Posts Tagged ‘Mom + Pop Records’

Did Sleater-Kinney have an identity crisis, or did we? On their ninth record, Sleater-Kinney remain resolutely misunderstood, though they’ve always sounded different from record-to-record. While Sleater-Kinney are a rock band, The Center Won’t Hold isn’t really rock music—the epic scope and industrial aspects of this words-and-mostly-guitarless offering—courtesy, some might say of producer Annie Clark (though who really knows)—have far more in common with stylized art pop than anything in their back catalog. But its aims are grander, as well, and Sleater-Kinney still bring a vibrating desperation and undimmed punk anger to their music in a way that suits our new era of fraying nerves and grinding anxiety. Carrie Brownstein throws off the Hollywood sparks these days, but it’s true believer Corin Tucker whose full heart promises protection from the oncoming terror. “Tell me if you feel like you are lost and alone / I am your friend / You can cover me / Just come over here and give me everything” she sings on “The Future is Here.” Her vocals brim with tenderness and compassion, a motherly bookend to the Tucker of 20 years past, who furiously wailed, “Not what you want? It’s everything!” And everything it remains.

Sleater-Kinney newest album, The Center Won’t Hold, released on August 16th via Mom + Pop Records. The song from it, “Can I Go On,” via a lyric video. It comes accompanied by the band’s press photo as a duo (Carrie Brownstein and Corin Tucker) in the wake of drummer Janet Weiss unexpectedly announcing at the start of the month that she was leaving Sleater-Kinney only a month and a half before their new album is to be released.


Brownstein had this to say about “Can I Go On” in a press release: “In this song, a woman’s desire is used against her, so she turns it into a sinister infectiousness. The narrator finds herself on the brink of self-annihilation, grappling with the paradox of an internal darkness at odds with the pressure to outwardly perform modes of joy, relatability, and likability.”

In a previous press release Brownstein also had this to say about recording the album: “Instead of just going into the studio to document what we’d done, we were going in to explore and to find the essence of something. To dig in deeper. It felt like a really crucial part of the process itself, not just the end game.”

The Center Won’t Hold finds the band experimenting with a slightly more polished sound, thanks to producer St. Vincent (aka Annie Clark), and on a new label in Mom + Pop. Prior to the announcement of The Center Won’t Hold, Sleater-Kinney shared the album’s first single “Hurry On Home” via a Miranda July-directed lyric video for the track . When the album was announced they shared its second single, “The Future Is Here,” Then they stopped by The Tonight Show Starring Jimmy Fallon to perform “Hurry On Home,” in what might be Weiss‘ last public performance with the band. Then they shared the album’s title track, “The Center Won’t Hold”.

Beach Bunny started in 2015 as a solo outlet for the lead singer Lili Trifilio to process her feelings about a budding relationship. Her early recordings were spare, lo-fi and home-recorded, delicately tackling heartbreak and loss across EPs like 2015’s Animalism, 2016’s Pool Party, and 2017’s Crybaby. In 2017, the project became a full band with Matt Henkels (guitar), Anthony Vaccaro (bass) and Jonathan Alvarado (drums) joining on.

With the 2018 single “Sports” and their breakout 2018 EP Prom Queen, Beach Bunny is now one of Chicago’s most exciting indie rock bands. Their infectious and muscular new musical palate perfectly translated to a raucous, sing-along heavy live show. Though Trifilio’s songwriting remained just as resonant and intimate as her earliest efforts, having her self-described “family unit” backing her has brought a new vitality to these songs. Tracks like “Prom Queen” have earned them millions of streams and their obvious onstage chemistry charmed on tours with bands like PUP and Remo Drive.

With the announcement of Beach Bunny joining the M+P family, we are excited to give you the first single, “Dream Boy,” off their upcoming debut LP Honeymoon out February 14th, 2020. The album is available for pre-order everywhere with limited-edition merch and signed posters available on the band’s webstore. Check out the first single .

Along with the announcement of the new single and album, Beach Bunny has revealed a full headline tour across North America this Fall/Winter.

Caamp formed in Columbus, Ohio when Taylor Meier and Evan Westfall met and bonded over a shared love of music and of their home state, specifically the inspiration they culled from the Midwest lives they grew up in. The two began writing and performing and quickly grew a rabid fan base. A self-titled 2016 debut album and single “Vagabond” rapidly began to take flight across streaming platforms and took the band to new heights. By and By, their upcoming sophomore album, marked the first time the duo recorded with outside help. Block and Jenkins helped expand their sonic horizons and through the recording process, Caamp also brought on a third and permanent member, Matt Vinson.

With the announce of Caamp, we are excited to give you the first single off Mom + Pop Records called, “Penny, Heads Up” and the announcement of their sophomore album “By and By”.

sunflower bean king of the dudes

Sunflower Bean move fast. Two years ago, the New York trio turned heads with their sleek, dreamy debut, Human Ceremony. On this past spring’s Twentytwo in Blue, they sounded even cooler and more confident. Now, less than a year later, they’re leaping forward yet again with King of the Dudes, their fantastic new four-track EP, due out January 25th on Mom + Pop Records.

“Over time, we really just give less of a fuck,” says singer and bassist Julia Cumming. “That’s what rock needs in 2018, and that’s what the EP is saying. We’re free to be aggressive and fun and weird.”

King of the Dudes is all black-leather-jacket strut and New Wave sneer, as heard on “Come for Me,” the EP’s first single. “Do you really wanna come for me?/You know I got all night,” Cumming taunts. “Do you really wanna waste my time?/If you do, then do it right.”

“It’s about having my fists up — intellectually, proverbially, ready for anything,” Cumming says of the song. “Women are fed up. The public is fed up. Shit’s really bad, and we needed a way to express that. And, obviously, there are some sexual undertones.”

Sunflower Bean were on tour this past June — “driving around the United States, where we do most of our thinking,” Cumming says — when they first considered a swerve in direction. She had been texting with producer Justin Raisen, whose work on Angel Olsen’s My Woman(2016) and Sky Ferreira’s Night Time, My Time (2013) had piqued the band’s interest, and later in the summer, Cumming, singer-guitarist Nick Kivlen and drummer Jacob Faber paid a visit to Raisen’s Los Angeles studio.

They didn’t have much of a plan beyond capturing the spark they were all feeling, but that was enough. “[Raisen’s] energy was really different from a lot of other indie rock producers,” Kivlen says. “Much more savage and vital. We were very measured with our last record, and we took a lot of time looking at each detail through a magnifying glass. Then we went to L.A. and just steamrolled right through this, working more on instinct.”

They knocked out the EP over a quick week in Raisen’s studio-converted garage. “We rented all these crazy amps, and tracked with about four amps going at the same time, with all these different aesthetics,” Kivlen says. “It’s the most happy I’ve ever been with my guitar sound on a record.”

“You could hear it down the block,” Cumming adds. “It shows that you don’t need a big studio with a bunch of isolation chambers to make something real.

‘King of the Dudes’ EP Out January 25th, 2019

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To many, Lady Lamb the Beekeeper (aka Aly Spaltro) is an enigma. Her songs are at once intimate and unbridled- both deeply personal and existentially contemplative. Spaltro is a fearless performer who can command a pitch-black stage with nothing more than her voice. Yet, when the band bursts in and the lights come up, what began as a demonstration of restraint shifts seamlessly into an emphatic snarl.

It was in Spaltro’s home state of Maine that she first found her voice among thousands of films in the independent rental store where she worked the closing shift. After hours, Spaltro would create songs completely uninhibited by musical conventions, learning to play and sing as she hit record.

10 Years of Mom + Pop: CoversLady Lamb“Come Save Me” (Jagwar Ma Cover).

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Earlier this year, New York City-based trio Sunflower Bean released their excellent sophomore LP, Twentytwo in Blue, and now they have an EP called King of the Dudes arriving January. 25th, 2019, on Mom + Pop. Its first track, “Come For Me,” follows Twentytwo in Blue’s lead: it’s restless rock ’n’ roll, though it’s a bit groovier than, say, “Burn It,” the LP’s riotous opening number. It’s danceable, but it’s not fluffy—frontwoman Julia Cumming releases the song’s lyrical interrogations in a fiery blast. “Do you really wanna waste my time?” she asks. “If you do, then do it right.” “This song was inspired by inner strength, power and sexual freedom,” said the band in a statement. “In 2018 there is no time to waste and no time for shame. This song is a declaration of that. ‘Do you really want to come for me? Do you really want to waste my time?’ The song is a dare, a threat, and a beckoning.

‘King of the Dudes’ EP Out January 25th, 2019


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The first track to come from forthcoming LP ‘Almost Free’, ‘Can’t You See’ finds FIDLAR nixing the old tricks of short, bratty punk bursts in favour of a more subtle new angle. Over repeated, pulsing guitars, singer Zac Carper’s verse vocals are given an almost psych-y twist – shut one eye and you might think they’ve roped in our old pal Kevin Parker for a guest spot. The bridge, meanwhile, is more trad Zac; the cumulative effect is almost like he’s singing a duet with himself.

Far more reigned in than the grubby skate kids we were first introduced to way back when, ‘Can’t You See’ still has elements that are recognisably the sound of Fidlar but there’s a more restrained swagger here that suits them. Rather than a chaotic explosion of hedonism, Zac and co might be converts to the less is more approach.

Band Members
Zac, Elvis, Brandon, Max

From the new album Almost Free out January 25th, 2019. Pre-order available now at

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Brooklyn-native rock band Sunflower Bean released on Friday a pulsating new single titled “Human For.” The single is the latest release off the band’s highly anticipated sophomore album, “Twentytwo in Blue”, set to be released March 23rd on Mom + Pop Records. Previous tracks from the album include “I Was a Fool,” “Crisis Fest” and “Twentytwo.”

“Human For” steps away from the melodic tones found in these previous tracks and does something truly experimental. The gripping bass lines of bassist/lead singer Julia Cumming start the song off with a high energy that is only amplified by her powerful vocals and unapologetic lyrics. The song then takes a darkly psychedelic turn as dissonant chords begin to play and a sound bite of a reverend can be heard in the background, talking about “salvation” and “sanctification by the spirit.”

The previously released tracks have all tackled issues taken on by a person coming of age, and “Human For” is no different. Like the tracks preceding it, “Human For” tries to accurately describe a unique aspect of the transitional phase from teenager to adult. In this case, the single talks about the unlearning of a belief system in order to find self-meaning and a personal truth. In an interview with The Fader, Cumming spoke more in-depth about the lessons she learned while leaving her teens and about the single itself:

Something I’ve noticed about getting older, at least with myself, is accepting people and being able to comment on the world more. “Human For” is urgent to the point of desperation and not needing someone else’s idea of religion or whatever you need to protect yourself. You can make that yourself. You can find reason in your own meaning.

Sunflower Bean are currently on tour they play the Rescue Rooms on Saturday, and will be touring until the summer, in support of this forthcoming album.

Listen to the band’s latest single below, Then, revisit the music video for their previous single “Twentytwo”


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Sunflower Bean are back with their first new music since their February 2016 debut Human Ceremony. The New York dream-pop trio—made up of drummer Jacob Faber, vocalist/bassist Julia Cumming and vocalist/guitarist Nick Kivlen—have signed to Mom + Pop Records and shared new single “I Was a Fool,” with a prom-inspired, Apple Music-exclusive music video to match.

Kivlen explained the song’s genesis in a statement: “I Was A Fool” is one of those songs that seemingly crept up from nowhere and into our practice space. It was a special moment between the three of us, Julia and I both improvised the lyrics. It feels like far longer, but it’s been nearly two years since we’ve put new music into the world. I think this song is a good example of how we’ve grown as a band, while still staying true to the band that first played together back in high school.


Despite its blissful drift, “I Was a Fool” finds Sunflower Bean at their sharpest, portending a quite triumphant return. Cumming and Kivlen trade off vocals from verse to chorus, lamenting the hazards of love over a layered cloud of melodic guitars, driving bass and jangling percussion. “I was a fool who lost his head,” sings Kivlen, making regret sound surprisingly liberating. If this is what losing one’s head sounds like, we’ll gladly part with ours.

Sunflower Bean have a handful of headlining tour dates on the docket, including stops in Brooklyn, Philadelphia, Los Angeles and San Francisco. They’ve also set a fall U.K. tour supporting Wolf Alice,


It’s been too long since Jordan Lee, who performs as Mutual Benefit, has released an album; his last one came out in 2013. This month sees the release of Skip a Sinking Stone, his great new LP, which is out via Mom + Pop Records this week.Mutual Benefit has revealed the video for the stunning single ‘Lost Dreamers’, the second song taken from his upcoming album ‘Skip A Sinking Stone’.  Influenced by themes of surrealism from Chris Van Allsburg’s Being There, Rene Magritte’s Spirited Away and Beth Hoeckel’s The Insider, the video is a glimpse into a fantastical vision of tranquility where elements of New York City and its residents are disconnected from their bustling environment and placed into a serene natural space.

Order Skip a Sinking Stone: