Sunflower Bean Twentytwo in Blue art.jpg

Sunflower Bean made a late play for putting out one of 2017’s best songs when they released “I Was a Fool” in November, the first new music they had released since their acclaimed 2016 debut Human Ceremony. Today, the New York trio have done us one better by announcing their second album Twentytwo in Blue, due out March 23rd via Mom + Pop Records. Jacob Faber, Julia Cumming and Nick Kivlen will each be 22 years old at the time of the record’s release, which comes almost two years and two months after that of Human Ceremony. See what they did there?

Twentytwo in Blue’s second single is “Crisis Fest,” an urgent, yet upbeat call to arms that warns, “If you hold us back, you know that we can shout / We brought you into this place, you know we can take you out.” The track feels of our time and timeless at once, a heartening and defiant reminder of rock ‘n’ roll’s power to galvanize. “2017—we know / Reality’s one big sick show,” sings vocalist/bassist Cumming. “Every day’s a crisis fest.” “Crisis Fest” also received an Andy DeLuca-directed music video,

Sunflower Bean say of their new song:

This last year was extremely alarming, traumatic and politically volatile. While writing this album, we often reflected back on the people we met while on tour. We felt a strong kinship with the audiences that came to see us all over the country, and we wanted to write a song for them—something to capture the anxieties of an uncertain future. “Crisis Fest” is less about politics and more about the power of us, the young people in this country.

Indeed, the band is unafraid to address the many anxieties of our modern moment on their new album, which was co-produced by Unknown Mortal Orchestra’s Jacob Portrait (who also mixed the record) and Matt Molnar of Friends.

Says vocalist guitarist Kivlen:

This has been such an unbelievable time. I can’t imagine any artist of our ilk making a record and not have it be seen through the lens of the political climate of 2016 and 2017. So I think there’s a few songs on the record that are definitely heavily influenced by this sort of—whatever you want to say what the Trump administration has been.

“A shit show,” answers Faber.

Listen to “Crisis Fest” below ,Twentytwo in Blue is out March 23rd on Mom +  Pop Records.

http://

Van William

My folks’ little cabin in the Sequoia National Forest is where i wrote most of my record “Countries.” In the midst of a clusterfuck breakup and other human dramas, i moved up there for a while with my best bro, Pip the Angel dog. With no cell phone, internet, or other people. just me, pip, my guitar, and the sequoias. It was total seclusion. it feels pretty amazing and bizarre that those intimate moments will be out for everyone to hear so soon . Thanks so much to all of you for coming along with me. the support has been fucking incredible ,My debut solo album is out in 1 week! You can still order and get vinyl early with a signed postcard! Today we are releasing the album version of “Cosmic Sign”, which was the last song written for my debut record Countries. I wrote it after the election when I was feeling particularly dark and my initial instinct was to go hide in a cave somewhere.

I challenged myself to write a song from the perspective of the version of this country that I love and yearn for. Despite the monsters in the White House, I still have great hope for this country, and I wanted to reflect that in memories I have from traveling around, getting inspired by the people and places that actually make this country what it is. I am gearing up to head out and get inspired again.

Image may contain: 1 person

Hailing from Adelaide, Mane’s indie pop and distinct blues leaning vocals has been described as ‘skillful blends of pop & blues influences with smoky vocal stylings’. Catching the attention of audiences across Australia playing alongside respected national artists BOO SEEKA, E^ST, Ali Barter and KLP, Mane continues to grow her sound and artistry. With new music on the horizon you can see the pay off from constant touring and festival bills including Nannup and WOMADelaide early 2017 as this exceptional talent comes into her own.

Leading single ‘Bitter’ off MANE’s Upcoming EP ‘House Of Horrors’

Yep Rock is delighted to announce Robyn Hitchcock’s new video “Autumn Sunglasses” Starring Gillian Welch and shot on location in East Nashville, the video was devised, directed, filmed and edited by Jeremy Dylan.

Of the video, Hitchcock offers, “This song was written and set in Sydney, but the mood was just right this September in East Nashville. Gillian Welch, Harlowe Quinn from the 5-Spot (glimpsed onstage there with his band Prayer Flags), and Tubby my Scottish Fold cat are all local characters; they helped Jeremy Dylan and I crystallize the feel of summer turning to autumn here in Tennessee.”

From the new self titled record from Robyn Hitchcock – out now on Yep Roc Records

MUDHONEY – ” Lie “

Posted: January 11, 2018 in CLASSIC ALBUMS, MUSIC
Tags: ,

Mudhone lie 3000px

Recorded live during their 2016 European tour at shows in Germany, Croatia, Sweden, Austria, Norway, and Slovenia LiE is the first unlimited-edition, non-bootleg live Mudhoney album to date. 2018 marks Mudhoney’s 30th anniversary, and this release is a fitting start to a year that will also see the release of a new Mudhoney full-length. This album’s 11 tracks span the band’s storied career, and include their live cover of Roxy Music’s “Editions of You.”

“Judgement, Rage, Retribution and Thyme” (Live in Europe)

Moaning - S/T

Moaning is a band defined by its duality. The abrasive post-punk trio comprised of LA DIY veterans, Sean Solomon, Pascal Stevenson, and Andrew MacKelvie, began nearly a decade after the three started playing music together. Their impassioned debut album comes born out of the member’s experiences with love and distress, creating a sound uniquely dark and sincere. Although the band is just breaking out of their infancy, Moaning’s sleek and cavernous tone emphasizes the turmoil of the era they were born into. One where the endless possibility for art and creation is met with the fear and doubt of an uncertain future.

We have a new song streaming today, called Jesse. And a new album coming out, called Vessel! New York-native songwriter Greta Kline has shared a bounty of her innermost thoughts and experiences via the massive number of songs she has released since 2011. Like many of her peers, Kline’s prolific output was initially born from the ease of bedroom recording and self-releasing offered by digital technology and the internet. But, as she’s grown as a writer and performer, devising more complex albums and playing to larger audiences, Kline has begun to make her mark on modern independent music. Her newest record, Vessel, is the 52nd release from Kline and the third studio album by her indie pop outfit Frankie Cosmos. On it, Kline explores all of the changes that have come in her life as a result of the music she has shared with the world, as well as the parts of her life that have remained irrevocable.

Frankie Cosmos has taken several different shapes since their first full-band album, 2014’s Zentropy, erupted in New York’s DIY music scene. For Vessel the band’s lineup comprises multi-instrumentalists David Maine, Lauren Martin, Luke Pyenson, and Kline. The album’s 18 tracks employ a range of instrumentations and recording methods not found on the band’s prior albums, while maintaining the succinctly sincere nature of Kline’s songwriting. The album’s opening track, “Caramelize,” serves as the thematic overture for Vessel, alluding to topics like dependency, growth, and love, which reemerge throughout the record. Although many of the scenarios and personalities written about on Vessel are familiar territory for Frankie Cosmos, Kline brings a freshly nuanced point of view, and a desire to constantly question the latent meaning of her experiences. Kline’s dissonant lyrics pair with the band’s driving, jangly grooves to create striking moments of musical chemistry.

Vessel’s 34-minute run time is exactly double the length of Frankie Cosmos’ breakout record, Zentropy, and it is an enormous leap forward. Typically, albums by artists at a similar stage in their careers are written with the weight of knowing that someone is on the other end listening. Yet, despite being fully aware of their ever-growing audience, Kline and band have written Vessel with a clarity not muddled by the fear of anyone’s expectations. Vessel’s unique sensibility, esoteric narratives, and reveling energy place it comfortably in Kline’s ongoing musical auto-biography.

“Vessel” (Release Date: March 30th, 2018)

Flyte are Will Taylor (vocals, lead guitar), Nick Hill (bass, vocals), Sam Berridge (keyboards, guitars, vocals) and Jon Supran (drums, vocals).
The band spent the first months of 2017 in Australia putting the finishing touches to their debut album with ‘Courtney Barnett’ producer Burke Reid, a collaboration that delves deep into new sonic territory to create a modernist but timeless sound that revels in coming-of-age nostalgia, cinematic synth melodies and prolific storytelling themes of life, love and death.
One of the great treasures of 2017 came in the form of British act Flyte’s debut album The Loved Ones and I don’t know that anyone else seemed to notice. It’s a god damn shame, as it’s a wonderful album that is stripped down to just the core elements of pure songwriting bliss that it’s almost way too good for present-day consumption. I’ve been following the band throughout the years releasing singles, seeing them evolve from releasing 80’s sounding slices of Brit-pop to this more refined 60s sound that feels timeless and essential. The band went into the recording of the album not set on making a big single or moment, but rather making an album that flowed seamlessly with each track as important as the last. It’s fitting on this list that they end the album in old-school fashion, with a cover of Alvvays’ “Archie, Marry Me.”
Last year, vocalist Will Taylor and keys player Sam Berridge got drunk and uploaded a cover of Joni Mitchell’s ‘River’ to their Facebook page. The slap-dash DIY charm and heart-wrenching voices started a Flyte-movement. Racking up over 1M streams, fans wanted more sessions, and Flyte began carefully curating covers in London landmarks with towering acoustics, earning a reputation for their trademark four-part harmonies, as well as their live sound. Pulling on all their resources, the band also started a successful sell-out club night Chasing Heaven, where friends were invited to play at intimate London venues.

http://

Accomplished songwriters Will, Sam, Nick, and Jon have released a flurry of alternative-indie anthems including ‘We Are The Rain’, ‘Closer Together,’ and ‘Light Me Up’ over the past few years and have amassed over 1.5M Spotify streams. Evolving together as a band and great friends.

Another Wolf Parade album, another knockout. The band aren’t just back to recycle sounds of the past, but taking what they know and giving their songwriting and sound further evolution and grit that is on full display on Cry Cry Cry. It seems like so many people just want to pretend that Apologies To The Queen Mary is the only record these guys released. I love that album as much as the next guy (or gal), but the band gave us another rich and rewarding gift, one that patiently reveals itself further and further with each listen.

http://

The album carries a sense of uprising that is not unrelated to Wolf Parade’s renewed determination to drive the band forward in uncertain times. Welcome to Cry Cry Cry. 

Club Night are less a supergroup and more a logical coming together; the band consist of members of various Oakland DIY-bands, who went to each other’s shows, supported one another’s project and then almost inevitably formed a band. Members of various musical backgrounds and styles, thrown together by band-leader Josh Bertram, Club Night quietly produced something cohesive and intriguing, their debut EP, Hell Ya.

The band have recently shared the video to their latest single, “Shear”. The track is a frenetic blast of angst and energy, combining the impassioned yell of Wolf Parade with the expansive ambition of Broken Social Scene. Add a claymation video with ominous nods to the illuminati and Shear becomes an exciting triumph and a fitting send off to what has been an excellent year for Club Night.

Band Members
Josh Bertram, Rebecca Lukens, Ian Tatum, Josiah Majetich, Devin Trainer

Hell Ya is out now via Tiny Engines.