Posts Tagged ‘American Laundromat Records’

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“It was fun building it up from scratch and then letting it all hang loose in the long free-pop/jazz outro,” Juliana Hatfield says of her newly unveiled single “Gorgon” in an official statement. “Recording at home, there’s no one stopping me from indulging in every wacky musical whim that pops into my head.”

The propulsive, percussive track packs an enveloping sonic punch as the second offering lifted from the prolific singer-songwriter-instrumentalist’s forthcoming nineteenth studio album “Blood”, due in stores May 14th via American Laundromat Records as the follow-up to 2019’s pair of releases Weird and Juliana Hatfield Sings The Police.

Listen to “Gorgon” below and revisit the album’s lead single “Mouthful of Blood”  And be sure to mark your calendars for Hatfield’s special live stream performance from Q Division Studios on Saturday, May 8th at 4PM ET.

Bloodreleased via American Laundromat Records Released on: 22nd April 2021,

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Juliana Hatfield has announced new album “Blood” that will be out May 14th via American Laundromat Records. Juliana Hatfield has announced the release of her 19th studio album, Blood, which will be out on May 14 via American Laundromat Records. Coinciding with the announcement, she has shared the album’s lead single, “Mouthful of Blood.” Check out the song and see the cover art for Blood ,

I think these songs are a reaction to how seriously and negatively a lot of people have been affected by the past four years,” states Hatfield in a press release regarding her new album. “But it’s fun, musically. There’s a lot of playing around. I didn’t really have a plan when I started this project. I always love coming up with melodies and then trying to fit words into them—it’s like doing a puzzle. And I always find places to use the Mellotron flutes and strings, on every album, because those sounds are so beautiful to me. They are a nice counterpoint to the damaged lyrical content.” Hatfield also speaks a bit on the album’s creation, in which she was forced to record in her home in Connecticut as a result of the pandemic: “Usually I work in a studio. I did more than half the work in my room—with Jed helping me to troubleshoot the technology, and helping with building and arranging some of the songs and then I finished up with additional overdubs and mixing with engineer James Bridges at Q Division Studios in Somerville, MA.”

Hatfield’s most recent album, Juliana Hatfield Sings The Police, a cover album of songs by The Police, was released in 2019.  “Mouthful of Blood” released on American Laundromat Records, Inc. Released on: 2021-01-28

Tanya Donelly "Swan Song Series"

Alt-rock poster girl Tanya Donelly of Belly (who are reuniting to tour this summer!), Throwing Muses, and The Breeders  is preparing to bid farewell to her solo career for now with a 3-CD set called Swan Song Series. “In terms of releasing under my name, I’m definitely done with that. I feel like I’m over my name at this point,” she tells EW, laughing. “If I do anything from this point on, I’d like to do it under a band name.”

Sparked by performing in her friend John Wesley Harding’s “Cabinet of Wonders” vaudeville-esque reviews, Donelly began reaching out to other authors and musicians to create this series of songs that feature everyone from Harding to Belly bandmate Tom Gorman to Rick Moody to Magnetic Fields’ Claudia Gonson. The 31-song collection, released in early summer 2016, is a compendium of collaborations with other artists and includes her first five self-released digital EPs and seven new tracks, but EW is premiering a highlight off the collection, “Wild Love,” today.

On this song, Donelly worked with singer/songwriter Will Dailey to create a sweet love song touched by a fuzzy, mystical folk vibe. “This is one of the most organic in terms of process because Will and I live in the same town and we’re friends,” Donelly says. “We wrote together, and it resulted in a song that neither one of us would have come up with individually — which is kind of the entire point of the series. There was one point where we were like: Is it too stylistically simple? Is it too direct? Usually both of us are a little more opaque. And this one is just so transparent and such a clear love song.”

“Wild Love”  Swan Song Series is on American Laundromat Records.

Tanya Donelly and the Parkington Sisters *Pre-Order*

Tanya Donelly covers some of her favorite songs by The Go Go’s, Leonard Cohen, Kirsty MacColl, Split Enz, Linda Ronstadt, The Pretenders, Wings, Echo & The Bunnymen, and Mary Margaret O’Hara on this outstanding new album.

“When Joe from American Laundromat asked if I’d be interested in doing a covers album, I was hesitant, mainly because most of the songs I truly love are already perfect in their original form. But then I had the idea to ask the brilliant Parkington Sisters to be the band for this project, to bring their gorgeous sound and spirit, and make it something cohesive and centered. Happily, they said Yes. So I chose a handful of songs that have been on heavy rotation in my head and heart from the first time I heard them, and the Sisters took over. They charted and plotted and arranged, and I joined Rose and Sarah and Ariel recording at Jon Evans’ Brick Hill Studio in Orleans MA, with guest players Matthias Bossi and Jon Evans (who also engineered). Lydia P put down some cello later, and I recorded additional vocals at Q Division Studios in Somerville MA, with James Bridges engineering. These are some of the most honest, moving, beautiful, unfiltered, true and cool songs that have ever been written, in my opinion. And those same adjectives apply to the Parkington Sisters as well.” -Tanya


This is the first single (a Go-Go’s cover) from the album “Tanya Donelly and the Parkington Sisters” Written by Jane Wiedlin
released August 14th, 2020

Various Artists "Just Like Heaven: A Tribute to The Cure"

“Just Like Heaven” features 16 cover versions of Cure favorites by a bevy of indie artists, including; The Wedding Present, Dean & Britta, The Rosebuds, Tanya Donelly & Dylan in the Movies, The Submarines, Elk City, Class Actress, Joy Zipper, Black Francis, and so many more. Mastered by West West Side Music (Galaxie 500, The Wrens, Fleetwood Mac). Original illustrations and artwork by Melinda Rainsberger.

These tribute albums have become so ubiquitous and are so generally asinine that this one comes as a genuine, and at times quite moving, surprise. It’s not just that the artists who contributed are clearly doing so without any of the usual ironic detachment, but also that many of them have clearly thought very carefully and often very insightfully about their arrangements and interpretations. Elizabeth Harper & the Matinee deliver a sweetly sad and admirably straightforward version of “Pictures of You,” one that clears away the layers of gauzy, torpid psychedelia that characterized the (excellent) original version to create a song that has a very different spirit without sacrificing anything of its essence. Cassettes Won’t Listen give “Let’s Go to Bed” a slightly stiffer, more electro interpretation — again, one that reveals a depth of regret and bitterness that was better hidden in the original. It should probably come as no surprise that Tanya Donelly would pick the slightly creepy “Love Cats” to cover, in a duet version with the gruffly insinuating Dylan in the Movies turn “Close to Me” into a strangely detached disquisition on the obsession and self-disgust that animated the original, while Kitty Karlyle turn “In Between Days” into a brilliantly edgy slab of rough-and-ready pop-punk. Not every interpretation is equally brilliant, but every one of them shines an interesting new light on this powerful material.

An outstanding compilation… this is a must for all Cure fans – NYC Daily News
A genuine, and at times quite moving, surprise. – All Music Guide
Indie darlings past and present come together to repaint the mood swinging lyrics and remix the eternal sunshine of The Cure hits. – Rolling Stone

Image result for JULIANA HATFIELD - " Broken Doll "

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.

Weird is out now on American Laundromat Records.


The early ‘90s were very good to Juliana Hatfield. In the first half of that decade, she contributed to the best album by her former band Blake Babies, released two fantastic solo albums and one with a new project, The Juliana Hatfield Three, and played bass on The Lemonheads’ greatest achievement “It’s A Shame About Ray”. It’s a period of Hatfield’s career ripe for rediscovery, even as she continues to release fine new music currently.

Juliana Hatfield’s debut album Hey Babe. Filled with effortless melodies and catchy guitar riffs. Hatfield’s intelligent, hook-laden songs shine here in here exceptional debut.

A great first step is to listen to this new vinyl edition of her 1992 solo debut, Hey Babe. The album belies its heartbroken, self-reflective songs through Hatfield’s chirpy delivery of her lyrics and the urgent grind of its guitar rock (with help from members of Bullet Lavolta and fIREHOSE). All of that is rendered with sharp definition on this new pressing of the LP. This music needs clarity like this to let every shard of Hatfield’s broken heart stick in the listener’s skin while the music surges and blooms around the room.

It’s release from 1992 was the inaugural year of the “women in rock” era: a stretch of several years when artists from Courtney Love and PJ Harvey to Meredith Brooks unwittingly formed a cohort of so-called girls with guitars and the phrase “girl power” seeped into the popular lexicon from the underground precincts of the riot grrrl scene.

Juliana Hatfield was at the heart of this zeitgeist. In 1992, Hatfield had just broken up her college band Blake Babies and released her solo debut Hey Babe on Mammoth Records. Hey Babe was among the most successful independent releases of the year; 25 years on, it remains a largely forgotten minor masterpiece. Hey Babe offers a landscape of emotion – self-disgust, second-guessing, depression, cautious optimism – that has no place in a reception model so narrowly hinged on “empowerment”. The album dwells on muddled feelings, elevating confusion and insecurity over anger. Its 11 songs build entire worlds out of the state of feeling small, delivered in a voice that skids from girlish wail to shattered mumble. The album’s centrepiece is the song Ugly, an acoustic instruction manual on living with low self-esteem. “I’m pretty lost but I don’t want to be found/ My tiny screams don’t make a sound,” sings Hatfield.

Hatfield herself stopped playing its songs shortly after it was released. “Immediately after recording the album, I was really embarrassed by it,” she explained , “but now I’m really proud of myself.” Hey Babe will strike a chord with a new generation of listeners who are shy, ambivalent, inward and emotionally complex.

Sean Glonek at SRG Studios newly master from the original 1/4″ analog tapes. The artwork has been recreated from the original LP art but with a little twist thanks to the skill and creativity of award-winning designer, Aaron Tanner of Melodic Virtue. This exclusive limited-edition pressing, in a single-pocket gatefold jacket, was pressed by hand at Burlington Record Plant in Burlington, VT.

“Hey Babe” was produced by Gary Smith (Pixies, Throwing Muses, Blake Babies), and was originally released on Mammoth Records back in 1992. The album featured a bevy of guest players, including Mike Watt, Evan Dando, John Wesley Harding, Clay Tarver, Chick Graning, and Todd Philips.

This special 25th Anniversary Reissue is produced and distributed by American Laundromat Records, Inc. under license from Mammoth Records. .

Check out :

Undiscovered Planet – A Short Film by David Doobinin (with Juliana Hatfield) Shot, Directed and Edited by David Doobinin Starring Juliana Hatfield with Ayla Huguenot, Maia Devoy, Ananda Liveright

Songs “Touch You Again” (Juliana Hatfield) “Everything’s For Sale” (Juliana Hatfield) “Wipe It Up” (Juliana Hatfield/John Strohm) “Instrumental” (Juliana Hatfield) “Lost Ship” (Juliana Hatfield) “I Don’t Know What To Do With My Hands” (Juliana Hatfield/Matthew Caws)

David (Doobinin) shot and directed the two videos from my Olivia Newton-John album and he has photographed me, too, and I’ve really liked working with him. There is a casualness to his style that puts me at ease–he doesn’t push too hard. And I like the results. He manages to capture something real about who I am and how I see myself, and not many photographers/vidoegraphers are able to do that. I was talking to David about maybe working with me on a larger project like perhaps documenting the making of my next album. As of now we’ve had trouble scheduling that but we did have time to sort of get our feet wet and shoot some everyday documentary footage in and around my home, which we thought made an interesting little short film.” – Juliana Hatfield “What always struck me about Juliana the previous times we worked together is her physicality. The way she moves through each moment. It’s an unselfconscious dance that teeters between a stumbling Chevy Chase and a Runway Model. She has this fearlessness in her music and the way she lives her life. I wanted to try and capture some of that.” – David Doobinin

Sometime earlier this summer, Juliana Hatfield was shredding alongside waste treatment machinery on Deer Island, and it was freakin’ awesome. Amidst a million subtle shades of pink and surprisingly industrial imagery, Hatfield’s new video, “Lost Ship”, paints her as the take-no-BS Boston woman we’ve always known her to be.

“No one has any power over me,” she sings, which she quickly follows with “I wanna ride on a spaceship in my mind,” both lyrics that recall her steadfast agency and desire to peace the hell out.

The next taste of her forthcoming 2019 record Weird, Hatfield’s video for “Lost Ship” was filmed on Massachusetts’ Deer Island earlier this year. With a little more than a month to go until Weird debuts on American Laundromat Records to be released in January, from the former Blake Babies member .

“Rachel Lichtman of the awesome Network 77 hipped me to this place called Deer Island in Winthrop, Massachusetts and we shot the video there,” she says . “It’s right in my backyard, practically, but I had never been there before. It was such a cool sci-fi setting, with the wind and those gigantic egg-shaped structures which are part of the waste treatment facility out there. Rachel made this a beautiful haunting video.”

Echoing Hatfield’s cut-off-from-the-world’s sentiments of Weird, director Rachel Lichtman honed in on her blissfully alone beauty for the video’s imagery.

“I feel like Juliana and I created something that so beautifully captures the powerful freedom of the chosen isolation described in ‘Lost Ship,’” Lichtman explains. “Juliana seems a futuristic goddess, luxuriously alone, atop what looks like the remnants of the industrialized world; she’s not bothered or indebted or compromised. We shot it just the two of us on the last warm day of summer, and I think that energy translates through and captures the essence of this brilliant song.”

“Lost Ship” by Juliana Hatfield from the album “Weird” out January 18th, 2019 on American Laundromat Records.

Juliana Hatfield Indulges Her Sweet Tooth on New Olivia Newton-John Covers Album

In song, as in romance, one never forgets their first love. No matter how cheesy or childish it may seem later, the memory of that initial encounter with the music’s emotional power never goes away. For Juliana Hatfield, it was Olivia Newton-John.

But Hatfield never committed the betrayal that most of us are guilty of. She never spurned her middle-school crush when she got to high school. Hatfield stayed true to Newton-John. She embraced punk rock as an older adolescent, but did not turn her back on the Australian singer of “Have You Ever Been Mellow.” And it’s that combination of illusion-grinding guitars and heart-on-the-sleeve pop tunes that has made Juliana Hatfield one of the most rewarding and underrated artists in the indie-rock generation.

“For my whole career, without consciously realizing it, I’ve been trying to integrate Olivia and X, the sweet pop and the messy punk. I’ve always had those two sides to me, not only in what I play but also in what I listen to. I veer back and forth like a pendulum.”

“Even when I fell in love with the band X,” Hatfield explains, “I never lost my love for Olivia. I never hid it. Different parts of my personality are drawn to different musics. The angry part of me is attracted to more aggressive music and more aggressive performances, like Exene’s voice, or more humor maybe, like The Replacements and Devo. The idealistic part of me is drawn to melodies and harmonies, like Olivia’s singing. For me it’s fine to like Olivia Newton-John and a band like Black Flag.”

So far from hiding her first musical love, Hatfield is celebrating it on the new album Juliana Hatfield Sings Olivia Newton-John, on American Laundromat Records. With her longtime rock ‘n’ roll rhythm section of drummer Pete Caldes and bassist Ed Valauskas, Hatfield remakes 13 of Newton-John’s songs (one of them in two different mixes), including seven singles that reached the U.S. pop top 10. Hatfield scuffs them up a little but not so much that they lose their essential, sweetness.

Hatfield was 10 years old, living in the Boston suburb of Duxbury, when the movie Grease and its soundtrack were released in 1978. She was fascinated by the character of Sandy, played by Newton-John, an exchange student from Australia and a goody-good girl who falls for the greaser bad boy Danny, played by John Travolta. Like the fifth-grader Hatfield, Sandy was essentially a rule-abiding girl who was attracted to the rule-breaking world of juvenile delinquents and rock music. Hatfield took her cue from a role model who was able to cross that boundary without compromising her principles.

“When I was a kid,” Hatfield recalls, “I just related to Olivia’s sense of innocence, especially when she was singing. I even had a friend curl my hair so I looked like Sandy. I like to think that Sandy was putting on that bad-girl persona as a goof, because she realized that this was just a game that people play. I don’t like to think she put on a mask just to get the guy. I didn’t want to believe that you have to sex yourself up to find love. I never made that choice to change myself like that. Maybe my life would be easier if I had.”

Hatfield had a different interpretation of the punk ethos than some of her friends. For her, punk wasn’t defined by drugs and promiscuous sex; it was defined by staying true to one’s own moral code, whatever that was. That’s why Newton-John still made sense to her when she picked up a guitar and started playing punk rock, even persuading her high school cover band to add some X songs to a setlist dominated by Journey and Styx.

“Maybe it was in my DNA,” she suggests. “Maybe I had a punk heart; I didn’t want to do things because everyone else was doing them. I was impervious to peer pressure, and that isolated me a bit, because I wouldn’t give in and do what the other kids did. So I felt an affinity with Olivia, because she also had this good-girl curse. I felt like an outcast because all my friends in high school and college were doing drugs, getting drunk and having sex, but I didn’t want to. I was hanging out with these people, but it didn’t feel right to me; I wasn’t ready or interested. I knew I would do things on my own time line.”

It was in 1986 at Boston’s Berklee College of Music that she formed The Blake Babies with guitarist John Strohm and drummer Freda Boner. The Lemonheads’ Evan Dando was also briefly the group’s bassist, and when he left, Hatfield was persuaded to shift from guitar and emulate Dando’s unusually melodic bass lines. Even after she returned to guitar in 1994 with her own group, she ever after wrote tuneful, prominent parts for her bassists to contrast against her brittle guitar riffs. “I like melodic bass players like Evan and Paul McCartney,” she says. “I get bored holding down the bottom, and I love melody, so I played that way. The bass players I hire know what I like to hear. It frees up the guitar to not be so melodic. I always have some anxiety about my records becoming too monochrome or not grooving enough, and I always go to melody to fix things.”


The Blake Babies were a delightful indie-rock outfit, but the trio eventually broke up as Hatfield wanted to further emphasize the pop elements in the group’s sound, a move her bandmates resisted.  Hatfield loved the vocal-harmony echoes of Newton-John she heard in hits like “Hold On,” but Strohm and Boner dismissed it as juvenile fluff. “When I left The Blake Babies,” she says, “I was miserable because I wanted to do my own thing, but I missed being in a gang—a band is like a gang that has your back. The other members are a cushion against criticism. But I wanted to have more control over the music; I wanted to be able to say, ‘This is how I want to do it, and that’s how we’re going to do it.”

Earlier this spring, American Laundromat Records released a remastered 25th anniversary vinyl edition of Hatfield’s debut solo album, 1992’s Hey Babe, in a gatefold package. With help from such friends as Dando, John Wesley Harding and Mike Watt, she crafted a new balance between the pop and rock elements in her music. The lead-off track, “Everybody Loves Me but You,” boasts a classic guitar riff, pitted against Hatfield’s rolling bass line, as she wails that the one person whose love she craves is the one person who won’t offer it.

The album got her a deal with Atlantic Records and led to her breakthrough album, 1993’s Become What You Are. “My Sister” hit No. 1 “Spin the Bottle” appeared on the soundtrack for the zeitgeist movie Reality Bites, and Hatfield wound up on the cover of Spin. “My Sister” is a magnificent achievement, using the phrases “I love my sister” and “I hate my sister” to capture the contradictory feelings we often have about the people closest to us. The fact that Hatfield didn’t actually have a sister hardly mattered, given the infectious hook and the evocative details about firecrackers and a Violent Femmes concert.

“I wasn’t trying to put one over on people; it was all about how I was feeling,” she explains. “I just wanted to express the pain I was in. The sister was a metaphor, a construct I used to express my feelings of longing and inadequacy.”

She made two more albums for Atlantic, one (Only Everything) that was released and one (God’s Foot) that never was. She has mostly worked under her own name, but she has also recorded as the Juliana Hatfield Three, Some Girls, Minor Alps, The I Don’t Cares and the reunited Blake Babies.

“A year and a half ago,” she recalls, “I was going to go see Olivia in concert for the first time, but she ended up canceling that string of shows because her cancer had come back. That’s when I decided to make the album. It was just an idea that popped into my mind, because I was immersed with her music again in preparation for the concert. Once we were in the studio, we found ourselves translating those well-written songs through this traditional unit of guitar, bass, drums and my weird voice. We did them as if they were songs we had written.”

“My love for Olivia’s music is not nostalgia,” Hatfield says, “because I still love it and get pleasure from it. There’s something about the timbre of her voice that homes in on my pleasure center. She was never desperately pleading for acceptance or attention from people like other pop stars were. She had this great solid core that is still very appealing to me; she felt very centered. So many stars come across as emotional messes, but she seemed like she really had her shit together.”

Tanya Donelly, Britta Phillips, Lori McKenna, Jill Sobule, Elk City, Veruca Salt, Kristin Hersh, Josie Cotton, The Watson Twins, and Dala are just some of the outstanding artists covering Neil Young’s most popular songs for charity on this wonderful album. All proceeds from this benefit record are donated to Casting For Recovery, whose mission is to enhance the quality of life of women with breast cancer through a unique retreat program that combines breast cancer education and peer support with the therapeutic sport of fly fishing. The program offers opportunities for women to find inspiration, discover renewed energy for life and experience healing connections with other women and nature. CFR serves breast cancer survivors of all ages, in all stages of treatment and recovery, at no cost to participants.


American Laundromat Records is an independent record label based in Mystic, CT. Founded in 2004, the label is known for its critically-acclaimed tribute and themed compilations, award-winning charity albums, and an impressive roster of original artists