Posts Tagged ‘Don Giovanni Records’

I am so happy to (finally) announce that my new album, “The Big Freeze” is out on March 29th! You can hear the first single “Living Room NY” . Laura Stevenson’s music has always dealt in crushing existential dread, be it self-deprecation or heartache. This is an artist who once opened a 2015 song called “Jellyfish” with “I’m fucking hideous and spiteful / When I’m left to my devices.” Even the press release for her new album opens with: “If gravity is strong enough, at the end of time our universe will collapse, pulling all of existence back down to infinitesimal size, like before the Big Bang. But if expansion outpaces gravity, eventually the universe will be cold and empty – all light, heat, and connection will be gone.” That phenomenon of a too cold, uninhabitable universe is called The Big Freeze, which is also the title of Stevenson’s upcoming fifth LP that’s out 29 March.

The New York songwriter is back with her fifth album, ‘The Big Freeze,’ out 29th March.

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Sad Bad is the second full-length by Izzy True. It’s a record about death and getting dumped at the end of the world. The songs were mostly written in Chicago in an apartment on the 11th floor of a tall building that would eventually turn out to have bedbugs and to which Izzy True can no longer return because it is no longer rented by people they love. That music was then carried back to upstate New York where it was subjected to TOTAL INSTRUMENTATION courtesy of the True’s dear friends and collaborators, Angela Devivo and Kyra Skye. The is available now digitally and also as a pack of stickers (designed by True) with a complimentary download code. Bless this mess.

Isabel Reidy began her career in The Realbads, a folk noise punk band with her brother Silas Reidy on guitar, percussionist Chris Polis, and bassist Mike Amadeo. Their full­ length album Here Comes The Realbads was released on Sweet Baby God Records in 2014. On her recent solo project, Izzy True, Reidy pursues a wistful and empowering punch of melodic pop rock.

The humor and charm of Izzy True is reflected in the animated music video for “Swole,” the debut track from her new EP, Troll. “Swole,” short for “swollen,” is gym slang for someone who has developed a larger physique from weightlifting. Reidy deadpans about her workout routine, getting huge, and how it gets her dates.

Reidy has also illustrated and published numerous comics, including “Powder Shiver”, which was released at the Chicago Alternative Comics Expo, and on “Swole”, she accompanies her inventive songwriting with animations of eccentric characters: a crocodile in gym shorts, a jubilant man lifting weights and a bizarre creature making a protein shake.

Riedy elaborates on the process of combing songwriting with illustrating:

“It all kind of feeds into itself. I write songs about my characters and I also sometimes try to write music that sounds how my images look. The music, the dudes, they all exist in the same universe, it’s just different ways of seeing that place. As for the content­­ Those are just some of my guys, new and old, and they are working out. I’ve been trying to work out, so that’s why they’re doing it. I want them to be strong. It would be cool to be strong”.

Troll is on Don Giovanni Records.

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Over the span of their first five albums, the Roadside Graves were quintessential, New Jersey roots-rock storytellers, with songs full of empathetic third-person narratives. On their fifth album, and first for the esteemed Don Giovanni label, they are ready to tell their own. At its best, Acne/Ears unassumingly places itself within reach of New Jersey’s A-list of confessional indie rockers.

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It’s as unflattering as you’d expect from a song called “Acne/Ears”, two facial features that seem to exist for the sole purpose of causing adolescent embarrassment. “Some boys are filled with piss and vinegar/ Some boys are filled with just pus and blood,” John Gleason sings, recalling the days when his breakouts were so profuse, he didn’t even bother going to school. It’s similar to Strand of Oaks’ breakthrough single “Goshen ’97”, in which a sullen teen finds relief by singing terribly in the mirror even when he could hardly bear to look at himself.

John Gleason’s creaking vocals about a lonesome kid holed up in his bedroom. There is a larger scope here, as if that kid finds a suburbia full of other holed-up kids, but it’s when they get together, when they are just “boys in basements making noise” that the song erupts into rollicking, full-band joy. We see much of the louder joy and frustration of this record rise out of solitary quiet. On string-laden “Endangered”, Gleason calls for help because he’s in danger “just like the fish in the sea.” On Acne/Ears, trouble isn’t really a change in the program but more like the same come down. Sometimes, on the heartbreaking loss of “The Whole Night”, it’s too much to bear. Other times, on “Gospel Radio” for instance, it’s the music that makes it all bearable, that can turn pain and closed bedroom doors into wide open spaces of sound, into release. Like the suburbs these songs sound born from, Acne/Ears sprawls outward, in a few small moments almost too far, but in the end the record keeps its shape while offering surprising turns throughout. For Roadside Graves, it’s not about escaping the pain, it’s about making something bigger than it.

SadBad was written in Chicago then carried back to upstate NY where it was subjected to TOTAL INSTRUMENTATION courtesy of Angela Devivo and Kyra Skye. SadBad was then further illuminated via guests Sheer Mag’s Kyle Seely & multi-instrumentalist Curt Oren.

SadBad! Finally someone has created a word to describe how so many of us are feeling on a day to day basis. Sometimes a bit sad, sometimes a bit bad, sometimes a combination of the two. Izzy True named their sophomore album SadBad, a record that takes the sound of their debut and expands into new territory. Due out on August 3rd via Don Giovanni Records, the album takes True’s earnest lyricism and adds some twang, confessional sparseness, bursts of jazzy jubilance, and emotional beauty that’s both optimistic and heartbreaking. Themed with death, break-ups, and the end of the world, you might not believe there’s much optimism to be found, but True works hard to find that comfort in the darkness. There’s a lot of moods and dynamic songwriting throughout SadBad, a terrific growth of all that was already great about Izzy True’s music.

The first single and title track, “SadBad” captures an Americana spirit to True’s usual heartbreaking pop. It’s a passionate and soulful track, built on a slow and dusty progression that just rolled in with the breeze. True’s voice is soft but powerful, quietly proclaiming “you can’t stay” before the repetition of  “it’s the wrong time”. The song’s guitar twin melodies intertwine with a jangle and harmonic warmth, the perfect compliment to the relaxed rhythm and True’s gorgeous Angel Olsen reminiscent voice. Joined together by Angela DevivoKyra Skye with guest appearances from Sheer Mag’s Kyle Seely and Curt Oren, Izzy True and company have made a record that only gets better with every listen.

Releases August 8th, 2018

Alice Bag’s Blueprint album is a lesson in archetypes. In the 1970s, the Chicana L.A. punk pioneer of The Bags proclaimed herself a “Violence Girl”: a woman who, like certain chrome alloys, becomes only more unbreakable when tempered with fire. On Blueprint, Bag paints complex portraits of nameless (brown by default) individuals with characteristic pith and violence-girl riffs. On “Invisible,” a man who drinks too much holds himself together for his daughter and craves invisibility, a state many immigrants inhabit to survive, only to remain invisible to the American public eye. On “The Sparkling Path,” Bag alludes to escape by suicide, urging a message of survival beyond the kind of Maslow-diagnosed magical thinking for the oppressed who seek fulfillment beyond a lack of food, water and, most pressing of all, shelter. And on “77,” she enlists the help of Kathleen Hanna (Bikini Kill) and Alison Wolfe (Bratmobile) to inhabit the working women of 9 to 5 and tie up their male boss.

In other songs, Bag is herself again, defending her blue hair against chismosas on “Se Cree Joven” or delivering the starkest gut punch against self-loathing in “Etched Deep”: “All that rubbing at the pages / Won’t make them white,” she says to us and to our history. There’s no performative Twitter-shock at the plight of brown people on this album. There’s only the solemn self-vindication of a woman too long kept in the dark by ostensibly radical punk. “White justice,” after all, “just isn’t just.” 

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Righteous, angry, punky, inspiring songs that evidence both vitality and deep wisdom & experience. Protest music in the best possible sense.

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Formed in New Brunswick, NJ in 2005, Screaming Females are Marissa Paternoster (guitar, vox), Mike Abbate (bass), and Jarrett Dougherty (drums). Over six albums and more than a decade of music making, the band has remained deeply individual and steadfastly DIY. They have also grown into one of the most dynamic and devastating touring bands going today.

Marissa Paternoster’s voice is the relentless force and central instrument that drives Screaming Females’ All At Once. Her howling vibrato doesn’t necessarily outshine the fired-up shredding or evocative lyricism. Rather, it makes those elements feel that much grander. The expression “I’ll make you sorry” never sounded as sly and, frankly, believable as it does coming out of Paternoster’s mouth. A sense of restless intensity translates stylistically, too. All At Once is a feverish rock n’ roll album, pieced together with power-pop grooves, punk progressions, indie-rock melodies, and even a hint of ska. But as ever, Paternoster is the star. When she sings, “The sun destroys me,” on “Agnes Martin,” it doesn’t sound hyperbolic; it sounds as if she’s on the verge of melting.

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Out February 23rd, All At Once, is the trio’s most expansive and imaginative work to date — a double LP that swings between surreal miniatures and and solo-heavy sprawl. Concision takes a backseat to experimentation, with arrangements meant to evoke the energy and spontaneity of their live shows. It’s music built across a timeline that’s longer than our internet-enhanced moment typically tolerates and a testament to the band’s dedication and perseverance.

Ex-Vöid’s “Boyfriend” is a fun punk song about a bad relationship

Ex-Vöid is the new band from Alanna McArdle and Owen Williams, former members of the now defunct pop-punk group Joanna Gruesome. Like their former band, McArdle and Williams have continued to mix sugary sweet harmonies with furious blasts of noise in their new project. Joanna Gruesome were a band who always seemed destined to burn bright and burn fast. Their take on, “hyper-aggressive” pop music, resulted in two brilliant, and very short, albums and then singer Alanna McArdle parted company with the band, the band carried on, perhaps still are carrying on, yet it never quite felt the same. The partnership at the core of the band’s success was between Alanna and Owen Williams, and after, allegedly, “a chance meeting at a contemporary dance class”, the two began discussing working together again. The result is Ex-Vöid, and their debut three-track single , check out lead track, Boyfriend.

Musically, there seems to be both continuity and progression from the Joanna Gruesome sound. The short sharp bursts of brutality remain, although they’re now accompanied by a more distinctly poppy sound than ever before, with nods to the likes of Veronica Falls or The Spook School, although the cited influences are, “Black Sabbath’s “Into The Void”,  D.C.-area hardcore legends “VOID,” and Raincoats number “The Void”.” As playful, noisy, hook-laden and exciting as ever, Ex-Vöid are a welcome return for this perfect coming together of musical minds.

A three-track single, Boyfriend is out now via Don Giovanni Records

Much of Screaming Females’ appeal, and even their greatness, is their esotericism—in particular the impenetrable world of Marissa Paternoster’s hermetic guitar, lyrical poetry and visual art. The New Jersey trio’s seventh studio album, All at Once, veers from that world sharply, collecting some of the most conventionally anthemic and melodic rock songs of their career. The ironic twist is that for this particular group, who made their name on angular, punk-infused freakouts with Paternoster’s fog-horn voice out front, this counts as their experiment, one for which their previous albums, spent developing their own inimitable sound, has well prepared them.

From the album All At Once on Don Giovanni Records.

L7 – ” I Came To Bitch “

Posted: February 11, 2018 in MUSIC
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Legendary pioneers of American grunge punk, L7 have released their electrifying onslaught of a new single “I Came Back To Bitch” on Don Giovanni Records today. The track is the result of Donita Sparks and Suzi Gardner’s first writing collaboration in 18 years. A raucous, bombastic party rock anthem for the sinking Titanic, it is a sardonic yet joyous middle finger of a track that sits somewhere between “Anarchy in the U.K.” and “Springtime for Hitler”.

“We knew we wanted to make some new L7 music, but also didn’t want the pressure or expectation of that First Track weightiness so we went for pure fun and absurdity.” explains Sparks.

Formed in 2016 by guitarist/singer Betsy Wright (Ex Hex) and drummer Betsy Wright (Flesh Wounds, Speed Stick), the duo specialize in prescription-strength shred and churn meant to stiffen the upper lip and crack the third-eye. Slick and sick visions channeled from the midnight mirror world. Acid-soaked hard-rock to thrill the living and raise dead. first pressing of Bat Fangs is already running low in our web-store!! 🦇 All the more reason to go find it IRL

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The band began just as Wright’s other gig, Ex Hex, settled down for an extended breather. After two years touring as a bassist, she was eager to reconnect with the electric guitar and to push her pop-songwriting skills toward a slightly darker zone. She sent a few demos to King, who signed on to play drums. Together, they pushed the music into a deeper and more otherworldly place.