Posts Tagged ‘Florida’

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.

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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

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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

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“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.

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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

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How familiar does this song sound? Where have I heard it before? It’s seriously killing me. Someone please tell me where this song is from. It’s like Broken Bells meets OG Coldplay meets Snow Patrol covering Tame Impala. Jacksonville Florida has its list of noteworthy artists and musicians like any city does, however if you manage to dig a bit deeper you’ll find an entire thriving ecosystem of bands like when you used to turn over a stones behind your elementary school when you were a kid.

Amongst these many creative and talented groups is a band called Sea Cycles made up from the minds of Brian Squillace, Landon Paul, Josh Wessolowski and Lindsey Shante. Sea Cycles formed in late 2011 and released their brand of ambient synth pop via their debut and self released EP entitled ‘What We Came For’. After catching the attention of Other People Records, the band will release their debut LP ‘Ground & Air’ via the Los Angeles based independent label in the summer of 2015. Drawing positive comparisons to indie favorites such as Broken Social Scene, Yeasayer and M83, Sea Cycles has proven the timeless adage that a good band is a good band and there’s no arguing with that.

Whatever it is, I like it. It’s from Florida four-piece Sea Cycles, who’ll hopefully follow up this single release with a full-length album soon. Watch for this band.

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Band Members
Brian Squillace, Landon Paul, Josh Wessolowski, Colin Adkins

 

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Vocalist, Christina Michelle, comes with a deeper introspection on struggles with mental health, not holding back with this incredibly personal outpouring. Guitarist, Mick Ford, brings a dissonance to their sound that separates the listener from what could be expected while the rhythm section made up of Tyler Forsythe and Tommy Cantwell (who together play in the Good Fight Records band Axis) aggressively keep the songs in place.

In their first release via hardcore stronghold Deathwish Inc., South Florida four-piece Gouge Away ply their side-winding skirmishes with jangly fits of punk noiseKindergarten teacher-turned-mighty-frontperson Christina Michelle burns through reflections on myriad social anxieties with searing conviction. “Hurt is a commodity,” chants the full band in “Subtle Thrill” — swept clean by the dusky undertaker of a bass line in the following track, “Ghost.” And just when you think they’re about to capsize from the sheer momentum of their fury, Gouge Away find equilibrium in the brine.

From the album “Burnt Sugar”

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Mike Campbell was born in Panama City, Florida. He grew up there and in Jacksonville, Florida, where he graduated from High School in 1968. At 16, he bought his first guitar, a cheap Harmony model, from a pawnshop. His first electric guitar was a $60 Guyatone. Like Tom Petty, Campbell drew his strongest influences from The Byrds and Bob Dylan, with additional inspiration coming from guitarists such as Scotty Moore, Luther Perkins, George Harrison, Carl Wilson, Jerry Garcia, Roger McGuinn, Keith Richards, Brian Jones, Jimmy Page, Mick Taylor, and Neil Young. The first song he learned to play was “Baby Let Me Follow You Down,” a song which appeared on Dylan’s eponymous debut album.

Mudcrutch moved to L.A. and signed a record deal with Shelter Records, recording an album in 1974 that ended up being shelved. Campbell then joined Petty to start up the original Tom Petty and the Heartbreakers in 1975 along with Benmont Tench (keyboards), Ron Blair (bass guitar) and Stan Lynch (drums).

He formed a band named Dead or Alive which quickly disbanded. Campbell first met Tom Petty through Mudcrutch drummer Randall Marsh when they were auditioning him and he suggested his friend Mike to play rhythm guitar.

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Like the other players in the Heartbreakers, Campbell avoids the virtuoso approach to playing, preferring to have his work serve the needs of each song. Guitar World magazine noted “there are only a handful of guitarists who can claim to have never wasted a note. Mike Campbell is certainly one of them”. He is a highly melodic player, often using two or three-strings-at-a-time leads instead of the more conventional one-at-a-time approach. “People have told me that my playing sounds like bagpipes,” he muses. “I’m not exactly sure what that means.” His estimation of his own style is typically modest: “I don’t think people can really top Jimi Hendrix and Eric Clapton as far as lead guitar goes. I like my playing to bring out the songs.” Like Tench, he is heavily involved in constructing the arrangements for the Heartbreakers’ tunes. And also like Tench, he prefers rawness to polish in the studio and onstage.

Directed by Justin Kreutzmann, this 15 chapter web documentary features Mike Campbell taking us on a tour of his guitar collection and explaining the stories and significance behind the instruments as they relate to his own personal journey and the music of Tom Petty and The Heartbreakers.

0:01 “Chapter 1: Introduction – Treasured Gifts That Keep Giving” 7:50 “Chapter 2: A Sound Is Born On The 1964 Fender Stratocaster” 13:32 “Chapter 3: The Irreplaceable Fender Broadcaster Part 1” 18:46 “Chapter 4: The Irreplaceable Fender Broadcaster Part 2” 23:47 “Chapter 5: Thicker and Dirtier – The Gibson Goldtop” 29:18 “Chapter 6: Chimes of Freedom The Rickenbacker Sound – Part 1” 34:40 “Chapter 7: Chimes of Freedom The Rickenbacker Sound – Part 2” 40:14 “Chapter 8: In Between Bright and Heavy That Gretsch Tone” 46:33 “Chapter 9: A Whole Studio On Your Guitar Vox” 51:03 “Chapter 10: Biting Clear and Loud The Gibson Les Paul Jr. and SG” 57:23 “Chapter 11: Begging To Be Played The 1959 Gibson Les Paul” 1:04:37 “Chapter 12: The Surf Sound of The Fender Jaguar/The Mike Campbell Duesenbeg and the Super Bowl” 1:10:32 “Chapter 13: Handle With Care: (Another) Invaluable 1964 Fender Stratocaster” 1:16:39 “Chapter 14: The Homestead and Studio” 1:23:37 “Chapter 15: Assorted Specialties and Conclusion”

Mike Campbell’s drool-inducing lineup of vintage guitars and amps he brings on the road. Campbell’s guitar tech, Steve Winstead, walks us through every guitar, amp, and pedal and lets us in on Campbell’s time-tested formula for great tone.

Guitars
One side of Campbell’s guitar arsenal covers all the bases. From the left side we have “Little Ricky,” which is a Rickenbacker-style mandolin with a whammy bar. Next is a recent Fender Custom Shop Tele with a B-Bender used as a backup, then a pair of Rickenbacker 12-strings—the one on the right is used on “Free Fallin’.” A pair of ‘50s Teles follows those as well as a Gretsch 6186 Clipper tuned to open-G for “I Won’t Back Down.” Finally, there’s a mid-’60s Gibson SG that Campbell’s been favoring for this tour after recently digging it out of storage.

The basic formula for Campbell’s amp rig is to crank up some low-watt amps and let the PA do all the heavy lifting. The bulk of his sound comes from a 1963 Fender Princeton and a 1954 Fender tweed Deluxe. He augments that with a custom Fender Excelsior and a Fender Vibrotane for Leslie-type effects.

Effects
Campbell relies on a rare Dunlop Camel Toe for his distortion, a Line 6 DL-4, the Green Meanie switch (which brings his Fender Excelsior amp in and out), a DigiTech Whammy II, Line 6 MM-4, a custom switch for his 1962 reissue Fender reverb tank, a Boss RC-30, and a Boss TU-2 tuner.

Rest In Peace Tom Petty: 1950 – 2017

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It’s Been two years since Athens, GA based Roadkill Ghost Choir has taken listeners on a ride. With the arrival of False Youth Etcetera’, brothers Andrew & Zach Shepard have outgrown their roots in a supersonic fashion. This desire to explore new musical terrain was only bolstered by Shepard’s adoration for similar sonic explorations and artists transcending their genre to create a unique sound – rooted in influences such as The War on Drugs, Neu! and Bruce Springsteen.

The result is an album that beautifully delivers the group to a whole new infectious, cosmic terrain. False Youth Etcetera is now available for the first time on 12″ double disc black vinyl from Freakout Records.

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Band Members
Andrew Shepard – Vocals/Guitar
Zach Shepard – Bass
Maxx Shepard – Drums/Vocals
Stephen Garza – Guitar/Vocals
Kiffy Myers – Pedal Steel/Banjo

UV-TV – ” Glass “

Posted: January 4, 2018 in ALBUMS, MUSIC
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UVTV

There’s not really a word for what kind of music the Gainesville, Florida band UV-TV play. It’s fast and feverish, like punk. It’s raw and rickety and hooky, like garage rock. It has a sense of beauty and playfulness and immediacy, like pop music. And its focus on jangly sha-la-la melodies connects it to ‘60s folk-rock, as well as to a half-dozen ‘90s DIY indie scenes that drew on all those things. But it doesn’t really matter if UV-TV don’t have a genre. Their debut album Glass is a joyous, shattering hookfest, and it moves so fast that you don’t have time to worry about meaningless distinctions anyway

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This debut record from this Florida trio had the sugar-coated blitzkrieg pop reminiscent of the Primitives combined with Spacemen 3 druggy drone. The louder you turned it up the better it gets on this brilliant record.