Archive for the ‘MUSIC’ Category

galore

The bay area has a bit of history of generating groups inspired by Flying Nun Records. “Galore”, like Brilliant Colours before them make jangly pops songs in the vein of Look Blue Go Purple. It’s a low key, sort of ramshackle brilliance that Galore excel at. If you didn’t know better–and if the camera didn’t occasionally glimpse a new model of car–you might think that Galore’s music video for new single “Deja Vu” was released in the 90’s. Beyond the DIY camcorder shots, the music itself feels like a revival of a bygone era. Jangly guitars and detached vocals evoke The Aislers Set and many other Slumberland Records bands. Galore has absolutely done their sonic predecessors justice with their debut self-titled record.

This release marks the third single and music video from Galore’s self-titled debut album, and features the band (who are clearly all thrift shop aficionados) wandering through some of the familiar industrial landscape of San Francisco, in glorious 4:3 aspect ratio. They film San Francisco the way we want it to look— the rusted industry starts to feel like a playground, and the failing barriers start to feel penetrable. The video captures a very specific type of freedom that really only exists in the pages of a coming-of-age teen novel or a skate video.

The album’s opener and the first single “Lydia” was another standout track. The frantic, jumpy guitars continuously build tension with discordant riffs, until the song can take it no more and bursts with a frantic shout in the vocals and a punctuating smack of the drums. The line “I try so hard to keep it alive” feels self-referential, a statement on keeping the music the band loves alive and kicking.

The Band :

Griffin Jones, – Guitar
Britta Leijonflycht, – Guitar
Ava Rosen, – Bass
Hannah Smith, – Drums

Galore will be released June 1st via Rocks In Your Head Records.

In 1975, in an America defined by both the self-mythologizing pomp of the upcoming bicentennial and ongoing socio-political turmoil, BOB DYLAN and his band of troubadours—including luminaries such as JOAN BAEZ, ALLEN GINSBERG, and JONI MITCHELL—embarked on a now-legendary tour known as The Rolling Thunder Revue, a freewheeling variety show that was part traveling counterculture carnival, part spiritual pilgrimage. Director Martin Scorese blends behind-the-scenes archival footage, interviews, and narrative mischief, with a magician’s sleight of hand, into a zeitgeist-defining cultural record that is as much a concert “documentary” as it is a slippery, chimerical investigation into memory, time, truth, and illusion. At the centre of it all is the magnetic Dylan, a sphinx-like philosopher-poet singing, with electrifying conviction, to the soul of an anxious nation.

BONUS FEATURES: DIRECTOR-APPROVED SPECIAL EDITION FEATURES:
• New 4K digital transfer, approved by director Martin Scorsese, with 5.1 surround DTS-HD Master Audio soundtrack
• New interviews with Scorsese, editor David Tedeschi, and writer Larry “Ratso” Sloman
• Restored footage of never-before-seen Rolling Thunder Revue performances of “Tonight I’ll Be Staying Here with You” and “Romance in Durango,” and of a never-before-seen cut of “Tangled Up in Blue”.
• Trailer
• English subtitles for the deaf and hard of hearing
• PLUS: An essay by novelist Dana Spiotta and writing from the Rolling Thunder Revue tour by author Sam Shepard and poets Allen Ginsberg and Anne Waldman.

With a swirling combination of ’60s and ’70s-era classic rock and blues with the sunny sounds of SoCal-soaked surf rock, Carpool Tunnel have announced their debut full-length album “Bloom”. Due out February 26th, 2021 via Pure Noise Records, “Bloom” puts the quartet’s sandbar psychedelic sound on full display creating something that’s both nostalgic and fresh.

In addition to today’s announcement, the band released a new single and accompanying music video titled “Flora,” a bouncy, vaguely nostalgic-sounding track with a sunny video to match.

“The soil of 2020 was dense, and some of us still feel like we’re underground. However, sometimes we need the darkness to reach the light,” shares the band. “’Flora’ is here to remind you that no matter how grim life may seem, there will always be sparks of light, love, and hope as long as we are open to them…then it is up to us to decide how large that spark grows. Like many 21st-century relationships, Carpool Tunnel started with the swipe of an app.

Just two weeks after an ad for Vampr – hailed as Tinder for musicians – came across Daniel Stauffer’s phone in 2017, the Bay Area drummer was in the studio along with two fellow Vampr users, guitarist Bradley Kearsley and singer/guitarist Ben Koppenjan, recording their debut single “Afterlight” with Grammy-nominated producer Billy Mohler. One new member – bassist Spencer Layne – and a $400 Craigslist van later, the brilliantly named band hit the road, bringing their California cool aesthetic and classically retro sound up and down the coast. In this live setting, free-wheeling and bereft of perfectionist attitudes, the quartet began laying the foundation for their long-awaited debut full-length album, Bloom.

Months of road-testing the album’s 11 tracks in front of fervent audiences imbued a sense of spontaneity and looseness into the songs, letting them effortlessly evolve into the versions heard on the album. Across the set, the band brings the California coast to life through breezy rhythms and soothing melodies, from the slinky, bossa nova-flavored “Tarot Cards” to the bouncy, angular “Flora.”

The first single “Empty Faces,” which was released last month, is a long time staple of the band’s live set, is perhaps the best representation of Carpool Tunnel’s juxtaposition of classic and contemporary. Atop doo-wop charm and fuzzed-out guitars, Koppenjan muses about the state of relationships in the modern age – a muddied mix of emotions no other generation has been forced to confront. “We all have people from our past [that] you don’t really talk to anymore but still have a strange connection to,” he explains. “You might follow them on social media or have photos of them. You know nothing about them now but still feel connected to them because you see them all the time.”

The songs on Bloom are of that same uncertainty, about navigating life’s newness and seemingly omnipresent obstacles heading into adulthood. They’re sentiments and situations the band experienced first hand in 2018 after moving in together in San Francisco. As responsibilities like school and day jobs piled up next to the more joyous task of writing an album, the close quarters taught the members a lot about themselves – and one another.

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“We were all trying to come out of adolescence and find ourselves,” Koppenjan says of the mindset while writing the album. “The message we came up with was, ‘Like a flower, you too shall bloom.’ We were all blooming into ourselves and finding our sound at the same time.”

Releases February 26th, 2021

Even though The Empty Hearts band features members of BlondieThe Cars, Chesterfield Kings and The Romantics — as well as being christened by Little Steven Van Zandt from his super-secret list of unused band names — this is no cynically constructed super group. Rock and Roll Hall of Fame drummer Clem Burke, two-time Grammy nominee and MTV Video of the Year Award-winning guitarist Elliot Easton, bassist Andy Babiuk and lead singer/rhythm guitarist Wally Palmar have parlayed a combined lifetime of rock ’n’ roll into their music, a sterling collection of influences that include ‘50s American roots rock ‘n’ roll, ‘60s British Invasion and ‘70s garage-punk that is anything but retro, rather a refreshing return to core musical values.

These are all friends that I felt could get along both socially and musically,” says long time Chesterfield Kings bassist Babiuk, who started the ball rolling by calling old-time pal, Romantics’ singer Palmar and asking if he wanted to start a band. “Remember when you first picked up a guitar because you loved The Beatles, The Stones and The Kinks? Wouldn’t it be great to get in a room, write songs and play them like we did when we were teenagers? And that’s just how it started.” Blondie drummer Burke had previously played with Palmar in The Romantics and with Easton on several Blondie sessions and in an aborted band featuring Doug Fieger. Easton and Palmar knew Babiuk from frequent stops at his former employer, Rochester’s legendary House of Guitars, before Andy started his own guitar store, the ultra-hip Fab Gear.

All four came of age in the late ‘70s and early ‘80s in indie punk/new wave bands that demonstrated a love of classic rock and roll. “We’re the last rock band standing,” laughs Easton. “The whole idea is to have a blast playing with friends. We were just laughing and in high spirits all the time. No drama. It was just a lot of fun, and you can hear that in the grooves.” “Those common influences are what brought us together,” adds Burke. “We’re survivors and lifers of rock ‘n’ roll. We take from everything that’s come before musically. A lot of people have never heard or seen a band like this. There’s a freshness to it, at the same time as it’s a recollection of the past. Being a rock musician today is like being a jazz musician back in the early days of rock.”

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THE EMPTY HEARTS are:
Clem Burke – DRUMS, VOCALS
Elliot Easton – LEAD GUITAR, VOCALS
Wally Palmar – LEAD VOCAL, RHYTHM GUITAR, HARMONICA
 Andy Babiuk – BASS, VOCALS

Released August 28th, 2020

Proof rings out with force and feeling on Hilang Child’s superlative second album, “Every Mover”, released on Bella Union Records. In 2018, Riman delivered a serene, textured debut album in Years, rich in sound and feeling. The “lonely, pressured” aftermath of Years found Riman grappling with “rough self-esteem and anxiety issues”, amplified in part by social media’s ‘fulfilment narratives’. Duly, he set out to navigate and overcome these mindsets, drawing deeply on his own insecurities and those he recognised in others.

These themes converge emphatically on Every Mover, an album steeped in everyday emotional states and crafted for cathartic, communal performance. Drawing on a rich spread of collaborators, sounds and themes, Riman uses his frustrations as the impetus to transform the brimming promise of Years into upfront and expansive new shapes.

Good to be Young serves swift notice of this leap, its banked synths and twinkling sound clusters leading to an assertion of fresh force when the main beat lands and a congregation of friends – AK Patterson, Paul Thomas Saunders, Dog in the Snow, Ellen Murphy, members of Penelope Isles – unite for the gang-vocal refrains. “It’s all iridescent colour I’m on,” Riman exults, a claim lived up to on the full-flush folktronica of Shenley. A reflection on spiralling insecurity,Seen the Boreal ups the ante again with its monk-ish chorales, looping samples, spectral woodwinds (from multi-instrumentalist John ‘Rittipo’ Moore, of Public Service Broadcasting and Bastille previous) and ecstatic chorus, Riman transforming a meditation on hindsight’s limiting effects into a spur to look forwards. And surge forwards he does with the glittering synths, spacey guitars, and Krautrock propulsion of King Quail, developed in jam sessions with dream-pop wonder Zoe Mead (Wyldest) in her basement studio.

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Riman’s sounds are enriched wherever you turn, from the epic prog-tronica of The Next Hold to the vocal release and layered arrangement of “Play ’Til Evening”; a kind of summit meeting between Surrender-era Chemical Brothers and Fleet Foxes in the high church of ecstatic sound. The treated chorales of Magical Fingertip and naked lyrics of the festival-sized “Anthropic (Cold Times)” showcase a fertile push-pull of lush arrangements and wide-open emotions in Riman’s sound; on the latter, Rittipo’s horns brim with expressive power.

Brought to a sublime close with Steppe, the resulting album projects its own epiphanic force. The birth was not always smooth: due to Covid-19, tours were cancelled and studios closed. Thankfully, most of the main parts were recorded pre-lockdown between East London, Gateshead, Brighton, Wandsworth and elsewhere, before mixing proceeded remotely.

That sense of passion lights up Every Mover, an album that hymns the redemptive qualities of richly expressive music crafted in simpatico unison with friends.

Over the moon that my new album Every Mover is out TODAY via Bella Union/PIAS!! It’s available on 180g red vinyl (with signed print), CD or digital download. 

Also check out the music video for ‘Pesawat Aeroplane (English)’ on YouTube or at the bottom of this email, featuring some trippy mountain visuals using stunning footage captured in Komodo by Tobias Brent and Lifted Imaging. Thank you to Everyone who was involved in the making of this album, from the bottom of my heart. You helped me make something I’m proud of and focus my energy during a difficult time. Onwards xxx

Taken from the new album Every Mover, available on vinyl,

After a year full of strange collaborations, 2021 started off with a joint track that’s more exciting than surprising, and certainly not nearly as weird recent tourmates Vagabon and Courtney Barnett are sharing a collaborative cover of Karen Dalton’s home-recorded track “Reason To Believe” which is itself a cover of a folky Tim Hardin song later also performed by The Carpenters, Rod Stewart, Neil Young, Cher, and plenty of others.

“I recently discovered the Karen Dalton version of ‘Reason to Believe’ for the first time,” Vagabon’s Laetitia Tamko noted in a press release. “I became obsessed and so a few days after discovering it, I was encouraged to record a cover of it in my garage. The decision to have Courtney sing it with me came after we performed it together live at the Palace Theatre in Los Angeles on Valentine’s Day 2020.

“I’m a huge fan of Vagabon and Karen Dalton so this was a dream,” Barnett added. “They both have a voice that absolutely knocks the wind out of me. I really admire Laetitia and am constantly inspired by her song writing, production, and our sporadic FaceTime chats.”

Vagabon performs Tim Hardin’s “Reason to Believe” featuring Courtney Barnett:

Though Bryan Ponce and Adriana Flores share the stage with Joey Q as part of the East LA souldies outfit Thee Sinseers, they really step into the spotlight with The Altons, a group they themselves founded along with drummer Caitlin Moss and bassist Gabriel Maldonado . On this their debut single on Penrose, Bryan sings the lead with a smoky-sweet falsetto that bends tenderly from growl to howl and back again. The group takes a turn through a classic Miracles-style mid-tempo groove on the A-side, leaving you helplessly addicted to their sweet eponymous refrain, “When you go that’s when you’ll know…” However, it’s the B-side that prompted producer Bosco Mann to declare Bryan Ponce the most underrated singer on the scene today.

Of course that won’t last long when the soul heads get their needles in “Over and Over.” The secret is out. Dude can sing. This is my jam. They really step into the spotlight with The Altons, a group they themselves founded . On this their debut single on Penrose, Bryan sings the lead with a smoky-sweet falsetto that bends tenderly from growl to howl and back again. The group takes a turn through a classic Miracles-style mid-tempo groove on the A-side, leaving you helplessly addicted to their sweet eponymous refrain, When you go that’s when you’ll know… However, it’s the B-side that prompted producer Bosco Mann to declare Bryan Ponce the most underrated singer on the scene today.

Daptone Records started up their Penrose label offshoot label this year to showcase the new soul in So-Cal (Soul-Cal?) and they didn’t hold back. Vicky Tafoya is up there at number two and here are The Altons at a solid number 10. The sweet soul falsetto will slow your life down and put you in an enviable state of mind where the rat race fades away, the sun is setting, the waves are lightly massaging the sand and you are reclined with your favourite drink taking it all in. This record really will take you there.

The Altons are a 5-piece band driven by soul and rock mixed into one sonic sound.

released April 10th, 2020

This is what I always hope for when a band releases killer songs as download only or a cassette…that someone will see fit press it to vinyl. That is what happened with The Umbrella’s “Maritime EP”. Released as a cassette in 2019 and then straight to vinyl in 2020! The San Fransico band push the right indie pop buttons, taking some raw Beat Happening and adding some Small Factory and Versus. And it ain’t just the right influences they’ve got songs too, four of ’em that’ll have you wishing for more.

Discontinuous innovation inc. is proud to announce the release of the umbrellas. We have seen an exponential increase of rain with in the past decade. Streets have been flooding, homes have eroded due to water damage , and 60% of automobiles are now aquatic. How does a consumer protect themselves from these torrential downpours? With the umbrellas of course!

San Franciscan jangle pop group “The Umbrellas” take over the bay area with their astonishing 5 song e.p. “Maritime!” this e.p. was recorded by Matt Ferrara in his apartment and released on his independent label, discontinuous innovations inc, that delivers top notch tunes for your ears to hear.

to listen to the Umbrellas and other amazing artists, visit https://discontinuousinnovationinc.ba…. The Umbrellas are Morgan Stanley, Matt Ferrara, Nick Oka, and Keith Frerichs.

Originally released March 22nd, 2019

The Shifters in Paris

Melbourne’s The Shifters are quite possibly my current favourite purveyors of your guitar-based rock-and-or-roll,” commented Captured Tracks label head Mike Sniper upon its release. “In fact, they come from the best scene of that genre, the one in mullet-ravaged young Australia”.

“Left Bereft” sounds like it could be set in a post apocalyptic world or today. According to the band it’s “an overly simplified rabble-rouser that people who maybe use English as a second or third language can understand and maybe feel a bit of solidarity. I like to imagine drunk students in France listening to it whilst wrestling on the kitchen table.” Their Fall-ism’s abound here, but it’s so good (and Mark’s gone) that I’m just happy there’s band doing similar stuff at such a top level quality while putting their own stamp on it.

Back in March, the band released a 26-track rarities collection titled ‘Open Vault’ comprised of unreleased studio material, early demos, live renditions and solo home recordings from between 2016 and 2019. The collection also features covers of songs by Bob Dylan, the Beatles, Ray Davies and Death in June.

 Melbourne, Australia. The Shifters released a new 7″ vinyl single – ‘Left Bereft’ – via New York label Captured Tracks.

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The 17-year-old star of High School Musical: The Musical: The Series has dropped her first official song, and the music video, Olivia Rodrigo may have earned a name for herself by scoring the lead role in the hit Disney show, but she’s now dipping her toes into a musical career of her own. After months of teasing her debut single, Rodrigo shares a lovelorn video alongside her track “Drivers License.”

Speaking about her inspiration behind the track, she describes the disorienting emotions of her recent heartbreak. “When I came up with ‘Drivers License,’ I was going through a heartbreak that was so confusing to me, so multifaceted,” she said in a statement. “Putting all those feelings into a song made everything seem so much simpler and clearer and at the end of the day, I think that’s really the whole purpose of song writing. There’s nothing like sitting at the piano in my bedroom and writing a really sad song. It’s truly my favourite thing in the world.”

The graceful visual offers a vignette of Rodrigo’s post-heartbreak healing. She earns her drivers license but instead of going to her old fling’s house, like she used to dream of, she finds herself instead aimlessly circling side streets. All the while, Rodrigo replays scenes of her fleeting relationship. At first she’s only confronted by the happy memories, but eventually, all the toxic traits of her ex-partner come flooding back to her.

Music video by Olivia Rodrigo performing drivers license. Under exclusive license to Geffen Records