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released last September on Wharf Cat Records, HONEY’S sophomore long player New Moody Judy builds on their debut’s “hard edged slice of rock noise” to create an album full of the pummel and swing, rave-ups and comedowns, and ferocious riffs and rhythms previously known only to those who have witnessed the power-trio’s live set. Equal parts concision and brute heaviness, this is the sound of perfect rock and roll music – music that’s always on the edge of spinning out of control.

From the first single, “the pugnacious ‘Dream Come Now’ a barnstormer every bit as fiery as the album artwork” to the tight jam giving way to a thrilling cascade of riffs that fuel the rush of ‘Hungry,’ HONEY give everything to the music on this release to deliver their most sonically diverse effort to date. As thematically cerebral as it is musically visceral, New Moody Judy is one of the rare albums that offers as much brain fodder for the lit majors as it does instant gratification for the guitar-heads.

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Featuring former members of Pyschic Ills and Amen Dunes, Honey are mainstays of Brooklyn’s thriving music culture. Over the past 5 years they have shared the stage with the likes of Dead Moon, J. Mascis, Sheer Mag, The Men, Destruction Unit, and more and have become a household name for everyone fiending for the raw authenticity that, thankfully, can still be found in NYC at the intersection of punk and rock and roll.

We’re thrilled to announce our new album Pillar of Na which will be out August 31st on ANTI- Records.

The first song “Frostbiter” and had this to say about it: “For Saintseneca, fatalistic gloom blends seamlessly with a kind of playful sprightliness: Zac Little’s songs often simmer in a sad swirl of death and esoterica, but his deadpan ruminations are buoyed by the sounds of exotic instruments, candy-colored pop hooks and many points in between.”

I think of this song as a big tree trunk in the woods where people carve their messages – initials, jokes, “I love you” hearts… It is a work of accumulation. A little space absorbing traces of its environment over time. Every mark corresponds to a different story. Some of them are mine. Some belong to others, yet feel all too familiar. – Zac

Also! We’re touring like crazy. The full US tour has been announced with UK, Europe,

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Releases August 31st, 2018

Zac Little: vocals, guitar, 12 string, baritone,
mandola, bouzouki, synth, bells
Jon Meador: synths, vocals, piano, mellotron,
various keyboards, guitar
Matthew O’Conke: drums, aux percussion,
vocals
Steve Ciolek: guitar, vocals, 8 string bass,
hammered dulcimer, marxophone
Caeleigh Featherstone: bass, vocals,
hammered dulcimer
Mike Mogis: synth, guitar
Maryn Jones: vocals
Susanna Gilmore: violin
Elizabeth Furuta: violin
Brian Sherwood: viola
Paul Ledwon: cello
Megan Siebe: cello, violin
Carlyn Hendler: flute, piccolo flute
Miwi La Lupa: bass trumpet
Leticia Wiggins: flute

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The Thrush Metal EP originally came out last year, self-released by the artist on tape and digitally. Stella Donnelly quickly became one of Australia’s buzziest young singer-songwriters and now Secretly Canadian release the EP on Vinyl. Boys Will Be Boys is the standout track. Atop delicate, singsongy acoustic fingerpicking, Donnelly confronts a man who raped her friend and takes to task the accompanying victim-blaming. “Why was she all alone? / Wearing her shirt that low / And they said boys will be boys / Deaf to the word no,” she coos in the chorus, a slight vibrato flaring up at the corners of her lovely voice.

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Stella Donnelly is a stunning new singer songwriter talent. Powerful songs sung with a powerful voice. Listening, and watching with interest.

Considering the weight of the ideas T. Hardy Morris is exploring on his new record Dude, The Obscure, it feels like his airiest work yet. Following 2015’s twangy Drownin’ On a Mountaintop, Morris is shedding some skin and getting at something a little rawer and more heartfelt. Dude, The Obscure soars and floats, at once dreamy and heady, even when Morris is rocking out (as he is prone to do). Questioning his place in the world, and striving to stay present in an ever more chaotic world, Morris digs deep on this album and seems to have found his own bliss in the process

A cheeky play on famed English author Thomas Hardy’s novel Jude The Obscure, Dude, The Obscure sounds like a stoner’s spaced out tagline. And in many ways, the album gives us that vibe of getting so deep in your head to where it’s murky and dark, until you ultimately come out the other end feeling more like yourself. On “The Night Everything Changed,” Morris gets nostalgic for good times on the road and feeling connected to others by the memories we share. Recounting faraway cities, missed planes, and wasted money, Morris weaves a sweet, sublime thread made even more magical with the glide of steel guitar. “When the Record Skips” is a dark, heart-thumping ode to the idea of a legacy and what gets left behind. And though “Be” opens the record, it feels most like a culmination for Morris. It’s the album’s stunning peak, and a moment of reckoning as Morris strips away all the clutter that keeps him from moving forward.

Hailing from the artsy Southern enclave of Athens, Georgia, Morris hasn’t lost his twang, but this time around, his sound is elevated and meditative. He creates a big sound on Dude, The Obscure, with swooning arrangements that live somewhere above us and that compel us to look upward and reach for them to try and catch just a little bit of that sweet enlightenment within them.

From the album ‘Dude, The Obscure,’ available June 22nd

This week the new releases are plenty hot. Lera Lynn, Jeffrey Foucault, and T. Hardy Morris break new ground with their new records, building on careers that started out promising and haven’t let us down one bit along the way.

Lera Lynn, and her songs that owed as much to heavy-lidded space-rock and psychedelia as to country music: think the Black Angels meets Bright Black Morning Light, but with insistent grooves. It was a fine blurring of styles and I got really into her record Resistor . On the new “Plays Well With Others”, Lera Lynn once again cuts her own path. Unlike many duets and guest star-oriented records, many of the songs on Plays Well With Othersare originals, co-written for this collection and then tracked live. There’s a wide sonic and emotional range, too, making this half-hour duets record an engaging album in Lynn’s discography.

The most memorable songs hearken to earlier musical eras. Lynn and John Paul White’s (previously of The band Civil Wars) cover of “Almost Persuaded” strips the David Houston song down its Opry-esque core, giving it the straightforward swing of a 1950s honky-tonk radio staple. Appropriately, Nicole Atkins duet “In Another Life” captures the crestfallen romance of early rock ballads. A straightforward, poignant hook of “In another life/you’re mine” rides a progression that would have been right at home at another spot of the 1950s radio dial.

Lynn also explores the twilit soundscapes that made Resistor such an intriguing listen. For one, Plays Well With Others opens gradually with haunted atmospheric swells courtesy of a bowed double bass, leading into her Peter Bradley Adams duet “Same Old Song,” while the Andrew Combs duet “Breakdown” moves with a familiar up-tempo sinuous grace. And on Lynn and Shovels and Rope’s cover of TV on the Radio’s “Wolf Like Me,” they transform the driving, twistedly danceable indie-pop number into a shambling Old Weird America tale. When the three sing “we could jet in a stolen car/but we wouldn’t get too far/before the transformation takes/and the bloodlust tanks/and the crave gets slaked/my mind has changed/my body’s frame/but god, I like it” over patient folk-rock, it alters the listener’s perception of the song’s metaphorical werewolf. Rather than bounding feverishly through a neon landscape in search of warm flesh as the wolf does in the TV on the Radio original, Lynn and Shovels and Rope’s werewolf is a patient, calculating beast — and it’s almost more frightening for it.

And sometimes Lynn just feels like having fun, such as when she and JD McPherson gleefully howl “I don’t want nothin’ to do with your love.” On Plays Well With Others, Lynn and her collaborators are obviously enjoying themselves immensely. Fortunately for the rest of us, they brought some excellent new songs into the world in the process.

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For Lindsay Jordan, this “record” would be the songs she wrote at fifteen that lend themselves to 2016’s Habit, her breakthrough EP. Written and recorded in her childhood home in the suburbs of Baltimore, its songs—introspective, sonic documentations of that overwhelming period of change when you sit on the cusp of adulthood—reminded audiences of the infinite, complex emotions adolescent kids experience. Coupled with her prodigious guitar talent and deadpan delivery, Habit unexpectedly made Jordan an indie darling who often evoked critical comparisons to her hero Liz Phair.

With the release of her first full-length, Lush, Jordan takes her music a step forward. In the two years since Habit, she’s come out as gay, graduated high school, and signed to Matador Records. Lush reflects both the realizations and the confusions that come with growing up, deftly straddling the line between youthful vulnerability and adult self-assuredness.

If her emotional candor makes her appear far older than she is (before interviews, she sends a list of frequently asked questions to avoid, like the tired “What’s it like being a woman in a band?”), as soon as she speaks, Jordan reminds you that she’s just nineteen years old. Excitement courses through her rapid, breathless, “like”-peppered sentences. She’s still figuring this all out, a little overwhelmed at the attention she’s received so quickly. If Lush is any indication, though, she’s heading in the right direction. Jordan spoke with us about artistic growth, vulnerability, and both the difficulty and importance of keeping in touch with the person she used to be.

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Mothers are to release their second album titled “Render Another Ugly Method”, their first for new home ANTI-Records. On top of that great news, the Athens band, now based out of Philadelphia, have also shared the first taste of that record, in the shape of new track, Blame Kit.

The next step for Mothers, and their chief songwriter Kristine Leschper, was, for anyone who’s seen their live show, always going to be an intriguing leap. While WYWALDYAT was a sprawling, emotional, sometimes muted affair, live Mothers became a sprawling, angular, maths-rock power-house. Even expecting something different though, Blame Kit still feels like a fresh new direction; the vocal production of the sprightly intro initially had us wondering if this was even the same band, it was only in the bass-heavy break-down one minute in as, Kristine sings, “not the first time I’ve seen it, I watched her body expand a hundred times its size to contain it”, that the hair-raising vocal tone meant this could be no other band.

Lyrically the track aims to explore the idea of the titular Blame Kit, “a social mechanism that aims to shift or imply guilt onto a particular person, group, or idea”, the track was inspired by a case study Kristine read on children with Autism and Schizophrenia, as she explains, “‘his body will at one moment expand to contain things and events that are outside of it, and at the next shrink to near-nothingness…Uncertain of the boundaries of his body, things on the outside become terribly important.’ I couldn’t stop thinking about that.” The return of one of the most important, intriguing bands in the world, embrace this progress, this brave new musical world.

“Blame Kit” by Mothers from the album ‘Render Another Ugly Method,‘ available September 7th via ANTI- Records.

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Tomberlin is the project of Sarah Beth Tomberlin. Her debut album, “At Weddings”, is due out August 10th via Saddle Creek Records. another song from the album, “Seventeen,” via its video. Zach Xanders directed the video, which features the singer driving around a small town and hanging out in the country and at a graveyard.

Tomberlin was born in Jacksonville, Florida, but is now based in Louisville, Kentucky. She grew up in a very religious household, the daughter of a Baptist pastor, and was home schooled until the age of 16, after which she went to college at a private Christian school she only half-jokingly describes in a press release as a “cult.” At 17 she dropped out of school, returned home, and started to question her faith and her place in the world. It was around this time she began writing the songs that would end up on At Weddings.

“I was working, going to school, and experiencing heavy isolation,” Tomberlin says of the period in a press release. “It felt monotonous, like endless nothingness. It was a means to get through to the next step of life.”

By the time she was 20 she had written enough songs for an album. The press release says At Weddings“documents the unlearning of her childhood faith” but was still heavily influenced by church music and hymns.

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I am Tremendous! aka Mark Dudzinski UK artist Heavily Influenced on T.Rex/David Bowie. their debut single “Like Dreamers Do” was released 1st June with an album due end of this year, with live shows to be announced. The band is a bit of a 70s throwback , with echoes of Mott the Hoople.

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The track is dedicated to manager/close friend the late Adrian Millar who passed away of a sudden heart attack. He was known for his work with The Babys/Black Sabbath and was recorded in Knislinge/Sweden and half of the album has production duties from Gavin Monaghan (Kings Of Leon/Rob Plant/The Editors). Mark has just signed a small sync deal with Asylum Ent owned by the Major motion Picture company Legendary Entertainment in Los Angeles.

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Ever wondered what it would be like if REM met The Smiths? Well… This track by our artist, A Band Called Jack will cure that curiosity. Voices is a real throwback to the ‘rootsy’ and ‘organic’ acoustic driven music Manchester is famous for!

A Band Called Jack originate from Manchester and play melodic indie folk rock music. Drawing upon different influences from each member this culminates in a melodic sound which allows songs to be performed both as a full electric set and also as a more laid back acoustic set. 

Despite this, it still feels like a breath of fresh air from the sterile aggressive nature of most tracks today… Its smooth vocal, catchy hooks mixed with the ye-olde-faithful ‘British Rock’ sound could almost quantum leap you back to the summer of love!

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