On May 7th, Elektra Records signed pop-rock group The Band Camino. Co-frontmen Jeffery Jordan and Spencer Stewart and guitarist Graham Rowell formed the band in Memphis in 2015 — later recruiting drummer Garrison Burgess and have built a loyal fan base with their independently released EPs, 2016’s My Thoughts On You and 2017’s Heaven.
Elektra’s senior director of A&R Johnny Minardi was one of those early fans, thanks to his friends who had introduced him to the band’s song “What I Want.” Minardi, who was at Equal Vision Records at the time and joined Elektra in 2017, says he was drawn to the song because it didn’t sound like everything else from rock bands today. “They have such great melody, and hooks that live with you. You can listen to the band and walk away for two weeks and be like, ‘Why is this still in my head?'”
As the band continued releasing music independently, Minardi kept in touch with their manager, Jameson Roper. And once they released the roaring electric guitar-heavy jam “Daphne Blue” in August 2018, Minardi wanted to act fast: “That’s when I truly head over heels fell in love.” So earlier this year, when The Band Camino was looking to sign a record deal, Minardi got to work and sent several coworkers to the band’s New York show at Music Hall of Williamsburg in February. After Elektra’s A&R reps Caterina Nasr and Danny Rakow saw them perform, Minardi remembers, “They called me freaking out.”
“They’re a younger rock band — which is hard to say these days — that actually puts people in venues, but has a modernized pop appeal to it as well, compared to a lot of the bands [just] having success at pop radio,” Minardi says of the foursome, who are all in their early 20s. “They bring the full gambit of what a true pop-rock band is these days.”
After announcing their Elektra signing on May 14th, The Band Camino have re-released “Daphne Blue” and unveiled the heartbreak anthem “See Through.” They also announced their biggest headlining tour to date, hitting 1,000 to 2,000-person rooms around North America. The group has continued making music with frequent collaborator (and Nashville superproducer) Jordan Schmidt and Minardi assures there will be new music before they hit the road — also hinting that the new material will bring even more impactful energy to The Band Camino’s sets. “We all set out to be the biggest band in the genre ever,” he says. “That’s where we’re trying to go.”
The latest addition to Elektra’s long-running alternative music imprint Fueled By Ramen is Yonaka, a fiery English guitar band gearing up for its debut full length.
Fueled By Ramen broke the news sharing Yonaka’s latest single “Don’t Wait ’Til Tomorrow.” It’s the title track from the four-piece’s forthcoming album, due today (May 31st). In the weeks following, they’ll play a pair of Stateside shows: June 11 at Rough Trade in Brooklyn, NY and June 13 at Los Angeles’ House of Machines.
Based out of Brighton, England, Yonaka debuted with 2017’s “Heavy” EP and released another pair of EPs last year, most recently October’s “Creature” .
Fueled By Ramen will serve as Yonaka’s U.S. label; they’re with Warner Music Group’s Asylum Records in the UK.
Fueled By Ramen has enjoyed immense commercial success in recent months from the likes of Panic! At the Disco and Twenty One Pilots.
Yonaka’s official music video for their song ‘Don’t Wait ‘Til Tomorrow’ from their album Don’t Wait ‘Til Tomorrow – available May 31st.
Promising young indie rocker’s Pip Blom are looking to break beyond the canals of their Amsterdam hometown with new album “Boat”. Due out through Heavenly Recordings. “Boat” was first recorded by Dave McCracken at Big Jelly Studios in Margate on England’s southeast coast. It was then mixed by Dillip Harris in — of all places — a shipping container that sat along the banks of the Thames in East London.
Based on the title and various studio locations, Blom clearly has a fascination with water and travel. But it turns out those themes were already on her mind well before she and her band even began working on their debut LP. “Before we had even made the album I decided that I wanted to call it Boat. I envisioned a really big cruise ship in the 10,000-times bigger ocean. When I think of boats I think of journeys, traveling, going somewhere and having a goal. And I think that that has been what the last couple of years have been for us.”
The bouncy lead single, “Daddy Issues”, and its music video, a “love letter to classic cinema.” Blom broke Boat down Track by Track.
“Daddy Issues”: We decided to play this song for the second time when we had to play a pretty important gig in London. We had already played it the day before in Manchester, and our managers weren’t the biggest fans. They said, “Are you sure you want to play it in London too?” We were very stubborn and said, “Yes, we are going to make it work.” When we finished the gig, our managers ran up to us and said, “This is such a good song, you guys were right, think it’s definitely a single.” And look where we are now!
“Don’t Make It Difficult”: There are a few songs on this record that have demo parts in them. Me, Dave and Dilip agreed on the fact that sometimes there’s no point in trying to beat a demo part. The bridge guitar that goes round and round in your ears is the perfect example of that. We tried to record a different one in the studio, but it wasn’t close to this one. I feel quite proud that we’ve used parts that I recorded at home with a crappy amp and a mic hanging from a duct-tape thread. It gives an extra personal touch to the record that means a lot to me.
“Say It”: We recorded the album in two legs. “Say It” was saved for the last leg. We thought it wouldn’t be too difficult to play that one, but because of all the changes in dynamics and parts it was a hard song to record live. It took more time than expected, but I think we captured the energy from the studio perfectly. I really like the combination between the gentle and soft singing in the verses and the quiet though busy instruments that bring the singing to a next level.
“Tired”:
This song is the most straightforward song on the record if you ask me. When I started off writing songs I didn’t have a clue how many varieties you can have in terms of song structures. “Tired” is one of the oldest songs of the record and thus the most straightforward one. I am really happy that this one has made it to album because it represents us as musicians very well. It’s not about doing the most difficult things, it’s about the melody and the energy.
“Bedhead”: This is the song we had the most discussions about. Gini is not a big fan of the drum computer. We tried multiple times to rehearse this song without it but it didn’t go anywhere. It sounded very weird and not cool. So after lots of conversations between us, the band, we asked Dave (the producer) what he thought. He immediately said that we should keep the drum computer in. We did, and I think it really works. I am very happy that we had a chance to step away from just the regular band vibes and add something to the album that’s not really common in the indie scene.
“Tinfoil”: I really tried creating something different with this track. I don’t know a lot about different keys and tempos but I wanted to make song that’s in 3/4 instead of 4/4. I had never tried it before so it was quite the experiment. I always start off with guitar and drums. And after I came up with a guitar part that I liked, i decided I wanted this song to sound ominous and kind of sexy. The rest is history.
“Ruby”:
Al and Mike were the technicians at the studio. One day Al was in and helped with recording “Ruby.” I was messing around a bit with my crappy Behringer delay pedal when Al turned around and said, “Wow, that’s really cool, you should use that.” Dave came running down the stairs and said, “Yes yes yes! Let’s record this.” We used it in the bridge and I think it really lifts up the entire part. It sounds weird, like aliens, but that’s what I like about it.
“Set of Stairs”: When we started rehearsing the songs for recording, this was one of the songs that felt right immediately. Especially the verses are so full of energy. We recorded this one in the first leg. But when we went back home and had a listen to all rough edits, I wasn’t happy with the way I sang it. So the first thing we did when we returned to the studio was sing it again. It needed spice.
“Sorry”: This song is my personal favorite. It was really hard to sing the chorus. I am not a trained singer and this was really high for me. After five takes of the high backings, my voice was completely gone. I loved recording those though; Dave and I were together in one room and his energy helped me so much to nail it in the end. When I wasn’t able to sing it in tune, he turned around with and said with his thick Scottish accent, “That’s awesome. We’re almost there.”
“Aha”: This was a weird one. I always make demos and send them to everyone else. And when I make those demos, I usually stick to a maximum of two guitar parts because we’ve got two guitarists. I am not sure what happened to “Aha,” but the chorus in the demo had seven guitars playing different stuff. During the recording process we tried to stick to the same rule with just using two guitar parts. But “Aha was the exception. This one needed mayhem. And it’s there.
“An Obelisk” is the sixth album from Titus Andronicus, which finds the noted rock band under the stewardship of producer and legendary rocker Bob Mould (Hüsker Dü, Sugar, et al.). This trans-generational meeting of the minds has yielded the most immediate, intense, and unadorned Titus Andronicus record to date. Clocking in at a brisk 38 minutes and change, it is also the shortest. Recorded over six breathless days at Steve Albini’s world-renowned Electrical Audio studio in Chicago, An Obelisk presents the sound of Titus Andronicus, rock band, at its most irreducible, as monolithic as the album’s titular monument.
The official video for “Troubleman Unlimited” by Titus Andronicus, off the new album ‘An Obelisk,’ available June 21st from Merge Records.
The official video for “Tumult Around The World” by Titus Andronicus, off the new album ‘An Obelisk,’ available June 21st from Merge Records.
B Boys’ meaningful punk vibe sees them fall in line with a growing number of bands who recognise that rock n’ roll has always had a role to play in subverting the most destructive aspects of mainstream political discourse. B Boys’ particular method of critique is artful enough to avoid the traps of being considered preachy; it’s more about leaning in close to see just how much they have something to say. B Boys’ anarchic, anti-capitalist analysis of ‘I Want’, which is plucked from the press release, is particularly helpful in steering us to where their head is at:
“’I Want’ was inspired by the frustration of having to demand for the things you innately deserve. It’s about overconsumption and dissatisfaction, as well as the infinite process of personal improvement” ”
Emphasising their allegiance to critical thinking further is the fact Veronica Torres of politically riled post-punk band Pill, is a guest on this track. Sonically, it’s adorned with complex rhythms underpinning commanding riffs with The Wire, Talking Heads, and The Clash great reference points.
Official music video for “Energy” by B Boys off their album, Dada. on Captured Tracks
Directed by Jarod Taber, it’s an artsy, tongue-in-cheek visual and loosely explores the single’s central theme of capitalist greed. Acted by B Boys frontman Britton Walker, the main character is a besuited, lonely man unblinkered in his adherence to the daily grind and desire for things. But the amount of agency the protagonist has is left up to question if we consider the following quote from the band about ‘I Want’ from the press release: “Sometimes life puts you in an ill-fitted suit, but you still have to wear it.” This leaves us some sympathy towards him and questioning of the power structures surrounding us.
Having come together in 2013 after frontwoman Annabel Liddel recruited a group of musicians to support her solo performance, Auckland band Miss June have not wasted any time in establishing their unapologetic sound.
It’s raw and raucous; a hard-hitting explosion of fuzzed out punk riffs and wailing vocal melodies. With a string of consistently blistering singles under their collective belt, the four-piece belt through an energetic brand of 90’s garage that’ll kick you straight in the nose. On their most recent single “Twitch”, the band showcase their penchant for vitriolic delivery. “I wrote Twitch in my first year of clinical placement for Medical School,” Liddel says about the track.
“The song is about the first time I operated on a living human being and how different this was to operating on a cadaver. I brought the lyrics and music to the boys and a year later it became the beautiful specimen it is today.”
On May 28th, 1991 The Smashing Pumpkins released their debut album ‘Gish’. Billy Corgan performed nearly all of the guitar and bass parts on the record. They had been an active band for the 3 years before the release of this album, playing small shows here and there in their hometown of Chicago, Illinois.
Upon its release, it was quite positively acclaimed. This was, of course, in May of ’91.
Arriving several months before Nirvana’s Nevermind, the Smashing Pumpkins‘ debut album, “Gish”, which was also produced by Butch Vig, was the first shot of the alternative revolution that transformed the rock & roll landscape of the ’90s. While Nirvana was a punk band, the Smashing Pumpkins and guitarist/vocalist Billy Corgan were arena rockers, co-opting their metallic riffs and epic art rock song structures with self-absorbed lyrical confessions. Though Corgan’s lyrics fall apart upon close analysis, there’s no denying his gift for arrangements. Like Brian May and Jimmy Page, he knows how to layer guitars for maximum effect, whether it’s on the pounding, sub-Sabbath rush of “I Am One” or the shimmering, psychedelic dream pop surfaces of “Rhinoceros.”
Such musical moments like these, as well as the rushing “Siva” and the folky “Daydream,” which features D’Arcy on lead vocals, demonstrate the Smashing Pumpkins‘ potential, but the rest of Gish sometimes falls prey to undistinguished songwriting and showy instrumentation.
The album’s sessions, lasting 30 working days, were brisk by Pumpkins‘ standards, largely because of the group’s inexperience.The recording sessions put an intense strain on the band, with bassist D’arcy Wretzky later commenting that she did not know how the band survived it, and Corgan explaining he suffered a nervous breakdown
Regarding the album’s thematic content, Corgan would later say,
The album is about pain and spiritual ascension. People ask if it’s a political album. It’s not a political album, it’s a personal album. In a weird kind of way, Gish is almost like an instrumental album—it just happens to have singing on it, but the music overpowers the band in a lot of places. I was trying to say a lot of things I couldn’t really say in kind of intangible, unspeakable ways, so I was capable of doing that with the music, but I don’t think I was capable of doing it with words.
“Gish” went platinum 8 years after its release. As far as debuts go, this one is a masterpiece. You’ll love this album;
The band: Jimmy Chamberlin – drums, Billy Corgan – vocals, lead guitar, bass, keyboards, piano, production, James Iha – rhythm guitar, vocals, D’arcy Wretzky – bass, vocals, lead vocals on “Daydream”, layouts
Glasgow based indie-pop duo release their vibrant new album Run Around The Sun. The follow-up to Strike A Match their SAY Award winning debut, is released via Rock Action. The album is joyous, charming and effortless with bounce and pop elements that hark back to the glory days of late 70’s DIY singles from the likes of the Chefs, Dolly Mixture and Girls at Our Best mixed with an African edge.
“Sacred Paws have a natural inclination not to take things too seriously. You can hear it all the way through a conversation with its two members, guitarist Rachel Aggs and drummer Eilidh Rodgers, punctuated by rolls of giggles and thoughtful pauses, and you can hear it in the light touch they bring to their music, a jangly blend of indie-pop full of fizzing world rhythms and bright horns.”
Run Around The Sun Out 31st May on Rock Action Records (Merge in North America)
If you were a conscious consumer of music in the early ’90s, then you likely remember Juliana Hatfield, whose alt-pop gems persistently made the radio better than it would’ve otherwise been. Earlier this year, Hatfield followed up an album of Olivia Newton-John covers with “Weird”, a new album of originals. (Hatfield’s old Blake Babies bandmate Freda Love Smith also contributes.) And after she already made a video for the Weird song “Lost Ship,”Hatfield now has a new clip for “Broken Doll.” It’s a good one.
The “Broken Doll” video isn’t some big-budget affair, but it stretches its single joke further than anyone could’ve anticipated. Hatfield plays a Playboy bunny who goes to live on a farm. She hangs out with a dog and a donkey, attempts to steal carrots from a vegetable garden, and deals with the persistent problem of her fuzzy bunny tail falling off. Rachel Lichtman directed the video, and Wilco’s Pat Sansone introduces it.
Of the video, Hatfield says:
I love physical comedy and I finally got to do some myself in this video. We are taking the piss out of glamour while also paying homage to the history of the bunnies. (My mom was one of the original Playboy club cocktail waitresses in NYC in the early 1960’s — she wore the outfit and did the bunny dip to serve the drinks).
Lichtman says:
This particular feminine archetype is so iconic, and the concept of being “put out to pasture” makes such a strong and hilarious statement — and Juliana plays it beautifully. I mean that literally: Despite the funny pratfalls and muck, she is more gorgeous than ever. Our sensibilities are so on the same wavelength and I think that continues to shine through in this video — plus it was (clearly) a lot of fun to make.
At the conclusion of the majestic Maraqopa trilogy, and four consecutive records with Richard Swift behind the boards, Damien Jurado decided to take the reins himself on the subtly orchestral and gorgeously melancholy The Horizon Just Laughed. That Swift would pass on mere months after the album’s release made the whole situation feel even more significant. Jurado and Swift immersed themselves in a psychedelic, hallucinatory world on the Maraqopa trilogy, but the horizon indeed just laughs, and fate stretches its legs out to trip you up, as though the borderline of their fantasy world had been watching with a detached amusement all along, waiting for our protagonist to return to a more sobering reality. When Jurado does step through the door, he finds himself back in a misty morning of a weary world where Charles Schultz and Charlie Brown exchange letters detailing their mutual late life struggles. Characters populate the album from front to back, showcasing Jurado’s beautifully empathetic and inspired vision of a world and its inhabitants more reflective of ourselves, and, as revealed on the hauntingly prophetic album highlight “The Last Great Washington State,” one with love and appreciation for what and who we have, while we have them, and afterward still.
