot
9. Walk the Night
Foxygen have joined Star Power.
It is a punk band, and you can be in it, too.
Star Power is the radio station that you can hear only if you believe.
We're all stars of the scene.
FOXYGEN…AND STAR POWER is the new DOUBLE ALBUM from Foxygen, a CINEMATIC
AUDITORY ADVENTURE for the speedy freaks, skull krunchers, abductees, and misfits...Made by
Foxygen at Dream Star Studios in their Secret Haunted House with the UFOs flying around in the sky.
A gaggle of guest stars. Roman-numeraled musical suites.Vocals recorded on a shoddy tape machine at The
Beverly Hills Hotel and Chateau Marmont. A svelte 82-minute run time of psych-ward folk, cartoon
fantasia, songs that morph into each other, weaving in and out of the head like UFO radio transmission
skullkrush music. ADHD star power underground revolution. Soft-rock indulgences, D&D doomrock and
paranoid bathroom rompers. Process is the point. A kaleidoscoping view. Blasphemy even the gods smile
one. Rock and roll for the skull...*
*From Patti Smith's 1973 CREEM review of Todd Rundgren's A Wizard, A True Star. The section concludes
"Todd Rundgren is preparing us for a generation of frenzied children who will dream in animation."
1. Star Power Airlines
2. How Can You Really
3. Coulda Been My Love
4. Cosmic Vibrations
5. You & I
6. Star Power I: Overture
7. Star Power II: Star Power Nite
8. Star Power III: What Are We Good For
9. Star Power IV: Ooh Ooh
10. I Don't Have Anything/The Gate
11. Mattress Warehouse
14. Wally’s Farm
15. Cannibal Holocaust
16. Hot Summer
17. Cold Winter/Freedom
18. Can’t Contextualize My Mind
19. Brooklyn Police Station
20. The Game
21. Freedom II
23. Everyone Needs Love
‘Sleeping Operator’ represents an immense creative output. The group, featuring brothers Brad on guitar/vocals and Andrew on drums, classical harpist
Sarah Pagé, and pianist/bassist Andrès Vial, recorded 40 tracks in the process of making this record. The 13 songs on ‘Sleeping Operator’ are meditative
and explosive, exploring the far reaches of folk laced with West African influences, hypnotic modernist pulsing and beyond. While the record extends into
cinematic and other-worldly territories, it maintains a campfire-like intimacy throughout.
The Barr Brothers recorded their “thrillingly unusual” (Washington Post) and “sacred-sounding” (Rolling Stone) debut album in a home-made studio in a
Montreal boiler room back in 2011. They took it to Letterman, NPR, shared stages with Emmylou Harris and The National, headlined the Montreal Jazz
Fest in front of 58,000 people, and did major tours across the US and around the world.
1. Static Orphans
2. Love Ain’t Enough
4. Even the Darkness Has Arms
5. Come In the Water
6. Little Lover
7. How the Heroine Dies
9. Half Crazy
10. Bring Me Your Love
12. The Bear At The Window
13. Please Let Me Let It Go
In conjunction with their recent tour supporting Kaiser Chiefs, the Lonsdale Line - EP was released on June 24, featuring two songs from the upcoming LP
and 2 songs from a past Spotify session. The momentum from this tour and EP will lead directly into the ramp up for the release of the full length LP.
1. Everything to Everyone
2. Lonsdale Line
4. Need A Little Help
6. Hey Rose
7. Slow Train
9. Dear Leron
10. I’m Living
Deluxe Package Featuring A Rubber Outer Sleeve And Die-Cut Inner Sleeves
Double 180 Gram Colored Vinyl
Screen Printed Lyric Sheet
Released August 2013 in the UK. This is its first North American release. Jonny Vic, who is the brains behind Satellites, is the musical director and bass player for James Blunt. He has been playing with him for 5 years, while developing his Satellites project on the side. The album was very well received in the U.K., and was named #37 on Rough Trade's albums of the year list.
1. Something Bigger
2. Neon Sun
3. This Is All That There Is
4. God Bless America
5. Ghost of a Memory
6. World at Your Feet
7. Encore Encore
8. Madison Park Bell
9. Bone Trophies
10. Beg Steal & Borrow
11. Spent Venom
12. A Million Drums
Hailing from Canterbury, England, Moose Blood was formed in 2012 by close friends Brewerton, Mark Osborne, Glenn Harvey and Kyle Todd. United by
their passion for music and love for mid 90’s emo, the band set out to create a sound that was distinctly their own. Since their inception the band has
released two EPs, Moving Home and Boston/Orlando, and a split 7” with labelmates Departures with their new label No Sleep Records and has toured
with bands like Appleseed Cast, I Am The Avalanche, Major League and Dads. Two short years after forming, Moose Blood returns with their impressive,
debut full-length record, I’ll Keep You In Mind, From Time To Time.
“I'll Keep You In Mind, From Time To Time is everything that we've been working towards since the start of the band in 2012,” says drummer Glenn
Harvey. “I think there is a much more personal and honest feel to this record than on anything else we've done up to this point. Seeing these songs turn
from ideas at our practice space to a finished 11 track album has been an incredible experience. We're all really proud of this record and we can't wait for
everybody to finally hear it.”
Moose Blood aren’t afraid to wear their hearts on their sleeves. Produced by Saosin guitarist Beau Burchell, I’ll Keep You In Mind, From Time To Time is
replete with heartfelt, yearning lyrics about life and love that exude vulnerability with a comforting warmth. The record moves through waves of emotion
from the pensive opening balad “Cherry” to the follow-up upbeat tempo of “Anyway,” sailing through the mounting crescendos of “I Hope You’re Missing
Me” to the memorable, driving rhythm of “Swim Down.” With each chorus and riff, I’ll Keep You In Mind, From Time To Time draws listeners in with its
unrelenting honesty and intense passion. 2014 will undoubtedly be the year Moose Blood makes their everlasting mark on the alternative rock scene.
3. I Hope You're Missing Me
4. Chin Up
8. Swim Down
10. Kelly Kapowski
11. I Hope You're Miserable
Zeus returns with the unapologetically titled Classic Zeus, resuming its affair with timeless melody, vintage ambience, and instant future classicism. Classic Zeus is the band's most cohesive and heartfelt record to date: a truly collective effort of singular vision: 11 songs of introspective pop and spirited rock and roll, buoyed by Zeus' studio mastery reinvented. This is the story of a band that has walked through fire and come out the other side naked and raw. Take your past and throw it on the fire.
1. Where Is My Love?
2. Miss My Friends
3. Everybody's Got One
5. First One In
6. Straight Through The Light
7. Old Enough To Know
8. 27 Is The New 17
9. One Line Written In
10. You Could Have A Lover
11. Throw It On The Fire
This Is My Hand is a journey beyond the composition of
music. “I had this ‘back-to-basics’ moment of reading how
humans were making sounds before we were using
words,” says Shara.
The opening track on This Is My Hand, ‘Pressure,’ is an
invitation. Within seconds of lowering the needle, listeners
hear a sharp, drum-rolled call to attention, courtesy of the
Detroit Party Marching Band. What follows is a Shara - choreographed whirlwind of horns, woodwinds, beats,
xylophones and synths. The ensuing ‘ Before the Words’
(“Before the verse there was the sound”) and the title track
are no less direct in exploring and defining the
fundamentals of not just pop music, but, well, life. “This is
my voice/ this is my heart / this is my choice,” sings Shara.
‘Apparition,’ the final track, is a Tron-like electronic, slow-motion departure from the physical world.
Produced by Shara herself and keyboardist Zac Rae, This
Is My Hand is a bold chapter in the unfurling MBD story.
Its exploration of music and its rhythmic urgency escort
Shara’s chamber-music aesthetic out of the chamber and
back into the dance hall and rock bar.
2. Before the Words
3. This Is My Hand
4. Lover Killer
5. I Am Not the Bad Guy
6. Looking at the Sun
8. So Easy
Mastered Entirely In The Analog Domain, Using The DMM (Direct
Metal Mastering) Process
Manufactured At RTI In Camarillo, CA, Using Their HQ-180 System
This is Shellac’s fifth LP. Recording took place sporadically over the
past few years at Steve's ELECTRICAL AUDIO studios in Chicago.
The record was mastered by Steve Rooke at ABBEY ROAD. There is
no comma in ‘Dude Incredible’; like Sir Duke or King Friday, for
Steve Albini - Guitar
Todd Trainer - Drums
Bob Weston - Bass
1. Dude Incredible
3. You Came In Me
4. Riding Bikes
5. All The Surveyors
6. The People’s Microphone
Blue Bell Knoll is the fifth album by Cocteau
Twins. Originally released in 1988 by 4AD in the UK
and Capitol in the US, Pitchfork listed this album
as one of the best albums of the 80s. This was the
band’s first full studio album to be released in
the US via a distribution deal with Capitol. The
album marked a turning point for the band. Robin
Guthrie stated ““At first you’re just trying to make
a record, and then you’re trying to make a really
good record. And then you’re trying to go further.... Blue Bell Knoll was a really important
record to me. It really sticks as one of my favorites. Perhaps not because of how it came out,
although it is quite listenable, but because of the
experience of making it.”
Heaven or Las Vegas followed in 1990, and the release was also via 4AD in the UK and Capitol in the
US. It was the band’s last album for 4AD, and was
their most commercially successful possibly due
to Elizabeth Fraser’s much more intelligible lyrics. Numerous publications declared it one of the
best albums of the 90s and Pitchfork called it “a
core of ungodly gorgeous songs that is every bit
as moving and relevant today as it ever was”.
Both of these albums have been unavailable on
vinyl for some time. Heaven or Las Vegas has never
been commercially available in the US on vinyl,
while Blue Bell Knoll’s vinyl via Capitol wasn’t
re-pressed after the initial release, and therefore
hasn’t been available in at least 25 years.
1. Cherry-coloured Funk
2. Pitch The Baby
3. Iceblink Luck
4. Fifty-fifty Clown
5. Heaven Or Las Vegas
6. I Wear Your Ring
8. Wolf In The Breast
9. Road, River And Rail
10. Frou-frou Foxes In Midsummer Fires
Allah-Las met while working at Amoeba Music, a key destination for music lovers in Los Angeles. While this experience helped shape their sensibility, their sound was forged in an underground basement where they came together as a band. They began gigging in Los Angeles in 2008, refining their live performance, and finally released their first 7” single Catamaran / Long Journey in 2011. In 2012, they began their relationship with Innovative Leisure, releasing their first self-titled album, Allah-Las, anchored by their second single Tell Me (What’s On Your Mind) / Sacred Sands. The release was met with critical acclaim and the band toured extensively in the States and abroad before going back into the studio to record their follow-up.
Allah-Las’ second album, Worship The Sun, expands on the sound established by their maiden effort, honing their fusion of West Coast garage rock and roll, Latin percussion and electric folk. As richly textured and timeless as a Southern California beach break, the songs are evocative of Los Angeles’ storied past. Beatniks, artists, surfers, nomads. Remnants of a bygone Sunset Strip. Golden tans and cosmic sunsets. One can feel the warmth of the sun, but the band deftly avoids the kitsch so often indulged by lovers of these things. Hints of Byrds, Love, Felt, and those who follow are threaded into the tapestry.
LA’s seminal Ferus Gallery – the home of Wallace Berman, Ed Kienholz, Ed Ruscha, Billy Al Bengston – is paid homage in an eponymous instrumental, broadening the scope beyond mere sea, surf, and sand. The lyrics reveal a new maturity; reflections of a band that has grown together through experiences on the road and in the studio. Worship The Sun is at once the perfect soundtrack for the greatest surf film never made and for a golden hour drive through Topanga Canyon. Yet, while grounded in the Southern California experience, the appeal of the album is not limited by locale. It is a teenage symphony to the sun, for all those who know its grace.
1. De Vida Voz
2. Had It All
4. Ferus Gallery
6. Nothing To Hide
7. Buffalo Nickel
8. Follow You Down
10. Yemeni Jade
11. Worship The Sun
12. Better Than Mine
13. No Werewolf
14. Every Girl
Hostage Calm confront the darker realities of a modern America as a means of survival.
In 2010, the critically acclaimed Connecticut band funneled their heroes’ protest energy
into an optimistic hybrid of punk, pop and new wave, only to see rising hopes filtered
out through the uncertainty of the Great Recession on 2012’s bruised Heartland rocker
Please Remain Calm. Die on Stage celebrates the subsequent post-millennial fatalism
permeating today’s youth culture with timeless grandeur. It’s not a political statement as
so much it is an honest portrait of growing up in America, embracing all that is fleeting while clutching what semblance of decaying dreams remain for a generation future
1. When You Know
2. A Thousand Miles Away From Here
3. Love Against!
4. Someone Else
5. Fallen Angel
6. Your Head / Your Heart
9. Darling You
10. Past Ideas of the Future
Arkells will release their third full-length album through Dine Alone Records. Named after a street in their native Hamilton, Ontario, the
juno award winning band creates an accessible style of pop rock. Formed in 2006, they hey self-released their debut EP, Deadlines in 2007 before seeing
it reissued the following year on the Canadian independent label Dine Alone. The band's first album, Jackson Square, arrived in 2008, and resulted in a
2010 Juno Award for New Group of the Year. It was followed in 2011 by their sophomore outing and major-label debut, Michigan Left, which earned the
group its second Juno nomination.
1. Fake Money
2. Come To Light
3. Cynical Bastards
5. Never Thought That This Would Happen
6. Dirty Blonde
7. What Are You Holding On To?
8. Hey Kids!
9. Leather Jacket
10. Crawling Through The Window
White Arrows, a five-piece who met in Los Angeles, began touring almost as soon as they formed, hitting the road with Cults, White Denim and The
Naked and Famous, and performing at festivals like Coachella and Sasquatch. The transitory, continuous nature of touring meant that their 2012 debut
album, Dry Land Is Not A Myth, was created in bouts, pulled together over the course of almost two years. After Coachella last year, the band finally
returned home with no obligations set out before them and allowed the creative process to take them whenever it would.
After meeting with several producers, White Arrows selected Jimmy Messer and spent last winter recording their second album with him at his Los
Angeles studio The Tube. It was the band’s first time making music in a real studio with a producer, and the musicians found the experience to be ideal.
“We loved it,” Andrew adds. “It was a very freeing experience. Jimmy had good perspective on guitar, which was helpful because that’s where we were
trying to shift. It was the most harmonious record-making process I’ve had with any band so far.”
For White Arrows, In Bardo is the transition. It marks the end of one thing and the beginning of another. The songs, from moody album opener “I Want A
Taste” to surging standout number “Leave It Alone” to the evocative two-part closer, represent the musicians’ current mindset and inspirations, pulled
cohesively together by their succinct process of creation. It is, as Mickey says, the band’s real introduction into the world.
1. I Want A Taste
2. We Can’t Ever Die
3. Nobody Cares
4. Can’t Stop Now
6. Leave It Alone
7. Get By
8. Devil’s Chimes
9. Chill Winston
10. God Alert pt1
11. God Alert pt2