Posts Tagged ‘California’

You may now listen to “Perfume”, the latest single off our “Perfume EP”. Perhaps you’ve heard us play it live the last couple of tours and been like “what the heck iz that song?” well now you know!
Smells like 30 new minutes of new music via seven new electric hues, shocks of light that flagrantly provoke the dark, a posy’s clutch of purple, fuchsia, green and snowy white that curl against the stench of plague. With “Perfume”, Wand presents olfactory events that recall futures and pasts.
releases May 25th, 2018
Band Members
Sofia Arreguin,
Evan Burrows,
Robbie Cody,
Cory Hanson,
Lee Landey,
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“Juicy Socks” is Cherry Glazerr’s first release since last year’s Apocalipstick, their second album and first for Secretly Canadian. On that record, the Californian trio made their foray into guitar-heavy, psychedelic punk. The new single is heavier and certainly more beholden to ’90s alt rock (think the Breeders or Plumtree). But Clem Creevy doesn’t stray too far from her goofy Burger Record roots, maintaining a healthy dose of self-deprecation and humor in the song and accompanying visuals. plus new changes this year to the bands lineup @sasamiashworth is moving on from the band to pursue her own music. She has brought so much light and love and spark to CG and these past few years have been so full of joy. We love her to death and will miss her dearly (especially the dad jokes) but we are also crazy excited to go back to performing as a three piece for now.

Directed by Jessica Nicole Collins, the “Juicy Socks” video is all pleather, chains, and disturbing plastic masks. In it, Creevy gazes down on us, clad in fishnets and floral, until the video erupts into a neon-lit, hedonistic brawl, all taking place on a party bus.

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Speaking about the video, Creevy says, “‘Juicy Socks’ is about vocalization. Using one’s voice as a strong weapon and needing to be heard in order to not feel like shit. Oh also, it’s about wanting to smash Donald Trump’s orange fuckin’ head into a brick wall!”

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The West Coast Pop Art Experimental Band were an American psychedelic rock band formed in Los Angeles, California in 1965.Their first album for Reprise was the best of the groups career, in large part because it was the most song-oriented. The group created music that possessed an eerie, and at times sinister, atmosphere, and contained material that was bluntly political, childlike, and bizarre. It was still plenty weird, almost to the point of stylistic schizophrenia, but when you got down to it, much of the record was comprised of fairly catchy songs in the neighborhood of two and three minutes long.

At times they sounded like reasonably normal, fairly talented Byrds-like folk-rockers with tracks like “Transparent Day,” P.F. Sloan “Here Where You Belong” and others, a Kinks-like garage band (“If You Want This Love” and at others, a fey Baroque pop outfit (the orchestrated “Will You Walk With Me”). There was an undercurrent of unsettling weirdness and even paranoia, though, in some cuts with otherwise pleasing tunes, like “Shifting Sands,” with its sizzling distorted guitars; “I Won t Hurt You,” with its heartbeat bass and disconnected vocals and “Leiyla,” where a standard teen garage rocker suddenly gets invaded by spoken dialog that seems to have been lifted from a vampire B-movie.

The cover of Frank Zappa’s “Help, I’m a Rock” flung them into freakier pastures, emulated convincingly on the group original “1906,” an apt soundtrack to a bummer acid trip with its constant spoken refrain, “I don’t feel well.”

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 Raw, unrelenting, and careening out of the Bay Area of California is Coke. A quartet who craft angry and raw slabs of post-hardcore that chunk and chew with angular riffs and acerbic vocals. Plus, they have a song called ‘Ray Liotta’. Everyone loves Ray Liotta. Right? They also have a song called ‘Da Da’. Which is also the name of a red wine that I really love. I don’t think that Coke drink red wine. I think they bathe in the blood of their enemies and drink from their hollowed out skulls. Maybe. ( OVERBLOWN )

Raw, unrelenting, and careening out of the Bay Area of California is Coke. A quartet who craft angry and raw slabs of post-hardcore that chunk and chew with angular riffs and acerbic vocals. Plus, they have a song called ‘Ray Liotta’.I mean everyone loves Ray Liotta. Right? for sure.

They also have a song called ‘Da Da’. Which is also the name of a red wine that I really love. I don’t think that Coke drink red wine. I think they bathe in the blood of their enemies and drink from their hollowed out skulls. Maybe.

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Kilo Tango is the Jane to your Daria, that stylishly cynical best friend that always has your back and who’s way cooler than your actual older sister. A Florida native now residing in Los Angeles, it’s no wonder lead singer Katie Mitchell has truly mastered the sandy, glimmering garage pop sound so fitting for both seaside landscapes.

Surf rock siren and Kilo Tango frontwoman Katie Mitchell’s music is atmospherically a day at Malibu circa 1960s. Her knack for capturing Americana-centric heartbreak feelings wax and wane from dreamy boy-meets-girl romanticism to kick him to the curb. This track combines Mitchell’s specialties and tells the story of a brooding bad boy she knows is no good.

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Written by Katie Mitchell
Vocals/Rhythm Guitar: Katie Mitchell
Lead Guitar: Nick Chacon
Bass: Zachary Mouton

Independent record label located in San Diego, CA by way of Boston, MA. Started in 2006.

Hitting up South By Southwest this year? Topshelf Records will be returning to Austin Cheer Up Charlie’s for our official SXSW showcase on Thursday, 15th March. We have an awesome lineup this year featuring GulferQueen of JeansSpecial ExplosionRatboys, and No Vacation.

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The Beach Boys released three albums chock full of material from 1967!

1967 – Sunshine Tomorrow, 1967 – Sunshine Tomorrow 2: The Studio Sessions, and Live Sunshine – 1967 dive deep into a fascinating and frenetic chapter in The Beach Boys’ long, groundbreaking creative arc, exploring the band’s dynamic year through their recordings. The Beach Boys have personally overseen the creative process for the three collections, which are produced by Mark Linnet and Alan Boyd. Reviewer Jesse Jarnow praised 1967 – Sunshine Tomorrow as “remarkable,” saying, “These recordings make it possible to hear The Beach Boys simultaneously as the moody pop geniuses of Pet Sounds and the fresh-faced surf-rockin’ teens from Hawthorne, California.”

1967 – Sunshine Tomorrow features Linett and Boyd’s new, first-ever stereo mix of The Beach Boys’ 1967 Wild Honey album and all three collections throw open the legendary band’s vault to debut sought-after rarities, 50 years after they were put to tape. Previously unreleased highlights across the titles include The Beach Boys’ shelved “live” album, Lei’d in Hawaii, studio recordings from the Wild Honey and Smiley Smile album sessions, and standout concert recordings spanning 1967 to 1970. Wild Honey’s 2017 stereo mix is also available in a 180-gram vinyl 50th Anniversary Edition.

The Beach Boys’ final studio session for the shelved SMiLE album took place on May 18th, 1967, with Smiley Smile album sessions booked at Brian Wilson’s new home studio from June 3rd through the end of July. The band’s 12th and 13thstudio albums were released exactly three months apart to cap the year’s studio efforts: Smiley Smile on September 18th followed by Wild Honey on December 18th.

For the Smiley Smile sessions, “I wanted to have a home environment trip where we could record at my house,” recalls Brian Wilson in the liner notes for 1967 – Sunshine Tomorrow. “I wanted to try something different, something new. I produced Smiley Smile, but Mike inspired me. He said ‘Brian, let’s make a really good, easygoing album’. We had an engineer convert my den into a studio. We had my piano detuned to make it ring more.”

“Just prior to that, Brian had built up this production peak and then just completely reversed field, and (for Smiley Smile) did something so light and airy, and y’ know, easy,” explains Mike Love. “That was an underground album, I figure, for us. It was completely out of the mainstream of what was going on at that time, which was all hard rock, psychedelic music, and here we come with a song called ‘Wind Chimes.’ It just didn’t have anything to do with what was going on – and that was the idea.”

“Times were changing,” adds Al Jardine. “We were happy to put our musical skills to work. We didn’t have to look at the clock; there was virtually 24-hour availability to experiment.”

In ’67, The Beach Boys Still Raised A Smile

It was, at the time, an album of what might have been, but Smiley Smile is nonetheless a fascinating chapter in the story of the Beach Boys.

The early weeks of that year saw Brian Wilson experimenting with ever more sophisticated studio techniques in his quest to follow the groundbreaking Pet Sounds opus of 1966. The first working title for the new project was Dumb Angelwhich later changed to the name that would become legendary among legions of fans as the great lost Beach Boys record, Smile.

The ambitious ideas and often eccentric methodology that Wilson explored with lyricist Van Dyke Parks, for what was envisaged as an even greater sonic tour de force than Pet Sounds, were often met with bemusement by Brian’s band members. Huge sections of what was recorded were subsequently abandoned, and became the subject of great conjecture among devotees for the next four decades.

In more recent years, Wilson let audiences into his creative process of the periodfirstly with the 2004 live performances that became the Brian Wilson Presents Smile album, and then via Capitol’s The Smile Sessions box set, which set out to reassemble much of it in 2011.

Heroes and VillainsBut at the time, what remained of the work was gathered together on Smiley SmileIt was something of a curate’s egg of a disc, onto which Capitol placed the previous year’s masterwork ‘Good Vibrations’ and a tantalising glimpse of what might have been, in the epic ‘Heroes and Villains.’ The song charted in the summer and performed well, reaching No. 8 in the UK and No. 12 in the US.

British audiences, indeed, remained loyal to the Beach Boys through the year, also giving them an unlikely hit with the incongruously belated release of ‘Surfer Girl.’ Even as the Smile sessions were unravelling in May, the group (minus Brian) were delighting British audiences on an eight-date, two-shows-a-night tour.

Smiley Smile included several whimsical and sometimes downright peculiar material, such as ‘Vegetables’ and ‘She’s Goin’ Bald,’ but it was also home to Carl Wilson’s lovely vocal interpretation of a Parks lyric and his brother’s melody on ‘Wonderful.’ American audiences never fully embraced the album, which peaked there at No. 41; in the UK, it didn’t enter the chart until November, but spent four weeks in the top ten and peaked at No. 9. It was a positive end to a difficult year.

All three of the releases document the group’s pivotal post-Pet Sounds period – including sessions for Smiley Smile and Wild Honey, the two 1967 albums they recorded after shelving the famously ambitious SMiLE LP. 1967 – Sunshine Tomorrow 2: The Studio Sessions includes 29 studio session recordings, and Live Sunshine – 1967 features 109 live recordings, most of which are previously unreleased.

Highlights from the Studio Sessions set include an a cappella version of “Heroes and Villains,” the previously unreleased “Tune L” and outtake “Good News.” The live set includes recordings from Hawaii, Detroit, Washington D.C.; White Plains, New York; Pittsburgh and Boston.

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The Beach Boys oversaw the creative process for all three collections, which Mark Linett and Alan Boyd co-produced. 1967 – Sunshine Tomorrow included Linett and Boyd’s first-ever stereo mix of Wild Honey; the previously unreleased “live” album Lei’d in Hawaii, studio recordings from the Wild Honey and Smiley Smile sessions and concert recordings spanning 1967 to 1970.

On August 25th and 26th, 1967, The Beach Boys (absent Bruce Johnston, but with Brian Wilson on organ for his first concert appearances with the band in more than two years) recorded two concerts and rehearsals in Honolulu for a prospective live album to be titled Lei’d In Hawaii, applying a new Smiley Smile-inspired aesthetic to the performances. Just over two weeks later, the band (with both Brian and Bruce participating) began re-recording the live set in-studio at Brian’s house and at Wally Heider Recording in Hollywood, after the Honolulu concert tapes were deemed unusable. Although completed and mixed, the final planned audio element of a canned concert audience was not added and the Lei’d In Hawaii project was cancelled. Those live, in-studio performances morphed into sessions for the Wild Honey album, primarily comprised of original Brian Wilson/Mike Love compositions.

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Two days after wrapping the Wild Honey sessions on November 15th, 1967, Mike Love, Carl and Dennis Wilson, Al Jardine, and Bruce Johnston returned to the road for The Beach Boys’ Thanksgiving Tour, premiering several songs from the forthcoming album at their concerts.

Tyler Broderick of Diners

The title of the lead single off Diners’ new album three, called “Fifteen On A Skateboard,” telegraphs what the song is about, at least on the surface. the song was about the “light-hearted joy of bombing a hill.” The thing is, had the writer listened a little more carefully, he might have picked up on a somewhat deeper meaning in the lyric, “heard another song / so familiar I was long gone.”

See, the song isn’t just about being 15 on a skateboard, though it functions nicely as that as well. It’s about an experience Broderick had at a Stephen Steinbrink concert about a year ago listening to the singer perform his song, “Huachuca City.” It was a song Broderick listened to over and over as a teenager, and hearing it for the first time in years catapulted him back into the tracts of memory and the particular feeling of being 15 and skating. So, broadly, the song isn’t about being young, but about how songs can trigger memories and how ingrained music can be with different times of our lives.

“I’m totally straight-edge, and it felt like I was tripping out, in a way,” Broderick says of the concert experience. “So I wrote a song about it.”

It’s a moment of lyrical prestidigitation that makes three such a rewarding listen. The entire album is nostalgic and melancholy, filled with instrumentation and sounds that recall the sensibilities of Brian Wilson and Harry Nilsson. Diners is a band that performs with up to five or six people at times, but the name is just the name for Broderick’s solo project. Three, recorded by Jalipaz Nelson at Audioconfusion Studios, is Diners’ second full-length album, the third if you count the seven-song EP Throw Me A Tenas a full record, which Broderick basically does. (“It flows like an album,” he says.)

Broderick is the type of songwriter who writes about his personal experiences, but not directly. Instead, he’ll write around them, aiming for the margins of the page instead of the lines. His songs — and he is a prolific songwriter, one of those musicians compelled to compose like the rest of us are to eat — function as a journal for him.

The song begins with some audio of skate wheels on pavement, and as the chorus hits, brimming with warm, hazy nostalgia, singer Tyler Broderick reminisces about his younger days. “I was 15 on a skateboard / skating through the neighborhood.”

The sentiments and musical ideas expressed in this album are beyond beautiful. This album was recorded and mixed by jalipaz at audioconfusion and mastered by Skip Rimza. Tracks 1, 6, 8, and 11 were recorded on my laptop at Funny World. All songs written and produced by Tyler Broderick.

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Tyler Broderick – lead vocals, electric guitar, 12 string acoustic guitar, nylon string guitar, slide guitar, bass guitar, keyboards, piano, midi instruments, drums, omnichord, slide whistle, clave, sampling, skateboarding, sleigh bells
Alex Benson – vocals
Jill Frensky – vocals, omnichord
jalipaz – laughing, sampling
Tristan Jemsek – drums
Aaron Ponzo – vocals, wind noises
Seth Ponzo – vocals
Talisha Royer – vocals
Cesar Ruiz – bass guitar
Mike Sherk – electric guitar, keyboard, whistling
Stephen Steinbrink – vocals
Chaz Tyler – vocals
Bob Vielma – trombone

Smells like 30 new minutes of new music via seven new electric hues, shocks of light that flagrantly provoke the dark, a posy’s clutch of purple, fuchsia, green and snowy white that curl against the stench of plague. With “Perfume”, Wand presents olfactory events that recall futures and pasts.
If the emblem of Wand‘s Plum was the stark blue cloud – a condensation, a linking between longing molecules, data hungering for more data, a flotilla of vapor between eye and sky – then Wand‘s new EP reeks of something more forceful, more seductive, more intoxicating, more insidious: this is “Perfume.”
Here are seven electric hues, shocks of light that flagrantly provoke the dark, a posy’s clutch of purple, fuchsia, green and snowy white that curl against a stench of plague. Recorded between tours and fire seasons in Grass Valley, CA by Tim GreenPerfume‘s potent, expansive tunes were mixed in Woodstock, NY by Daniel James Goodwin. The band features Sofia Arreguin, Evan Burrows,Robbie Cody, Cory Hanson and Lee Landey.
releases May 25th, 2018

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“This record is ultimately about women and the ways in which we love men. It is the byproduct of me healing my need for male validation, or rather not letting male validation control my choices. The one thing I keep taking away from life through all the shuffle is that there is always both. Intense happiness and intense sadness mingle. The longer I’m alive, the more I can’t feel one without the other. It is the crushing beauty of existing.” — Anna McClellan

The road to Anna McClellan’s Yes and No was not just a metaphorical one. Born out of a long solo road trip McClellan took in 2015, the songs map her emotions of the two year period in which they were written like a highway is laid out before its driver. With decent savings, she set off due west, keyboard laid across the backseat, with little plan other than a call ahead to some friends and the idea that playing shows along the way would be cool. Though the trip lasted only four months, McClellan continued bouncing around from New York to Omaha and back, until finally settling in NYC in January of 2017. It is fitting that these songs were conceived in a period of restlessness.

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McClellan’s singular voice mixes earnest intensity with nonchalant melancholy that puts the listener in a distant place, far away from other humans, as most of the subject matter deals with loneliness and internal emotional navigation. Often though, the songs stray outward and upward, pondering the confused nature of people, elaborating on the one thing we all cling to: the knowledge that no one is excluded from feeling weird sometimes.

Yes and No is out February 23rd, 2018 via Father/Daughter Records.