Posts Tagged ‘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

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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.

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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.

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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.

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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))

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“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.

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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.

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

Diet Cig: <i>Swear I'm Good At This</i> Review

It’s been two years since Diet Cig first catured our hearts with their debut EP “Over Easy”. So their debut long player “Swear I’m Good At This” spans 12 tracks and with any luck it’ll be the making of the NY duo.

Diet Cig is a pop-punk/indie-pop/cuddlepunk duo from New Paltz, New York. They are Alex Luciano (guitar/vocals) and Noah Bowman (drums), and they’re one of my most favourite New York bands. You may remember that I’ve raved about them before .

A few months ago, I was delighted to see their debut album on the list of new releases for 2017. The album “Swear I’m Good at This”— comes out on Friday via the magnificent label Father Daughter Records. That label is home to so many of the bands that have made my year-end lists over the past couple of years. there’s a few Father/Daughter albums this year that have already secured spots in my 2017 year-end list.

I’ve managed to get my ears on Swear I’m Good at This a couple of days early, and I absolutely love it. It’s got everything that I loved about the Over Easy EP, but it’s even better.

“Bath Bomb”, is a great track its one of those songs to keep playing the song again and again. And again. It’s got the quiet/loud/quiet/louder thing going on. It’s got all the bounciness and sheer joy that I’ve come to expect from Diet Cig. And it’s about lying in the bath for a long time until your fingers prune.

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If you’re a fan of Waxahatchee or Adia Victoria, Vagabon will be your new favorite artist. Cameroon-born New York-based singer-songwrtier Lætitia Tamko makes music that sounds like nostalgia itself, with fuzzy guitar riffs, hazy vocals and ambient choruses. Her debut album Infinite Worlds is out in February.

“In my country, and in a lot of countries, people still go to the well to get their water,” Vagabon’s Laetitia Tamko explains to me as she begins to reveal the metaphorical crux of one of her new songs. Tamko grew up in Cameroon before moving to New York in the early 2000s, and she instinctually refers back to her personal history to make this central point. Choosing her words extra-carefully, Tamko describes the ritual of going to a well in detail: “You walk it back to your house, you use the water or put it in a container, and then you do the same trip back,” she continues. “People don’t always check to see if there’s any more left after they’ve taken what they need”.

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