Posts Tagged ‘Dangerbird Records’

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“I’ve been trying to get ‘Heart Of An Animal’ on a Dears album for a very long time, but for whatever reason it just never fit,” says Dears frontman Murray Lightburn. “Now it kicks off and sets the overall tone of Lovers Rock. It was by far the most difficult song to sing for me, as it hits the very top of my range.” If you are a fan of the No Cities Left era of The Dears, this might be for you.

It’s no coincidence that Murray Lightburn and Natalia Yanchak’s eighth album as The Dears echoes the apocalyptic energy of their 2003 breakthrough No Cities Left, as the world post-9/11 was the last time everybody was this on-edge. While the duo couldn’t have possibly predicted the pandemic we’re undergoing while they were writing the record, there was a general, ambiguous sense of doom mounting over the past few years.

Then again, the driving, vaguely psychedelic rock heard on the group’s new single “Heart of an Animal” doesn’t quite feel intentional, but rather manifests as a subtle infiltration upon an alt-rock cut nostalgic for the mid-’00s. Now it kicks off and sets the overall tone of Lovers Rock. It was by far the most difficult song to sing for me as it hits the very very top of my range.”

“It’s a tender, psychedelic runaway train,” Yanchak adds, noting the trance-inducing chorus. “You should be left wondering where this album is going, and let me tell you…it just gets weirder from here.”

“Lovers Rock” is out May 15th via Dangerbird Records

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Connecticut-via-Los Angeles band Milly is the lo-fi slowcore project of Brendan Dyer, and they recently dropped their debut EP on cassette, “Our First Four Songs”, via Dangerbird Records. The EP is a collection of three singles plus a previously unreleased eponymous track, and it’s a slow-drip of steamy guitars, casual yet heartfelt vocals and ephemeral, abstract love songs. “Milly” and “Talking Secret” lean into warped guitar ferocity while “People Are Forever” and “Crazy Horse” embrace crawling tempos and dazed, cinematic lo-fi, their warm-hearted, syrupy rock songs make them a band to watch in 2020.

As the title suggests, this cassette EP contains Milly’s first four songs. The first two songs “Milly” and “People Are Forever” were originally self-released by Dyer in 2018 and the following two songs “Talking Secret” and “Crazy Horse” were originally released by Dangerbird as part of our Microdose single series.

“Talking Secret” is the A-side of Milly’s installment in Dangerbird Records‘ Microdose monthly music series.

Slothrust and Sons of an Illustrious Father have teamed up to cover each other’s songs, and they’ll be donating the proceeds of the project to the Trevor Project. Have a listen to Slothrust’s cover of “U.S. Gay” and the Sons’ cover of “Horseshoe Crab,” and read thoughts on the project from both bands,

I wrote “Horseshoe Crab” at a time when I was struggling with dissociative depressive episodes while living in Brooklyn. The song itself is a reflection of the duality that exists inside of all of us, and the maladaptive complexities that come with being human. In short, it’s an exploration of feeling disconnected from your true self.

This experience is one familiar to many gay people, especially those who struggle with mental health issues. I have spent a lot of time hiding my mind and my body from the world, and even from myself. For many of us, it takes a lot of work to be at ease in a world where we do not fulfill the expectations society has educated us to believe are desirable. It wasn’t easy to gain the confidence to do this internal work, but I am happy to say it has been worth it.

Part of that work, is noticing and surrounding yourself with the type of people who make you feel seen and who encourage you to be yourself. Sons of An Illustrious Father have embodied this love since the moment we met at our first show together in Boise. Each member is so unique and their show is no less individual. There is a raw creativity and earnestness about their show that evokes a timeless performance experience. The three of them are not afraid to be weird, loud, theatrical, or vulnerable and these qualities inspire me to take more risks in my own work.

While the Slothrust version of this song feels like it holds a lot of fire and frustration, the Sons version swims in cool and unfamiliar water. It is almost as if they are the seahorse and we are the horseshoe crab. One is soft and rarely seen, swimming freely in the ocean, leaving gender norms to surface dwellers. The other washes ashore on many coasts, its thick brown leathery shell hiding the surprisingly opaque blue blood within.

Knowing that the lyrics of this song were inspired by feelings of alienation and solitude, it’s a beautiful choice that Josh, Lilah, and Ezra all sing this song together as opposed to one of them taking the lead. As the songwriter in our band, it can feeling isolating and exposing at times to come in with songs like this one. Having three totally unique voices reinterpret it brings about the feeling of unity and sameness that I hoped to convey in the lyric “I don’t have anything in common with myself, except that I came from the sea like everyone else did.” It is as though three people are having parallel experiences at the same time, and it’s a humbling moment to have the song become a source of healing reflected back at me.

Leah Wellbaum, Slothrust


Listening to Slothrust’s cover of “U.S. Gay” makes me feel sick, the way that falling in love does that dull, heavy stomachache. I feel so overwhelmed with love and gratitude for Leah, Will, and Kyle for showing me what this song that I started could become. In writing “U.S. Gay” I attempted perhaps for the first time to write something genuinely pop-y.

The Pulse night club shooting filled me, like many others, with abject horror and grief; it felt to me that in order to make anything from that experience that might help myself and others process, it had to be somehow palatably packaged ,we needed some sort of spoon full of sugar to be able to even attempt to get it all down. For the most part, I think we succeeded in creating something that is fun to listen to despite its decidedly un-fun content. But as a band, we’ve always been fairly helpless vehicles in our expression, melding the message as best we can while largely flailing in surrender. This, I think, is part of our charm and I wouldn’t change it, but it means that our “pop” song is still a bit ragged and off-kilter. Leah, on the other hand, is a veritable pop fucking genius fronting the greatest rock band alive, so hearing the Slothrust version of “U.S. Gay” is like hearing the song in its ultimate form. I truly feel like our version was a first draft. This is the smooth, skillful rendering of my dreams. A spoon full of sugar dripped right in your ear, the even more devastating weight that Slothrust lends even more appealingly applied.

The song was never meant to be the proprietary property of any band — it was our offering to the community in a time of tragedy. For it to be sung by another queer person makes me feel like it’s being further absorbed into that broader community, where it was always meant to live. It’s made me realize that I yearn to hear the song sung by so many more people. But I’m fairly certain that no one will ever outdo the Slothrust version.

Lilah Larson, Sons of an Illustrious Father

You can buy the tracks digitally vinyl 7-inch will be released on August 9th.

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On their fourth LP, The PactSlothrust released what very may well be their best record. Led by human force of nature, vocalist and guitarist Leah Wellbaum, and an incomparable rhythm section of bassist Kyle Bann and drummer Will Gorin, Slothrust created their most diverse album to date.

Right from the first track, “Double Down”, anyone familiar with the band will notice something is different. It has some electronic drums and bass, and the additions of both take the song into another dimension. “Peach” has a sound reminiscent of the early Slothrust records. “Planetarium” is a frenetically paced track with Gorin and Bann proving once again why there is no more solid bassist-drummer duo in rock music. Everyone gets some time to shine, too. There are bass solos, drum solos, guitar solos, and even a nonsensical vocal solo that rules so hard.

After “Planetarium”, however, the album takes an abrupt change of direction with “Walk Away”. It is a flat out stunner of a track, and it’s heart wrenching. It’s the first of a few slower paced tracks that sound amazing, includng “The Haunting”“New Red Pants”“Some Kind of Cowgirl”, and “On My Mind”. Each of those songs are truly amazing. “On My Mind” has this layer of saxophone that takes it out of this world. “Some Kind of Cowgirl” has an ending that is breathtaking.


With The Pact, Slothrust has shattered classification once again. They’re more than trio of gritty jazz students who happen to like grunge. They’ve become way more than that. Lots of different styles of rock on display here but somehow it’s cohesive… A great album. From start to finish.

The Pact is out now on Dangerbird Records.

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Ever so pleased to inform you that we are dropping a new record on September 14th!!! It is called ‘The Pact’. It is the longest we have ever gotten to spend making a record and we are so excited to release it. Here is the first track we have to share with you . It is called “Peach”.

The LA-by-way-of-New York power trio is a juggernaut of cannonball riffs and lyrical intrigue. They’ve got a new album on the way and its lead single “Peach” features frontwoman Leah Wellbaum leading up to the big chorus with after-school mad libs like this: “Silly sandbox, stupid scarecrow; Jack-o-lantern, chupacabra; sick menorah, candelabra.”

“I’m a very playful person,” the vocalist-guitarist tells us this week. “Childhood really appeals to me, the way one’s inner child can look at the world with curiosity, as opposed to the hardness of adults.” Wellbaum challenged herself with stream-of-consciousness, automatic writing exercises in the making of “Peach,” all the while cranking up funhouse-mirror guitars toward an absolute wrecker of a chorus.

Elsewhere on The Pact  which istheir fourth LP since 2012 —  you’ll find bruising blues-rock, surrealistic balladry and clouds of spastic saxophone and keyboards floating among the lightning hooks. It’s a weird record, but it’s also very catchy, pop sensibility out in the open. Wellbaum points out the myriad Pixies and Nirvana comparisons the band has gotten in the past; for The Pact, Slothrust teamed with producer Billy Bush, who’s probably best known for his extensive studio work with Garbage, beginning with 1998’s Version 2.0. Comparisons to Shirley Manson and company are more apt for Slothrust 4.0, as well as PJ Harvey and Fiona Apple, whom Wellbaum names as particular convention-shaking inspirations. After all, Slothrust is following a 2017 EP in which it covered Marcy Playground, Black Sabbath, Louis Armstrong, Britney Spears, The Turtles, Al Green and Sam Cooke. No one said they had to start making sense.

Alongside bassist Kyle Bann and drummer Will Gorin, Guitarist Vocalist Wellbaum is on a hot streak.

Official lyric video for “Peach” from the Slothrust album THE PACT, out September 14th. Dangerbird Records.

In case you missed it, we recorded a collection of covers! These will be available on our EP, “Show Me How You Want It To Be”, released in November on Dangerbird Records. The EP will be available digitally on vinyl.

Slothrust impressed us last year with their album Everyone Else, and now the Brooklyn trio are following that up with an EP of covers entitled Show Me How You Want It To Be. The collection features songs by everyone from Britney Spears to Black Sabbath, and they’ve also shared their rendition of Marcy Playground’s nonsensical 1997 hit “Sex And Candy,” turning it into a hard-charging, fuzzed-out rocker complete with a blistering classic-rock guitar solo.

Show Me How You Want It To Be EP tracklist:

01 “Sex And Candy” (Marcy Playground Cover)
02 “Electric Funeral” (Black Sabbath Cover)
03 “What A Wonderful World” (Louis Armstrong Cover)
04 “…Baby One More Time” (Britney Spears Cover)
05 “Happy Together” (The Turtles Cover)
06 “Let’s Stay Together” (Al Green Cover)



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Barely into his teens, Matthew Doty began making music with childhood friend Jonny Pierce (of The Drums), resulting in a full-length album released by Columbia Records. At age twenty, he went on to co-found post-rock instrumental giants Saxon Shore with Josh Tillman (aka Father John Misty), releasing three EPs, and two albums produced by Dave Fridmann (MGMT, Tame ImpalaFlaming Lips.)

Originally a duo of Matthew Doty (guitar/bass/synth) and Phil Stancil (vocals/guitar/bass), Midnight Faces Heavenly Bodies  LP was the first to feature drummer Paul Doyle as a full-fledged collaborator and the thrilling expansion of a sound begun on 2013’s Fornication LP. For that album – Midnight Faces’ debut – Stancil brought vocals to Doty’s existing songs; 2014’s The Fire Is Gone saw a more thorough partnership emerge between the two musicians, and praise for the record flowed from everywhere. ‘Heavenly Bodies’, followed by a performance on Seattle’s KEXP

Midnight Faces released their new single “Devils Money” via Dangerbird’s MICRODOSE series on July 28th, 2017



The new single from Midnight Faces for Dangerbird’s MICRODOSE series.

In the midst of their North American tour, Slothrust have a debuted a brand new track entitled “Milking The Snake,” striking a unique balance between the slowed-down heaviness of classic Black Sabbath and jangly uptempo garage rock.

Slothrust’s Leah Wellbaum discusses the song’s origins, stating “This song came about one day when I smoked some weed and watched a vice mini doc about milking snakes. Snake milking is amazing and strange.”

Don’t miss Slothrust on tour soon.



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Every song that Aaron Sinclair writes has a certain underlying feeling, his music “tension-driven” with “tight, rough riffs and sharp post-punk lines.”

It’s surprising then, that in person, Sinclair is a quiet guy – reserved, humble, and even-keeled. Not one for self-promotion, he often shies away from putting himself in the spotlight, he “lets the music speak for itself.”

“Constant rejection, months on the road, lineup changes, various flirtations with some idea of ‘success’ – none of these things seem to affect his output as a songwriter,” says bassist Brendan Bond, describing the motivation behind his bandleader’s prolific creativity. “The guy is writing straight from the gut. He’s such a great storyteller that sometimes you don’t realize that he’s actually distilling something straight out of his own life into the music. I always trust that he’s got a vision that’s artistically valid and true to what and who he is.”

Once he takes the stage with his band, though, Sinclair holds nothing back, thrashing and slurring through a musical catalogue consisting of dozens (if not hundreds) of songs he’s written over his years in the DIY rock trenches, beginning in Boston as a teenager before moving to Austin several years ago. It’s that straightforward, working class style, along with a penchant for writing extremely smart pop hooks that has earned his band a loyal following around the country.

Now a first-time father, Sinclair’s life has changed a bit. Having quit his other musical projects, he’s spending less time in dive bars and more time at home. But his songwriting remains constant. “My songwriting process is late at night. I write when my wife and baby are asleep. They are beautiful aspects in my life that I treasure,” he says. “But when I write, it’s mostly about denial and failure.”

Those themes are prevalent through Get Out Of The City, a reference to Sinclair’s desire to “get out of the Austin music bubble.” Another theme to his music, though, is perseverance. “I write songs because I enjoy it, whether anyone hears them or not. I have kind of built my life around it.”

Now signed to Dangerbird Records (the label that launched artists like Sea Wolf, Silversun Pickups and Fitz and the Tantrums), and working with producer Danny Reisch (Shearwater, Okkervil River, White Denim), Sinclair finally had the support and focus to make the kind of record he has always wanted to with Get Out Of The City.



Slothrust premiere “Sex and Candy” on Stereogum

Slothrust impressed last year with their album “Everyone Else”, and now the Brooklyn trio are following that up with an EP of covers entitled Show Me How You Want It To Be. The collection features songs by everyone from Britney Spears to Black Sabbath, and today, they’ve shared their rendition of Marcy Playground’s nonsensical 1997 hit “Sex And Candy,” turning it into a hard-charging, fuzzed-out rocker complete with a blistering classic-rock guitar solo.


The song is the first of a six track EP, Show Me How You Want It To Be out on November 10th via Dangerbird Records.


01 “Sex And Candy” (Marcy Playground Cover)
02 “Electric Funeral” (Black Sabbath Cover)
03 “What A Wonderful World” (Louis Armstrong Cover)
04 “Hit Me Baby One More Time” (Britney Spears Cover)
05 “Happy Together” (The Turtles Cover)
06 “Let’s Stay Together” (Al Green Cover)