Posts Tagged ‘Florida’

We The People were a garage rock supergroup from Orlando, Florida, formed from members of The Coachmen, the Nation Rocking Shadows, and The Offbeets. The band boasted two songwriters, Tommy Talton and Wayne Proctor. Talton’s ‘You Burn Me Up and Down’ is the second song from We The People featured on Nuggets. It was originally released as a b-side to their third single ‘He Doesn’t Go About It Right’. Note that the header art is taken from a later We The People single – it was the only hi-resolution artwork that I could find.

It’s commendable that the Nuggets compilers sifted through the group’s b-sides for material, but ‘You Burn Me Up and Down’ is one of the lesser tracks I’ve encountered on Nuggets so far. It sounds inspired by Van Morrison’s Them, with a bluesy feel and authoritative lead vocal.

We The People never released a studio album, but did release enough singles to justify several compilations; notably 1983’s Declaration of Independence. Like The Band and The The, We The People’s Declaration of Independence is not an easy item to find on Google! In an interesting piece of timing, today’s post shares its date with the “We The People” inauguration concert, featuring Fall Out Boy, Carole King, Ben Harper, and James Taylor.

Proctor wrote most of We The People’s material, but it was Tommy Talton who went onto a professional music career. He was part of the country rock band Cowboy who played with the Allman Brothers and Bonnie Bramlett. Cowboy released a reunion album in 2018, titled 10’ll Getcha Twenty.

 

Nuggets: Original Artyfacts from the First Psychedelic Era is a compilation album of American psychedelic and garage rock singles released in the mid-to-late 1960s. It was assembled by Lenny Kaye, who at the time was a writer and clerk at the Village Oldies record shop in New York. He would later become the lead guitarist for the Patti Smith Group. Kaye worked on Nuggets under the supervision of Jac Holzman, founder of Elektra Records. Kaye initially conceived the project as a series of approximately eight individual LP installments, each focusing on US geographical regions, but Elektra convinced him that one 2-disc LP would be a more commercially viable format. The resulting double album was released on LP by Elektra in 1972 with liner notes by Kaye that contained one of the first uses of the term “punk rock”. It was reissued with a new cover design by Sire Records in 1976. In the 1980s Rhino Records issued Nuggets in a series of fifteen installments, and in 1998 as a 4-cd box set.

    Most often, forgetting can feel like a failure—a missed birthday or a neglected anniversary. But forgetting can also mean freedom, an unburdening from past twinges of pain. On her debut album, “The Joys of Forgetting”, Allegra Krieger embraces the idea of forgetting as relief.

    Growing up in suburban Florida, Krieger was raised staunchly Catholic. Much of her childhood was spent in a church, where she also studied classical piano and sang in the choir. Although she was encouraged to pursue a consecrated life, she chose a different path, dissociating from religion. The following years brought continual transitions of personhood and place. From housekeeping at a Death Valley motel, to tree-planting in Georgia, she explored different sides of herself, chasing ideals yet avoiding certain truths. As she reckoned with her own malleability, she came to understand the value of leaving something behind. The solitude and disenchantment that accompanied this lifestyle gave way to introspection, yielding the songs that became the Joys of Forgetting.

    Like memory itself, Krieger’s personal growth ebbs and flows across The Joys of Forgetting. She makes for an inviting companion as she connects the nonlinear dots on her journey. She lays her feelings and desires plain as she unfolds them: to find someone to confide in, to talk on the telephone, to catch up with a friend. She learns to seek comfort in patience, finding that affection is easy, but loving takes time. Her arrangements are elegant and unobtrusive, skirting her crystalline voice with acoustic guitar, curling strings, and percussion that gently tumbles. And though Krieger makes a strong case with her Joys of Forgetting, her songs leave a lasting imprint that’s a pleasure to recall over and over again. 

    http://

    I came to this record through the photographer of the cover and they didn’t steer me wrong here. This record starts off slow but truly builds to blow you away by the time you reach “Forgot”. Allegra’s voice is a wave of joy in a rough year. On “Welcome” her self harmonizing is gorgeous and plays well off the string section that comes in to overtake the track halfway through before it becomes a western waltz again. The arrangements of these songs are stunning. “Telephone” shimmers and glides along while Allegra calls for human connection rather than interacting through devices. The album floats along delicately until “Forgot” which just comes at you harder than anything up to that point. It ends in a glory of mashing up off-kilter drumming, an echoing of voices and slashing guitar chords that just cut right through you. “Rot” brings some welcomed rock and roll vibes to the record that continue into “Come In”, which ends in another great loud convergence by the musicians. The string section in “I’m Gonna Drive” swell as Allegra cries out “thing things you’ve been after” is heartbreaking. Allegra has a bright future ahead, this was her first LP, and it will be great to hear where she takes her arrangements and writing next.

    Released August 7th, 2020

    The Band:
    Rob Taylor on Bass
    Jacob Matheus on Electric Guitar
    Eladio Rojas on Drums

    It’s been 10 years since a fresh-faced Surfer Blood wowed this particular writer at 2010’s Camden Crawl, the late and often lamented multi-venue weekender that used to be set in North London. Nevertheless, it’s also been an eventful decade for the band themselves. While debut album Astro Coast launched them to a wider audience far and beyond their native Florida, largely due to breakthrough single “Swim,” the interim years represent something of a rollercoaster ride for founding members John Paul Pitts and Tyler Schwarz.

    Having relocated to California for a period, seen band members come and go while changing labels several times along the way, Carefree Theatre is the first Surfer Blood record in a long time that genuinely feels like home. That’s probably because singer/guitarist Pitts returned to Florida in 2017 and started writing what became the band’s fifth long player. Not only that, but they’re also back with esteemed independent Kanine Records who put out their debut all those years ago.

    Back on familiar territory, Pitts and his bandmates have created arguably Surfer Blood’s finest collection of songs in a long time. Whether it’s the breezy surf pop of “Karen,” the racy “Unconditional,” the melancholic “Dewar,” or four-to -he-floor stomper “Parkland Into the Silence,” Carefree Theatre is a record that demands to be heard in all its glorious pomp. Karen is from the album Carefree Theatre out September 25th, 2020 on Kanine Records.

    If you’re looking for a convincing reference point, try opener “Dessert Island,” which could be the long-lost cousin to recently reformed Creation Records stalwarts Adorable’s “Kangaroo Court” in a parallel universe. (www.surferblood.com)

    Pitts and his bandmates have created arguably Surfer Blood’s finest collection of songs in a long time. Whether it’s the breezy surf pop of “Karen,” the racy “Unconditional,” the melancholic “Dewar,” or four-to -he-floor stomper “Parkland Into the Silence,” Carefree Theatre is a record that demands to be heard in all its glorious pomp.” Under the Radar Magazine

    Image may contain: 3 people, people sitting

    Meet Me @ The Altar so lovingly summon the cues of ‘00s-era pop-punk and emo with an emotional intelligence and maturity that the genre’s most visible sad boys never really lived up to. Based in three different states after discovering each other on YouTube, singer Edith Johnson, guitarist and bassist Téa Campbell, and drummer Ada Juarez command their instruments with an attention to detail that belies the fact that they usually only get a day or two to practice in person before shows (and that was pre-pandemic). These three young women of colour create with a care befitting internet friends, paying homage to and carving out their own place in a genre notorious for gatekeeping its sound and sadness from anyone who isn’t a suburban white boy, and hold Paramore as a sacrosanct influence. The challenges of social distancing during the pandemic are real for any band, and must be especially for these three, but they’ve already overcome separation with ease.

    Their strong online presence has been attracting fans to their comical personalities, but more importantly to their music. They released an EP titled “Bigger Than Me” in 2019 consisting of intricate guitar parts, fast paced drumming, and emotional lyrics.

    The delicious, math-y first 20 seconds of their 2020 single “Garden” grow into one of 2020’s hardest, tenderest punk choruses.

    Band Members:
    Edith Johnson – Vocalist – GA
    Téa Campbell – Guitarist – FL
    Ada Juarez – Drummer – NJ
    Kaylie Sang – Touring Guitarist
    El Xiques – Touring Bassist

    Surfer Blood, one of the great lo-fi-tinged indie rock bands of the past decade, are gearing up to release their fifth LP “Carefree Theatre”. That arrives on September 25 via Kanine Records, and so far the John Paul Pitts-fronted group has teased us with the singles “Parkland (Into the Silence)” and “Karen.” Today they’re back with the latest taste of the album, a video for their breezy new single “Summer Trope.” The track ebbs and flows with lush reverb-soaked melodies and soaring choruses, another textbook Surfer Blood surf anthem. While the song recounts an Alcatraz prison escape gone wrong, its wondrous music video was crafted with rippling, sun-kissed visual aplomb by director David Hamzik. It follows Pitts as a castaway – dressed in a shaggy wig and beard – stranded and wandering a tropical coastline before being rescued and returned to land to finish up a live gig. It’s a weirdly giddy clip that’s got some pretty neat underwater camerawork on display.Carefree Theatre is the first album Surfer Blood recorded since Pitts moved back to South Florida, and it takes its name from the now-shuttered West Palm Beach DIY venue where he initially cut his teeth as a performer. According to Pitts, the record “is about coming full circle.”

    “We’ve had our ups and downs as a band, plenty of changes through the years, but here we are back where we started. After a decade of touring and putting out records, we’re back with our first label just in time for the ten year anniversary of Astro Coast. For all the pushing ahead and not looking back, the past has caught up with us. I don’t mean that in a haunting way, but in the familiar way that warms you from the inside.”

    Speaking of Astro Coast, that classic debut LP is getting a special 10th anniversary double vinyl reissue – dropping on August 29th via Kanine Records. 

    Limited edition of 500 made. We were planning to sell these on our summer tour… which is unfortunately cancelled. Includes guest vocalists Pip Blom, Winter and Surfer Blood’s Lindsey Mills. Three per order maximum. International shipping available.
    Releases August 7th, 2020

    In a lot of ways, Surfer Blood’s forthcoming fifth LP “Carefree Theatre” brings the band full circle. Set to be released ten years after their monumental debut Astro Coast, the record will arrive following frontman John Paul Pitts’ return to his home state of Florida as well as Surfer Blood’s return to their original label Kanine Records—though the turbulent ten-year interim has provided Theatre with a brand new perspective on their debut’s themes.

    That said, one track that sounds structurally familiar is “Karen,” which was born of the same universe as a song off Astro Coast. “It was originally supposed to be the companion song to ‘Fast Jabroni,’ but I never finished it and ended up shelving it for over a decade,” Pitts shares. “After moving back home to Florida and re-evaluating my entire life, I decided it was time to revisit the material.”  The move back to Florida also inspired a vision for the breezy tune’s gleaming video, matching Surfer Blood’s tune about someone named Karen taking showers with images of all four band members getting soaked while strumming and percussing along. It’s as much an earworm as anything we’ve come to expect from the group over the years, though there’s a certain sense of comfortability unheard since their Jabroni days.

    Carefree Theatre is out May 1st via Kanine Records

    Hope you’re all staying healthy!,
    Bandcamp is waiving their fees today to help support artists.  Today is the perfect day to grab that shirt or vinyl you’ve been eyeing from your favorite bands (like us!).
    From our bandcamp page, you can grab rare vinyl that was only sold on tour: Covers LP, Hourly Haunts 10″ vinyl EP + shirts & more.

    http://

    From Kanine Records bandcamp page you can pre-order our new album Carefree Theatre (coming soon!) on ocean blue vinyl (which is only available for pre-orders) xo Surfer Blood

    Band Members
    John Paul Pitts,
    Tyler Schwarz,
    Mikey McCleary,
    Lindsey Mills

    https://surferbloodmusic.bandcamp.com/merch

    Image may contain: 4 people, people standing, tree, plant, outdoor and nature

    Who doesn’t love cover songs? The aptly named ‘Covers’ album features Surfer Blood covering some wildly disparate artists like Outkast, Pavement, Cream, Mudhoney, Modern English, and of course Polaris (aka, the theme-song from The Adventures of Pete & Pete).

    This one time pressing is limited to 1000 foil-numbered copies on amber vinyl with black splatter, and includes instant download of MP3 and WAV.

    This release is not available via record stores. The only way to get your hands on this bad boy is to order from JNR, or catch the band on tour. “Good Enough” Mudhoney Cover by Surfer Blood off ‘Covers’ out on Joyful Noise Recordings.

    A collection of covers we’ve recorded over the years. Limited Edition!
    Released October 18th, 2019

    Image may contain: 5 people, people sitting, hat, beard and indoor

    “Gouge Away” is the name of a Pixies song, and, as a crew of Floridians noticed nearly a decade ago, an incredible name for a hardcore punk band. While Christina Michelle’s vocals are a bit more unhinged than Black Francis’ unpredictable snarls, the ominous bass-and-snare intro of GA’s ferocious single “Ghost” mimic the foreboding atmosphere of a Doolittle cut, making their “Wave of Mutilation” cover a perfect fit. There isn’t much in the way of modification in the recording, but instead a clear sense of contemporary hardcore punk’s indebtedness to the Boston noise-rock innovators.

    Our new 7″, Consider b/w Wave of Mutilation (Pixies cover) will be in stores March 20th. You can hear our new single, 25% of the profits from the sale of the 7″ will be donated to the International Rescue Committee to help immigrants, refugees, and those who have been displaced by natural disasters or attacks on their home.

    From the single “Consider b/w Wave of Mutilation” in stores now

    During our tour in the fall of 2019 we recorded this four song session for the Part Time Punks radio show on KXLU 88.9FM in Los Angeles. Just last week our current tour in Europe with Russian Circles was cancelled due to COVID-19 and like many other musicians we are now faced with staggering losses to try and recoup. We are putting all the proceeds from the sales of this session, available exclusively here on Bandcamp, toward the tour expenses and losses we need to cover and replace. You can purchase this at any price point you see fit, any and all support helps and we’re so grateful for everyone who buys this.

    http://

    Torche is a band consisting of four dudes playing the loudest and heaviest hard rock on the planet. Formed in 2004 after the dissolution of cult, sludge / stoner metal pioneers Floor, the group introduced the world to a refreshingly unique version of rock n’ roll and has spent the last 10 years shattering ears and captivating crowds across the planet.

    Chris Farren’s second solo album, “Born Hot”, can best be described as aphrodisiac synth-punk, or Illinois-inspired power pop, or, most specifically, pop-punk written by someone who has been hot for so long that self-confidence has never really been an issue and therefore never feels the helpless longing that typically invigorates the genre.

    On his Polyvinyl debut “Born Hot”, Chris Farren opens with a question he’ll spend much of the album trying to answer: Why do I feel out of place in my own outer space? Telegraphing his inner narrative with a childlike candor, the Florida-born artist lays bare his most intense anxieties and—in the very same breath—documents the mildly soul-crushing minutiae of everyday life: the strange indecency of blasting AC/DC bangers through an iPhone speaker, the inexplicable bleakness of a Starbucks franchise tucked inside a Target. But with his irrepressible sense of humor and utter lack of self-seriousness, Farren defuses the pain of even the deepest insecurity, gracefully paving the way for pure pop catharsis.

    “Love Theme from “Born Hot”” is taken from Chris Farren’s new full length album, Born Hot, out October 11, 2019