Formed in Los Angeles in late 1990 they’ve attracted attention for their energetic. Exciting live performance as well as a rock solid body of studio work. Their rich history is almost legendary in its range & scope.
The CHRIS ROBINSON BROTHERHOOD unveil their third studio album PHOSPHORESCENT HARVEST via Silver Arrow Records. The band--Chris Robinson (lead vocals, guitar), Neal Casal (guitar, vocals), Adam MacDougall (keys, vocals), George Sluppick (drums) and Mark Dutton (bass, vocals)--will also hit the road in conjunction with the album's release.
PHOSPHORESCENT HARVEST is a treasure trove of 10 songs--including several the band road-tested over the last few years--that advances the band's kaleidoscopic sound, which is deeply soulful, rootsy and spacey all at once. There's strong songcraft here, with a free-flowing delivery; it is music that is in no hurry to reach its destination but firmly knows where it is going. From the beginning, the CRB set out to do something different from what they had done before, creating their own scene with a musical prowess, cohesive songwriting and a unified commitment to experimentation, both in the studio and on the road (they've performed over 230 shows since forming in 2011).
"The best perspective I have on what's going on in my life--good and bad--is what comes out in the songs," says Chris Robinson. "As you move on in time, you get older, you have relationships. Some of them are good, some fail. Friends. Drugs. Life. Death. People come, people go. Songwriting is a completely different emotional response to your life and to what it means, to in some poetic nature, put it out there."
PHOSPHORESCENT HARVEST follows the release of the companion albums Big Moon Ritual (June 2012) and The Magic Door (September 2012) plus last year's live quadruple vinyl Betty's S.F. Blends, Vol 1. The group continues to record with producer Thom Monahan, and Robinson wrote all of the songs with Casal, save for two that are Robinson solo compositions ("Tornado," "Jump The Turnstiles").
"We're really going by the electricity and the vibrations that we can sort of tune in to," Robinson recently told Relix magazine (Jan/Feb '14). "There's a psychedelic component to it. That's part of the greasing the wheels of the great cosmic engine, with psychedelic thought and philosophy and action. If you get my drift." He went on to talk about the more rock and roll feel on PHOSPHORESCENT HARVEST, and his overall vision for the Brotherhood: "I'm not going to have hit records. I don't write pop songs. But then again, I find a deep need to express myself and how I'm feeling and where I am and where I've been and where I'm going by writing songs. Why change something to make it easier for anyone else, when I think if we stay sincere and keep our energies in a real creative place, then people will wander into our small community, and it maybe would get more popular…to tend that garden is a great responsibility. But I want it to grow." Check out the whole Relix feature here.
Rolling Stone editor David Fricke picked the CHRIS ROBINSON BROTHERHOOD as one of his favorites of 2012, and praised their live performance in New York City, saying "…the singer's acid-country Brotherhood, with ex-Ryan Adams guitarist Neal Casal, were a sublime time onstage and across these two albums, recorded at the same sessions and issued six months apart. The Irving Plaza show was a characteristic live high. In the second set, Robinson steered out of a rattling ‘Tough Mama,' from Bob Dylan's Planet Waves, into the long reverie ‘Girl on the Mountain,' a song from an earlier side trip, New Earth Mud, given fresh air and a new coat of DayGlo paint (1/30/13)."
1. Shore Power
2. About a Stranger
3. Meanwhile In The Gods....
4. Badlands Here We Come
5. Clear Blue Sky & The Good Doctor
6. Beggar's Moon
7. Wanderer's Lament
9. Jump The Turnstiles
10. Burn Slow
1. Humboldt Windchimes
2. Star Crossed Lonely Sailor
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
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
Tennessee’s The Lees of Memory consists of Nick Slack and both
John Davis and Brandon Fisher of Superdrag. The upcoming
album, “Sisyphus Says”, is filled with keening melodies and
harmonic colors. The first single, “We Are Siamese” unleashes
the loud and atmospheric sound encompassing the band. Guitar
and drums are layered over with lush organs, synths and pianos,
pedal steel and tanpura, Taurus pedals, and 12-strings, topped
with a veneer of breathy, heart-on-the-sleeve vocals drenched in
reverb. SideOneDummy is excited to release “Sisyphus Says”,
the debut from the eclectic and shoegazing project that is
The Lees of Memory.
1. We Are Siamese
2. Little Fallen Star
3. Open Your Arms
4. Not a Second More
5. Don’t Part Ways
8. Lower Atmosphere
10. One Wave in the Sea
11. (I Want You to) Let it Flow
The Man Upstairs sees psychedelic troubadour Robyn Hitchcock uniting with legendary producer Joe Boyd (Nick Drake, Fairport Convention, R.E.M.) for one of the most unique outings of his already quite distinctive career. The album – which arrives just one short year after 2013’s acclaimed Love From London – sees the British singer/songwriter musing on mortality, masculinity, and the impossibility of forever via an unexpected intermingling of self-penned originals and “songs I wished I’d written.” Modern standards like The Doors’ “The Crystal Ship” and The Psychedelic Furs’ “The Ghost In You” are reimagined as stark and melancholy folk ballads, and then set to powerful effect alongside haunting new songs like the plaintive “Recalling The Truth.” Hitchcock’s 20th solo studio recording – give or take a few outtake, demo, and rarities compilations – The Man Upstairs is a remarkable portrait of an artist raging quietly against the dying of the proverbial light. “Yet another autumnal record,” says Robyn. “Yet another elegiac record. It’s reminiscent of I Often Dream Of Trains—there’s a lot of autumn on that record as well."
1. The Ghost In You
2. San Francisco Patrol
3. To Turn You On
4. Trouble In Your Blood
5. Somebody To Break Your Heart
6. Don’t Look Down
8. Comme Toujours
9. The Crystal Ship
10. Recalling The Truth
Vessel will release his second album through Tri Angle Records.
Many of the sounds on Punish, Honey were made using rustic, homespun instruments—sheets of metal for percussion, flutes crafted from bikes and a handmade guitar. Conceptually, the idea of national identity was central to Vessel while he was recording the LP, with the producer positing the question: "What does 'Englishness' in music really mean?"
Punish, Honey follows Vessel's debut album, Order Of Noise, which came out via Tri Angle in 2012. It was described by Andrew Ryce as "one of the most engaging and gripping techno albums of the year," and came in at number seven in our best albums of 2012 rundown. As part of Young Echo, he also contributed to the Bristol collective's 2013 debut album, Nexus.
- Aaron Coultate (Resident Advisor)
2. Red Sex
3. Drowned In Water And Light
6. Black Leaves And Fallen Branches
7. Kin To Coal
8. Punish, Honey
Second album from one of the hottest garage rock'’n’roll acts in London, setting clubs alight with their own red hot take on “the music the Sonics were listening to”. Having spent a good year or more honing their set and finding out which songs make the girls dance (ie. all of them!), their debut LP, Music for Chicken, cemented the globe-spanning gang as the finest purveyors of Pacific Northwest rhythm and blues in the land. With new bassist Fernando on board, MFC Chicken have continued touring the world and found time to knock out a brand new album that is EVEN better than their debut.
1. Chicken 'Bout You
3. (Get Outta The) DJ Booth
4. Voodoo Chicken
5. I'm Her Pet
6. Hot Friend
7. (Show Me The) Gravy, Baby
8. Don't Wanna Talk About Chicken
9. Well Now
10. M.F. Sea Chicken
11. Chicken Shack
13. White Leather Boots
14. Dirty Little Boots
Plumb fans say her music brings hope and inspiration to their world. "It's the highest compliment. Fame and fortune are fleeting," says Plumb, "but making a difference in people's lives lasts for eternity." "I want to tackle the difficult subjects in life, because I want people to know that the hard times, just like a piece of coal, can be turned into a diamond." So confesses singer/songwriter Plumb, an artist whose music blends the complex, feminine poignancy of Suzanne Vega and Sarah McLachlan with the sophisticated, modern rock of Shirley Manson from Garbage or Amy Lee of Evanescence.
Although Plumb's songs have sold millions of records for other artists, it's as a solo artist that her contribution to music can be felt most deeply. Plumb's music has appeared in Television shows ranging from Dawson's Creek, Felicity, ESPN's March Madness and more. Major motion pictures and soundtrack exposure include Bruce Almighty, Just Married, The Story Of Us, Loser, View From The Top, Drive Me Crazy, The Perfect Man and Evan Almighty. Plumb songs have also been recorded by the likes of Michelle Branch, Mandy Moore, Jennifer Page and more. Having achieved exposure in a variety of outlets as well as radio formats, Plumb's fans reach across multiple demos.
2. Drifting feat. Dan Haseltine
4. One Drop
5. I Want You Here
6. Say Your Name
8. Need You Now (How Many Times)
9. Chocolate & Ice Cream
10. Don't Deserve You
12. At Arms Length
13. Starting Over
14. Fall Back In
16. Lord I'm Ready Now
17. Don't Deserve You [Radio Mix]
18. Need You Now (How Many Times) [Worship Version]
The Dustaphonics occupy the space where the talented few, committed and bright, stick to their guns’. Some groups are capable of doing things more intensely than others. The Dustaphonics is a group that knows how to grab your attention and get people dancing. The music is a fantastic mash-up that details their musical influences, from booze-soaked 1950s rhythm and blues, vintage stomping ‘buttshaker’ soul, ’60s garage rock and british beat / r&b, Vegas lounge, sleazy grind instrumentals and surf guitar. And the whole deal is sealed and delivered with the spirit of ’70s punk. Although the influences are vintage, there is something remarkably and distinctively fresh and progressive about their songs that takes the music beyond simple imitation and infuses it with tremendous energy and passion.
1. The Message
2. When You Gonna Learn
3. Big Smoke London Town
4. Grand Prix
5. Ride on Louisiana Red
6. Rockin Boogaloo
7. Don’t Let the Devil Drive
8. Your Car
9. Back to Mono
10. Fire Dance
11. Mojo Yar Bones
12. Flesh & Blood
"Weird and mournful yet highly rhythmic, Brooklyn's
Glass Ghost offers dance-friendly art pop."
- TIME OUT NEW YORK
"...that irresistible, disjointed mix of pop hooks and
"...an affecting, gently aspirated bedtime piece...In
tune and percussion it struck me as the nocturnal
cousin to Merriweather Post Pavilion's "Guys Eyes."
"...a fractured bit of art-pop featuring...intoned
falsetto over some spare production and airy beats."
Since the release of their debut album Idol Omen in 2009, Glass Ghost's founding members Eliot
Krimsky and Michael Johnson have kept busy. In addition to playing dozens of shows, including
a tour with White Rabbits, Johnson joined Dirty Projectors as their new drummer, Krimsky has
been collaborating with Here We Go Magic on keys, and the duo welcomed two new members to
the group, Tyler Wood on keyboards and percussion, and Aerial East on vocals. Like their debut,
LYFE was produced by Tyler Wood, who also produced Joan As Policewoman’s 2014 album The
Classic. For the LYFE recording sessions, the group recruited many of their friends to contribute, including Joan Wasser of Joan As Policewoman, Nat Baldwin of Dirty Projectors, and
Christopher Tignor of Slow Six and Wires Under Tension. Pushing their songs to new levels by
working with Brooklyn's musical elite is nothing new for Glass Ghost. They worked with more
than a dozen of their friends from Brooklyn's music community, including Sharon Van Etten
(who in 2011 noted “Eliot Krimsky is one of my favorite writers.”), Here We Go Magic's Luke
Temple, and Matt Iwanusa of Caveman, for their debut which was described by the New Yorker
as “elegant compositions of frosted indie pop,” and by Time Out New York as “weird and mournful yet highly rhythmic."
On their new album LYFE, Krimsky (who's currently working on his M.A. in Media Studies at The
New School, where he’s exploring the convergence of technological mediation, identity and
music) turns his observations of the absurd and mundane into metaphors about living in a
world where every detail about your life is harvested, quantified, and used by marketing companies to manipulate your behavior. Rather than sounding didactic or overly intellectual, the
songs provide windows into the band's internal world, as Krimsky's tender falsetto glides over
the icy landscapes of synths, strings, woodwinds, and regal horns. As the product of Krimsky,
Johnson, and Wood's mutual trust, vision, and relentless attention to every detail, LYFE masterfully blends airy, melancholy, and chilly atmospherics with Glass Ghost's irresistible bottom-heavy grooves and hooky pop sensibilities.
1. Life Is For The Living
2. Sound of Money
4. Wait A Second
6. Home For the Holidays
8. American Dollar
9. Hearing The Sound
10. Traveling With You
Norwegian Hardcore in its purest form. Original cover art by Esra Roise. Half Tux follows up the debut Sleep Tall, and though the formula is still ultra poignant hardcore, a lot has happened between the releases. The most noticable change is that singer Jon started to combine his trademark manic aggression with Nordic gloom. Also, Haraball have unleashed what was previously their best kept secret; guitarist Trond Mjøen has become the main factor in many parts of the album, from songwriting to the mixing and production. Thematically, Haraball are not your average hardcore band, with lyrics closer to Nirvana than Agnostic Front. Jon's down-to-earth observations of adult ennui tread the line between bitter seriousness and black humour.
1. The House That Builds Itself
2. Crazy Tram
4. Drunk At Work
5. Sack Of Onions
6. Off My Meds
7. Mallcop Dungeon
8. Perfect Like A Nazi
10. What A Way To Go
11. Half Tux
12. Drug Tunnel Collapse
Known best for his work in Tasmanian freak-rock outfit The Native Cats, long-time Australian poet and sometimes stand up comedian Peter Escott has recently put to tape a magnificent solo opus, The Long O. Featuring no other performers and limited to the only instruments Escott knows how to play – piano, synth, melodica, and a solitary, awkwardly self-taught guitar chord – The Long O is as haunting as it is direct, with Escott’s voice lending a reserved gravity to the often soaring arrangements.
The minimal instrumentation allows Escott’s long-confirmed songwriting strengths to come to the fore. He avoids arpeggiating and endless layering in favour of weighty chords and open spaces, whether in the mournful stride of piano-driven lead single “My Heaven, My Rules” or the blissful dream-pop of “Mealymouth”. A thread of rough-hewn experimentation runs through the album too: “The Bell” closes the album with a melodica solo played in front of a washing machine, both heavily distorted to devastating effect.
Escott’s lyrics, already so vital to the appeal of the Native Cats, are even more focused and prominent here, as he trades his usual bold declarations and paranoid power games for a far more reflective and revealing lyrical mode. In “O”, a three-part home recording inspired by the paralysing indecision of trying to complete and arrange the album, he wonders if all art can simply be reduced to “a list of decisions”, explores the notion of artistic immortality via the history of drum sampling, and accepts the impossibility of writing to please anybody but oneself. It’s The Long O in a nutshell: pieces of an ordinary life, and a wandering mind, and a well-honed instinct for deceptively small sounds.
1. A16 (Sure Thing)
2. My Heaven, My Rules
3. Every Afternoon Is Holy
4. No One
7. Ship Of Theseus
8. My Arm Is True
9. I Believe In Devil World
11. Kid 88 Moves On
12. Desmond's Songs
13. The Bell
"Ices" is a celebration of flight, levity, and the conviction that you can leave earth. You take wing in an airplane, you go to real places when you dream, you have out-of-body experiences, you get high, you lose yourself in someone else.
When we started work on these songs, I was beginning a gradual move to California, constantly traveling back and forth from New York. I was experimenting. I was falling in love. Our studio in the Hudson Valley was full of electronics and computers and the sounds of future ships sailing through the vastness of space, and I sometimes forgot where I was. The first songs we wrote were called "flying 1", then "flying 2", and so on, which eventually evolved into songs on the album. Flight became a metaphor for the ignition of the imagination. The process created a lightness in me, a freedom and positive energy that I'd never before felt or explored.
This recording session became a two year music and spiritual retreat with my psychic twin brother, Eliot. A private journey during which we abandoned old habits and familiar sounds. We got really geeky and experimented in our studio. We obsessed over sympathetic magic, "Ancient Aliens", and the NBA. We allowed everything we loved to find its way in: Persian percussion, hip-hop beats, lo-fi, hi-fi, Pakistani pop, Link Wray, Jason Pierce, gospel, dub. We developed new systems; we worked with synthesis, software, and samples; we became producers. The Hudson Valley was home base, but I wanted to keep flying. I wrote songs in California, recorded vocals in Atlanta, and worked with Clams Casino in Brooklyn. For the first time, Lia Ices felt like an inclusive project with its own identity, not just a name.
"Ices" as a whole is devoted to these certainties. While we have evolved, we are still animals. We respond to planets, patterns, and cycles. We require the sounds of our origins. We live in the future but stay bound to the primitive and primordial. We will always want tribe, we will always want rhythm, we will always need music to guide us into our deepest sense of what it means to be human. So we hear sounds from all over the planet in this album. We devour so much music, and with this album we allowed ourselves to claim bits from all of it.
1. Tell Me
2. Thousand Eyes
4. Love Ices Over
6. Electric Arc
7. Sweet as Ice
9. How We Are
PHILM, the temperamental, highly gifted brainchild of Dave Lombardo certainly did not come to fruition
overnight. Years of life lessons and rhythmical adventures slowly molded and manipulated his latest creation for
the musical misfits of the world.
As a multi-genre labyrinth, PHILM resonates not only the individual symphonic personalities of its members, but
their uniquely agile bond in instrumentation as a whole.
Front-man Gerry Nestler, noted for his undeniable skill and rapport with his guitar, is best known for his work
with progmetallists, Civil Defiance. An impassioned vocalist, his musical journey has also found him gaining
much respect for his lyrical prowess. Nestler describes PHILMs music as, “Heavy but sensitive, powerful and
atmospheric.” He further elaborated, saying “. "The music of PHILM is channeled through the many different
influences of drum and bass, expressionism, and underground that is indigenous to the street," Nestler states.
"There are many different things that Dave and I have been into that have contributed to the vision of PHILM.
Pancho's highly skilled bass playing, chordal color and shape have helped expand the overall sound
instrumentation and groove. Dave Lombardo's drumming goes without comparison."
Bassist, Pancho Tomaselli, a long-time member of funk rockers, War and most recently, Tower of Power is
sought after for his aggressively malleable, yet smooth way around his bass guitar. Drummer, Dave Lombardo,
is most widely known for his legendary work with a band he co-developed at the young age of 17, SLAYER. His
work with Mike Patton (Fantomas), John Zorn (Bladerunner), Grip Inc., and many others, leaves no room for
questioning his legendary status as one of the most skilled and innovative drummers in the world. Justifiably
typecast to the genre he helped trail-blaze, it is certainly a shock to Lombardo enthusiasts to see his infamous
drum set now scaled down to a four piece kit. But, the depth of his musical aptitude is much more than what
has come to be known as his signature sound. His prodigious skill and affinity for heavy, penetrating grooves is
oddly taken to another level in his work with this riveting trio. To quote Tomaselli, “It’s like playing with the
seven, not four, horses of the Apocalypse behind you.”
"PHILMs music is a dense, unholy convergence of tones and discords.” Lombardo states, “ We tend to live on the
heavy side, but we also touch on haunting, desolate, ambient sounds."
These three innovative musicians have masterfully revived the concept of the Power Trio. Often improvised,
their live set can find their audience entranced by a raw, tonal journey that is both awe-inspiring and thrilling
2. Fire From The Evening Sun
3. Lady Of The Lake
4. Lion's Pit
5. Silver Queen
6. We Sail At Dawn
10. Blue Dragon
11. Turn In The Sky
12. Corner Girl
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
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
I recently made some more recordings under the name Moonface, which take the form of a 5 song EP called City Wrecker, and run at around half an hour.
City Wrecker is the title track of the ep. I wrote it before Miley Cyrus released “Wrecking Ball”, but I cannot prove it. Oh well. In describing the song (and maybe the whole EP) I would say it’s the aesthetic opposite of “Wrecking Ball” by Miley Cyrus, which is not to say that’s a good thing or a bad thing, just an apple for you to hold up beside your orange. Regardless of all that, my friend Eetu, who recorded this EP, still likes to call the song “Wrecking Ball” and to sometimes call me Miley, but that’s okay cuz we’re buddies.
I lived in Finland for a couple of years, but now I live in a little town nestled in the woods of Vancouver Island. This is a recent move, and so City Wrecker represents the last album I completed in Helsinki. Maybe I will go back to that big icy lighthouse, and all the lovely weirdos within I have come to love, one day, but for now I have used it up.
I have a tendency to wreck the places I live. I am a luster scraper; a green grass imaginer. I wreck places emotionally, as in, even though they stay the same objectively, they somehow worsen in my heart. I wreck their meaning, and so ultimately their function. No more crackling inspiration. I waste my own time. I get bored. I turn gardens into dust bowls.
And I am a city wrecker not just for myself, but for those close to me as well, for my wrecking is a quiet and creeping poison that is hard to identify; hard to see coming through my mist of moods. I fuss, and then still am dissatisfied, making my loved ones feel sad and helpless, angry and confused, and perhaps most terribly, responsible. Though of course they are blameIess and magnificent.
I suppose this is why I have moved so many times in my life. It is not a good characteristic, and one I should work toward eradicating from my personality. But having regret is also unhealthy. So, I am Popeye?
Anyway, all of the songs on this ep, in one way or another, are about places. Going in and going out. Regret and hope. The past and the future. Ducking out early from your own farewell party. That’s why it’s called City Wrecker.
1. The Fog
2. City Wrecker
3. Running in Place with Everyone
4. Helsinki Winter 2013
5. Daughter of a Dove
One of the most enthralling, captivating releases of 2010, HYSMPC? is one of those albums that you can listen to dozens of times without ever settling on
a favorite song, because they're all your favorite. It's one of those albums where you want to show it to the whole world, but you'll only show it to a select
few friends because it's that good. You won't just recommend this to any old acquaintance. This album is basically equivalent to how I want my marriage
to be. After my honeymoon phase with Have You Seen My Prefrontal Cortex?, I continue to love it dearly and take it to bed with me every night.
1. Alligator Bop
2. We Don’t Need Our Heads
3. Vampires in Love
4. Great Fun
5. Bring Back Breakfast
6. Race Car Driving
7. Meet Me at the Mall, Bring Your Swim Trunks
8. I Will Gobble You Up!
9. Learn to Share
10. Bicyles in Sleep Cycles
11. A Few Screws Loose
12. Sleeping on the Train
13. Moving in Slow
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
A cultural as well as a musical force, ELECTRIC WIZARD has left an indelible mark on a host of different genres, the likes of doom, stoner and sludge; at heart, however, they stand as an iconic British metal band, cast in the great tradition, with lyrics and artwork reflecting the hypnotic weight of the music, and subject to the same intelligence and detail. Wreathed in occult ritual and drug-culture references, with classic '70s horror an inspirational seam, ELECTRIC WIZARD is poised to turn a page; there's the new deal with Spinefarm Records, plus - after a nine-year hiatus - the return of Mark Greening (the drummer on "Dopethrone"), who completes the lineup of Oborn, American guitarist Liz Buckingham, a key member since 2003, and new bassist Clayton Burgess (SATAN'S SATYRS). Fueled by strong emotion and the harder sounds of late-'60s Detroit, the remodeled lineup - isolated by choice, giant stacks glowing red - set about crafting an eighth studio album to both rival and exceed the milestone recordings of the past, with Buckingham keeping things suitably monolithic and the band generally looking back to some of their earliest influences. Toerag Studios in London was once again charged with capturing "The Sound," and (encouragingly) words like "raw", "hateful" and "sickeningly heavy" are being traded. Founding member Jus Oborn said the following: "All of our albums in the past have had a theme - revenge, drugs, black magick - and the theme of this one is death. Of course, death to us really means rebirth, so this album is a manifestation of a very primal occult belief in the final sacrifice. We have gone full circle - it was inevitable, but we had to do it. We had to kill the band so we could be reborn. It was the only way to ensure we could come back even stronger."
1. Incense For The Damned
2. Time To Die
3. I Am Nothing
4. Destroy Those Who Love God
5. Funeral Of Your Mind
1. We Love The Dead
3. Lucifer's Slave
4. Saturn Dethroned
Riot City Blues is the eighth studio album by Primal Scream, released in 2006. On this album, Primal Scream leaves its electronic element behind and returns to more traditional Rock & Roll. The album features Will Sergeant (Echo & the Bunnymen) on "When The Bomb Drops" and "Little Death", Warren Ellis (Nick Cave and the Bad Seeds, Dirty Three) on "Hell's Coming Down" and Alison Mosshart (The Kills) adding vocals to "Dolls (Sweet Rock and Roll)" and "Suicide Sally & Johnny Guitar".
One can hear traces of not only the Small Faces but everything from early Alice Cooper (à la Killer) to Mott the Hoople, David Bowie, the Kinks, the New York Dolls, and a whole lot of other Rock & Roll bands. The debut single, "Country Girl", became the band's highest charting in their career, while the album charted at #5 in the UK. "Dolls (Sweet Rock and Roll)" and "Sometimes I Feel So Lonely" were also released as singles in 2006.
1. Country Girl
2. Nitty Gritty
3. Suicide Sally & Johnny Guitar
4. When The Bomb Drops
5. Little Death
1. The 99th Floor
2. We're Gonna Boogie
3. Dolls (Sweet Rock And Roll)
4. Hell's Comin' Down
5. Sometimes I Feel So Lonely
Sir Sly is not a person but the sum of its parts. Landon Jacobs, Hayden Coplen, and
Jason Suwito often refer to Sir Sly as an elusive, almost unattainable entity they strive to
embody. This personification of the mysterious Sir Sly is what helps drive the nonstop
creative process that keeps the trio constantly writing and recording music, tirelessly
striving to create art that is inventive and honest.
The Los Angeles based band write, record, produce, mix and master all of their music in
their own recording studio, where they have developed their signature sound - a delicate
balance of solemnly surging, yet indelibly catchy electronic indie rock.
Before coming together as Sir Sly in the Fall of 2012, each member spent years
perfecting their self-taught respective crafts, honing their skills in whatever ways they
could. Lead singer Landon Jacobs began writing songs at age 13 in the bedroom of his
southern California home, after learning to play guitar and piano. Drummer Hayden
Coplen learned how to play by watching and imitating old videos of Buddy Rich and
Gene Krupa. Keyboardist Jason Suwito built the band’s studio himself, and self-taught
the technical skills involved with recording engineering and music production.
It’s this refreshing self-sustaining approach to creating music that initially brought the
three members together, and has kept them continually working to develop and maintain
the spirit of Sir Sly
1. Where I'm Going
4. You Haunt Me
5. Found You Out
6. Nowhere / Bloodlines pt. I
7. Inferno ft. Lizzy Plapinger from MS MR
8. Leave You
10. Too Far Gone
11. Helpless / Bloodlines pt. II
She Keeps Bees is a blues-rock band from Brooklyn who has received comparisons to the White Stripes, Patti Smith, and The Kills. Their last full length, Nests, was released in 2008. Lead single "Is What It Is" features Sharon Van Etten on backing vocals.
1. Feather Lighter
4. Both Sides
5. Burning Bowl
8. Greasy Grass
10. Is What It Is