Posts Tagged ‘Father Daughter Records’


Shamir called this his “most commercial-sounding” album since his 2015 debut, but whatever mainstream leanings it might have did not compromise how vibrant or creative he could get. The 25-year-old singer-songwriter performs synth-pop, Gun Club country punk, and shoegaze all with the same confidence and charisma, in a voice that can transform any anxious misgivings into reassurance. “I prefer to be alone, but you can join if you like/I’ll stay strong for you ’cause I don’t want to be seen when I cry,” he sings on “Running,” speaking as much to his audience as he is to himself.

Shamir embraces a balance between composure and restless dissatisfaction throughout his self-titled album. He vividly captures a Gen Z-specific angst and stewing inner conflict: “Smoke all the weed so I can cover my anxiety,” he confesses on “Paranoia.” Indeed, some of the best moments on the album explore the contradictions of the self and the paradoxical relationship between thoughts and behaviors. Stylistically, Shamir is a hodgepodge of the different approaches the artist has employed in the past, synthesized into a mostly satisfying pop-rock sound. Still, Shamir’s penchant for melody and introspection have proved adaptable to any genre that he fancies at any given moment, characterizing even his most lo-fi work with a pleading humanity. No matter how roomy or tight the mix is, or whether he’s caught in a moment of self-doubt or soaring confidence, he brings a sweet buoyancy to his music that carries Shamir, while also peeking into the torment of being inside his own head. 

There’s a lot to love leading up to next week’s eponymous effort from Shamir, but nothing quite brings it back home from the indie-pop polymath than when he winks at Nashville in the way he does whenever he puts a butterfly spin on Stetsons and pedal steel. “Other Side” is probably the most fully realized version of Shamir’s country crossover dalliances since kicking up some dust in 2018′s “Room” single. 

Here, he resolves the brooding cow-punk darkness inspired by a true unsolved mystery with an idealized Hallmark Channel movie ending in the listen’s country-pop plucked banjo tumbling throughout its chorus. Where as the love tales heard churning out from the big machine are often sanitized in predictable visions created by a white-washed Americana, Shamir taps into something a little more real in his take on a happy ending: faith in spite of the unknown.

Shamir’s “Shamir” will be self-released October 2nd.

Indie singer/songwriter Anjimile has announced his debut album “Giver Taker”, out on September. 18th via Father/Daughter Records. The quiet, sprawling lead single “Maker” is now. Self-discovery shines through on this soft, acoustic ballad—laden with exceptional harmonies and synths. On Giver Taker, the gorgeous debut album by Anjimile, death and life are always entwined, wrapping around each other in a dance of reverence, reciprocity, and, ultimately, rebirth.

Giver Taker is confident, intentional and introspective. Anjimile Chithambo (they/them, he/him) wrote much of the album while in treatment for drug and alcohol abuse, as well as while in the process of living more fully as a nonbinary trans person. Loss hovers over the album, whose songs grieve for lost friends (“Giver Taker”) and family members (“1978”) along with lost selves (“Maker,” “Baby No More,” “In Your Eyes.”) But here, grief yields an opening: a chance for new growth. “A lot of the album was written when I was literally in the process of improving my mental health, so there’s a lot of hopefulness and wonder at the fact that I was able to survive,” says Chithambo. “Not only survive but restart my life and work towards becoming the person I was meant to be.”

Each song on the album is its own micro-journey, adding up to a transformative epic cycle created in collaboration with bandmate Justine Bowe of Photocomfort and New-York based artist/producer Gabe Goodman. “1978” and “Maker” both begin as Sufjan Stevens-esque pastoral ballads with Chithambo’s mesmerizing voice foregrounded against minimal instrumentation and swell into the realm of the majestic through the addition of warm, steady instrumentation (informed by the mix of 80’s pop and African music

Chithambo’s Malawi-born parents played around the house) and harmonies by Bowe. “In Your Eyes” starts out hushed and builds to a crescendo via a mighty chorus inspired by none other than The Lion King. The allusion is fitting: each song encapsulates a heroic voyage, walked alone until accompanied by kindred souls. The choirs present throughout are equally deliberate. Chithambo grew up as a choir boy himself, and several songs (notably “Maker”) grasp not only towards reconciliation between his trans identity and his parents’ strong religious beliefs, but towards reclaiming his trans identity as an essential part of his own spirituality. (“[Less] Judeo-Christian, more ‘Colors of the Wind.’”) There is a boldness to this borrowing and shaping, a resoluteness that results from passing through hardship and emerging brighter, steadier. As a closing refrain on “To Meet You There” might sum it up: “Catalyst light of mine / now is your time.”


Giver Taker was recorded in Brooklyn, Boston, and New Hampshire by Goodman, thanks in part to the Live Arts Boston Grant by the Boston Foundation.
Released September 18th, 2020

All songs written by Anjimile Chithambo
Produced by Gabe Goodman & Justine Bowe

Anjimile From the album, Giver Taker, out September 18th, 2020. Father/Daughter Records

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San Francisco’s Pllush have mastered the art of hazy harmony, as evidenced by their forthcoming debut record, Stranger to the Pain. The band (  were formerly known as Plush) have released three singles: including the sprawling sentimental rock ballad “Shannon” the wailing and screeching track “Ortega,” and “Big Train” which continues in the same dreamy shoegaze vein— with bolder guitars and even bigger drama


Stranger to the Pain, will be the San Francisco foursome’s debut full-length, It surges with this kind of heaving, inspired song craft, its downcast indie-pop core awash in gauzy static. Pllush, for years a standout among the Bay Area indie set, has recently drawn praise from national outlets such as The Fader and NPR ahead of the release of the album,

Pllush formed in 2014 after Helm mentioned wanting to start a band to Eva Treadway and Dylan Lockey, With the addition of Sinclair Riley, who also plays with Treadway in The She’s, then going by Plush they released a three-song demo, Pale,

by the end of the year. Pllush appeared on those few songs with its sauntering gait and teardrop melodies already intact, a sound that’s only grown more booming and confident. The demo also includes that very first composition, which is titled like a statement of intent: “Soft in the Dark.” Helm, made a series of key music connections: her short-lived garage-pop group The Sweethearts played with Duterte’s pre-Jay Som group Summer Peaks, who were then still high schoolers.  A couple years later, Pllush performed one of its first club gigs in San Francisco, opening for Jay Som.

‘Stranger to the Pain’ out June 8th, 2018. Released by: Father/Daughter Records

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When first arriving on the Bay Area music scene in late 2014, Pllush made a dent with a powerful set of tracks that fit nicely within the rising wave of shoegaze/dream pop revival bands at the time. However, due to an undeniable songwriting prowess that extends far beyond convoluted pedal-board setups or louder amps, Pllush had elevated themselves into a league of sonic mastery, not dissimilar from obvious touchstone influences (i.e. Mazzy Star, Slowdive, Portishead). The quartet’s second batch of songs, Please, furthered their growing following and replaced their initial gravitation towards maxed-out guitars and splashed cymbals with an eerie, groove-filled bent, channeling Drop Nineteens at their most tender, and imbuing Grass Widow-esque layers of harmony into songs already dense with melody.

As the world around the band has changed in the interim between releases, they have followed suit- they added an “L” to the name, and undergone the whirlwinds of personal flux that naturally occur in such extended periods of time. But rest assured: the only dynamic of the band that has changed is by each member doubling down into the personal qualities that made this group so special in the first place. Which brings us to the year 2018, and the release of Pllush’s debut LP, Stranger to the Pain. 

Whereas on earlier releases, singer/guitarist Karli Helm merely teased her abilities as a singer, here she fully embraces her natural pop-tinged mastery of the human voice, on standouts like “Restart”, pushing the boundaries of the Rock and Roll genre while layering dizzying harmonies over an instrumental track that Built to Spill would kick themselves for not thinking of first. Meanwhile, Eva Treadway provides a perfect foil with an effortlessly cool approach to laying her sometimes light-hearted (“Ortega”) and frequently heartbreaking (“Fallout”) lyrics over her more driving style of guitar playing, as indebted to Slanted and Enchanted era Pavement as it is to the best work of The Donnas, seamlessly working clanging guitar abrasion into pop gems. Dylan Lockey and Sinclair Riley fill out the rhythm section on drums and bass, respectively, with Lockey’s snap-tight precision guiding the mood and tempo of the record (i.e. highlights such as “3:45”), and Riley’s complex bass work constructing a rich and deeply melodic backbone for Helm and Treadway to build upon. Stranger to the Pain is the kind of record that reintroduces a band whose previous catalog stands assuredly on its own as a new and fresh face- and like a conversation with an old friend, once it’s over, you will want to restart.


San Francisco’s Pllush will release their debut album, Stranger to the Pain, on June 8th, 2018. Listen to the track “Ortega” which the band calls “an honest reflection on growing up.“Stranger to the Pain” will be available on Oxblood + Bone Half & Half (limited to 300) and Bone (limited to 300) vinyl. Both variants come with a full color, double-sided insert, download card, and exclusive postcard illustrated by artist, Faye Orlove.

Stranger to the Pain out June 8th, 2018.

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Shamir has released a surprise 8-track album called Resolution. A heavy, guitar-leaning effort, the album follows Shamir’s recent “double A-side” single “Room,” which is now also available on his Bandcamp. Last year, Shamir released his album Revelations on Father Daughter Records after a dispute with XL Records.

He also shared his new previously-announced 7″ EP called Room. The latter features the title track on the A-side and “Caballero” on the B-side. Listen to both projects below. Resolution marks the singer’s third album in two years, following last November’s Revelations and last April’s Hope (which was also surprise released). Shamir and Mac DeMarco are set to release a joint 7″ vinyl for Record Store Day 2018(April 21st), featuring their respective covers of Beat Happening songs.  Its pointedly political and personal. The opener, “I Can’t Breathe,” paints a chilling picture of police brutality and the lack of consequences perpetrators often face with heavy allusion to Eric Garner and Tamir Rice. “Panic” and “Dead Inside” deals frankly with anxiety and depression, and Shamir made sure mental health has been at the forefront of conversations about his new music.


Since self-releasing Hope on SoundCloud in April 2017, Shamir has improved as a songwriter across each project, tackling heavy topics both personal and social with deftness and grace. The guitar tone and production on Resolution are gritty and textural, a perfect juxtaposition for his feathery falsetto, making it a fascinating record both thematically and sonically.


Shamir has returned from whence he came, with two new songs that celebrate this one of a kind artist’s love of country music. Out now on Father/Daughter Records both as a limited 7” vinyl and digital release, Room features the first two new tracks from Shamir since the DIY darling’s critically acclaimed November 2017 album Revelations. The two songs onRoom are produced by Big Taste, the Los Angeles based songwriter, producer, and vocalist who has worked with Justin Bieber, Dua Lipa, and Adam Lambert.

The A-side is the twang tinged title track, which has the accidental popstar self-harmonizing in an upbeat ode to the stillness & confusion depression can bring. It’ll move both your heart and your hips wildly in unison. The B-side is the galloping “Caballero” with a guitar riff that runs like a wild stallion off into the sunset. Shamir kicks-up desert dust with relatable lyrics like “Cuz I don’t wanna be in like with you because it turns to love and all lovers do is fall out of love, cuz everything ends and you’re stuck having to begin again.”

Released March 9th, 2018  ShamirPhiladelphia, Pennsylvania.

Alex Luciano and Noah Bowman describe the music in their band Diet Cig as “slop pop.” The self-coined genre nicely sums up the duo’s work, from their short-and-sweet songwriting to the fuzzy guitar jangles. But the best way to get acquainted with the two is through the video for “Dinner Date” in which Luciano plays an arm-wrestling champion. Her opponents are at least a head taller than her, but she knocks them out with ease. Likewise, her tendency to crank the music from a whisper suddenly to a gutsy scream can catch any casual listener who expected a soft, shy type by surprise.

“Dinner Date” is part of the duo’s single release 7”, Sleep Talk/Dinner Date, released in last year. Before the small single, though, Diet Cig first made their name through Over Easy. Luciano wrote the songs in the five-track EP in her bedroom, and the shut-in angst can be felt in the highlight track “Harvard”. “How’s your new Ivy League girlfriend,” she mockingly asks her ex-partner in the scrappy diss track. It ends with her singing “you know I was better” but not before dismissing her enemy’s college sweater.

“Dinner Date” also shares a similar just-over-it attitude. Over a simple, buzzing guitar riff, Luciano rolls her eyes at her mom, dad and a whole gang of friends who she no longer talks to. “And maybe if you took me out to dinner, I would like anything to last longer than a year,” she signs off the single, with an air of exhaustion.

Diet Cig’s total output is a bit slim, with seven songs spread over an EP and a 7” single, both out via Father/Daughter Records. But the duo doesn’t need much more when the songs already have a defined voice in Luciano’s raw songwriting. Their music already won over the fans and critics in the US.


When we first introduced Diet Cig at the beginning, they had barely played any shows and were just gearing up to release their debut. As 2015 closes, they’re poised on the edge of greatness. That’s due in large part to their boundless live energy, but also the strength of the jump-around-your-room joyous Over Easy, which only seems to get better with age. It’s a collection of fuck-you songs of incomparable measure, ones that never take themselves too seriously but still cut close to the heart. Sharp lyricism and an ambling forward momentum are sure to leave you, well,

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Raw guitar riffs, pounding drums, distortion laden hooks, and an occasionally goofy lyrical sentiment truly encapsulate Pardoner’s debut LP, “Uncontrollable Salvation” September 8th marks the release date of the San Francisco group’s record, and we couldn’t be more excited. Experimenting with a 90s alt-rock sound and a modern punk ethos, Max, River, Will, and Trey have carefully studied the style and song structure of both their peers and idols and have redefined the San Francisco punk sound.

Over the past 2+ years as a band, Pardoner has occupied themselves with recording  and releasing several EPs, playing countless Bay Area shows, and even by making a SXSW appearance. Now,  “Uncontrollable Salvation” takes you for a 45 minute ride through what PARDONER guitarist Trey Flanigan calls “loud guitar music”.
Here’s what some of the members of PARDONER have to say about their record:

“We had fun making this and we hope it makes you feel things.”  – Will Merveau, Pardoner (bass)
“We worked really hard on this and if nobody listened to it I would be honestly pretty bummed.”  – Max Freeland, Pardoner (guitar / vocals)
“If you listen to this record once a day you will turn into a big muscular freak, I guarantee it.”  – Trey Flanigan, Pardoner (guitar)
“The kinda record that will make you want to farm all day and all night long.”  – River van den Berghe, Pardoner (drums)

“Uncontrollable Salvation” will be released on CD and pressed on normal black vinyl, and Blood Red vinyl the latter being a limited edition variant only available from Father/Daughter Records))


“Uncontrollable Salvation” out September 8th, 2017

Vagabon has had quite the interesting few months since her debut record Infinite Worlds was released back in February. She’s played countless shows and festivals around The States and beyond, and a clip of “Cold Apartment” was even aired on KCET recentlt. Lætitia Tamko is showing no signs of slowing with her release of her newest visual companion for the song “Fear & Force“. Shot on 35mm film, the video gives a short look into a relationship between two people and how easily it can fall apart. Hit the link above to have a gander at what may be the best music video you’ve ever seen. the video meanders through a day two people spend together. They take a drive. They take a walk in the woods and no one else is in sight. For a fleeting moment, they are the only two who exist. Then they are hurled back to reality and reminded how capable they are of hurting each other. The final shots of the film are perhaps the most stunning. They occupy themselves with another, equally delicate and terrifying relationship: the one you have with yourself.

Lætitia Tamko, who performs as Vagabon, reminds me that intimacy, closeness, is perhaps the most expansive thing there is. “Fear and Force” a single from Tamko’s debut album “Infinite Worlds” , is a heart-wrenching testament to that truth.

Hope you fallen in love with the video and Infinite Worlds record already? Wonderful, because Vagabon is going on tour this autumn with other Father/Daughter Records superstar, NNAMDI OGBONNAYA. lets hope they make it to the UK.

“Fear & Force” by Vagabon off her album “Infinite Worlds” available now on Father/Daughter Records. Vagabon is Lætitia Tamko

Art School Jocks is a self described “existential basement pop” band from Atlanta, Georgia. Ali Bragg (drums, vox), Camille Lindsley (bass, vox), Deborah Hudson (guitar, vox) and Dianna Settles (guitar, vox) began playing together in late summer/early fall 2015. Song themes vary spanning from romantic love to sociopolitical concerns, to mental wellness. I heard some awesome tunes from this Atlanta band, and I have been long awaiting their first album!. heralded as “A fizzy, deadpan DIY take on power-pop”. The catchy hooks and heavy, yet, all too real subject matter, will have you slamming that repeat button.

With a purchase of the tape from our store, you get 5 rocking tracks that often touch on powerful sociopolitical ideas, and 2 tracks that will vastly improve your laundry skills! That’s a promise!, great listen but a terrible name for a band girls.


Vagabon finds various ways to flood the senses. It’ll either come in a harrowing lyric that sticks in the conscience, or it’ll arrive from a soft drone that gradually envelops.

“Infinite Worlds” released February 24th via Father Daughter Records.

Laetitia Tamko writes poetic indie rock that centers around her life. Under the moniker of Vagabon, she crafts insular tales that defy traditional indie structures and incorporate elements from across the spectrum of r&b, spoken word, traditional rock and bedroom pop.


Band Members
Laetitia Tamko – Vocals and Guitar
Elise Okusami – Drummer
Maggie Toth – Bassist