Posts Tagged ‘New Jersey’

Jack Antonoff and Bruce Springsteen

Bleachers have returned with fellow New Jerseyan Bruce Springsteen for the new single “Chinatown.” and another new songs called “45.” listen to both songs and find the video for “Chinatown,” directed by Carlotta Kohl. In a press release, Bleachers’ Jack Antonoff gave the following statement on his new tracks: 

“Chinatown” starts in NYC and travels to New Jersey. that pull back to the place i am from mixed with terror of falling in love again. having to show your cards to someone and the shock when you see them for yourself. thinking you know yourself and where you are from…. having to see yourself through somebody who you want to stay… I started to write this song with these ideas ringing in my head. to further understand who you are pushes you to further understand where you are from and what that looks and sounds like. there are pieces in that that are worth carrying forever and pieces worth letting die. “Chinatown” and “45” are both the story of this—“Chinatown” through someone else, “45” through the mirror. as for Bruce, it’s the honour of a lifetime to be joined by him. he is the artist who showed me that the sound of the place Ii am from has value and that there is a spirit here that needs to be taken all over the world.

Jack Antonoff’s second album as Bleachers album, “Gone Now”, was released in 2017. He’s kept busy in the years since, producing music for a huge range of artists, including Lana Del Rey, Taylor Swift, FKA twigs, and the Chicks. Last year, he launched a project called Red Hearse with Sam Dew and producer Sounwave. According to the press release, the next Bleachers album is due out in 2021.

These songs are about mental health and queer struggles. Stand by your friends that are hurting. Harm reduction is the key to safety. Often pinned as a band that has a lot going on,” Teenage Halloween has crafted a sound rooted in abundance. Luke Henderik’s rare and universal lyrics, and the precise ear of engineer Evan Bernard, this newest collection of songs is full of surprises that humbly aims to redefine the modern DIY punk scene.  A joyous vibe of Replacements/Springsteen/The Hold Steady, but young, beautiful and a little punk. It’s short in that good way where you think ‘aaaww, already?’ when it’s over and silence takes over.

Predominantly a gay identifying band, the songs reflect this experience holistically with lyrics that grapple with vulnerability, community, extreme existentialism, mental illness, and gender euphoria. Accompanied by the band’s explosive energy, each song functions as a politically charged anthem. The album maintains constant energy, and that energy also celebrates the bravery of being a queer band. Further, the songs speak in narratives, making sure people are held accountable for their actions and in the same vein, given the opportunity to communicate that self-reflection.

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The self-titled debut album Teenage Halloween was recorded by Bernard in Big Mama’s Recording Studio and will be released by Don Giovanni Records in September. Liberated and alive. You can really tell that they’ve developed their chemistry through hard work in the course of playing hundreds of live shows. I guess it’s just a matter of time now before Teenage Halloween are traveling the globe playing their inspiring songs to the appreciative weirdos, outcasts, and societal rejects of the free-thinking underworld. Exciting, hopeful music for challenging times.

The Band:

Luke Henderiks – guitar / vocals / lyrics / composition
Eli Frank – lead guitar / composition / production
Tricia Marshall- bass / vocals / keys
Brandon Hakim – saxophone
Peter Gargano- drums
Jane Lai – piano
Evan Bernard- tambourine / guitar

Released September 18th, 2020 Don Giovanni Records 2020

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

Last month, Don Giovanni Records announced that for the first time ever, we’d be issuing a vinyl release of the 2013 long out of print cassette-only recording “Chalk Tape” by Screaming Females. This one-time vinyl pressing would only be made available to order for the limited period of one month. After this Sunday July 26th, the pre-order period will be over, and the vinyl will no longer be available.

Initially released in a limited run of just 100 cassette copies, “Chalk Tape” was available and sold at only one show (at which it sold out immediately) in 2013, which was the first show back for the band after a six-month hiatus from touring and performing. It has not been available in any physical format since then. Pitchfork called the EP “some of the hookiest, most melodic songs Screaming Females have ever recorded” in their original review of the EP.

The EP’s genesis came after an extended period of touring inactivity while guitarist/vocalist Marissa Paternoster was recovering from a severe illness. The band worked on the seven songs that would make up Chalk Tape as a writing and collaboration exercise to keep creative energy fresh, following up 2012’s Steve Albini produced 2xLP Ugly.

Chalk Tape has existed outside the official canon of Screaming Females’ catalogue since its release, though it is a unique document of a band concurrently writing, recording, and performing in real-time and capturing of their songs as they were being created.

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This vinyl run of Chalk Tape is exclusively available for a limited pre-order, and in the spirit of the EP’s initial limited release, will only be available via this pre-order until Sunday July 26th. Vinyl pressing time is unpredictable these days but these are projected to ship in late October/early November.

Screaming Females is a three piece rock band from New Brunswick, New Jersey. We have been writing, recording, and touring with one another for 13 years.

Releases November 9th, 2020

 

Black Sabbath – “Sabotage In Concert”

DELUXE COLLECTOR’S EDITION, 10-INCH DOUBLE ALBUM ON SPLATTER VINYL IN GATEFOLD SLEEVE

Released in July 1975, Sabotage was the sixth studio album by Black Sabbath. The supporting concerts are often regarded as the best of Black Sabbath on stage. There is no finer example of the power of Black Sabbath at work in 1975 than this legendary concert from Asbury Park. This is a rather well-known recording in the world of Black Sabbath bootlegs. It’s a prime example of what they sounded like on the Sabotage tour. The setlist is great, and the quality is amazing, yet Ozzy is really struggling vocally on a lot of the songs. It’s a shame, because such a great quality recording had the potential to be one of the best Sabbath shows. Unfortunately, this one falls short. This was probably one of those times when you had to say “It sounded a lot better in-person.”

This 10-inch double-album collector’s edition is hand-pressed on transparent and purple splatter vinyl. The pattern created on each disc is totally unique. Featuring the very best of Black Sabbaths’s legendary 1975 Asbury Park performance, here is your ultimate personalised and hand-numbered collector’s vinyl.

This deluxe collector’s edition comes with a suite of amazing extras:

  • A2 Fold-Out Record Store Black Sabbath Poster
  • Black Sabbath Interview
  • Black Sabbath Full Length E-Book
  • Black Sabbath Documentary Film

JUST 2000 HAND-NUMBERED COPIES WORLDWIDE – THE EARLIER YOU ORDER THE LOWER THE NUMBER YOU WILL GET!

Setlist: 0:00 Supertzar 0:18 Killing Yourself to Live 6:47 Hole in the Sky 11:24 Snowblind 18:06 Symptom of the Universe 22:40 War Pigs 31:08 Megalomania 42:16 Sabbra Cadabra 1:01:36 Supernaut/Bill Ward Drum Solo 1:03:57 Iron Man/Band Jam 1:19:00 Black Sabbath 1:25:47 Spiral Architect 1:31:00 Embryo/Children of the Grave 1:37:02 Paranoid

 

Don Giovanni Records is issuing, for the first time ever, a vinyl release of the 2013 long out of print cassette-only recording “Chalk Tape” by Screaming Females. Pitchfork called the EP “some of the hookiest, most melodic songs Screaming Females have ever recorded” in their original review of the EP. Screaming Females is a three piece rock band from New Brunswick, New Jersey. We have been writing, recording, and touring with one another for 13 years.

Initially released in a limited run of just 100 cassette copies, Chalk Tape was available and sold at only one show (at which it sold out immediately) in 2013, which was the first show back for the band after a six-month hiatus from touring and performing. It has not been available in any physical format since then.

The EP’s genesis came after an extended period of touring inactivity while guitarist/vocalist Marissa Paternoster was recovering from a severe illness. The band worked on the seven songs that would make up Chalk Tape as a writing and collaboration exercise to keep creative energy fresh, following up 2012’s Steve Albini produced 2xLP Ugly.

http://

Chalk Tape has existed outside the official canon of Screaming Females’ catalogue since its release, though it is a unique document of a band concurrently writing, recording, and performing in real-time and capturing of their songs as they were being created.

This vinyl run of Chalk Tape is now exclusively available for a limited pre-order, and in the spirit of the EP’s initial limited release, will only be available via this pre-order until July 26th. Vinyl pressing time is unpredictable these days but these are projected to ship in late October/early November.

Pitchfork called Chalk Tape “some of the hookiest, most melodic songs Screaming Females have ever recorded” in their original review of the EP.

Initially released in a limited run of just 100 cassette copies, Chalk Tape was available and sold at only one show (at which it sold out immediately) in 2013, which was the first show back for the band after a six-month hiatus from touring and performing. It has not been available in any physical format since then.

Releases November 9th, 2020

This vinyl run of Chalk Tape is now available for a limited pre-order, and in the spirit of the EP’s initial limited release, will only be available to order until July 26th and we are only making as many as pre-ordered. Vinyl pressing time is unpredictable these days but these are projected to ship in late October/early November.

In advance of the release of “That’s Why We’re Running Away”, the new album from the Roadside Graves, their first new music for five years, we recently shared the excellent album opener “Sit So Close”. 

Roadside Graves have carved out a small and strange piece of musical territory over the course of their nearly twenty years together. Their sound emerges as much from their longstanding friendships and personality quirks as it does from their eclectic musical influences. That’s Why We’re Running Away was engineered and mixed in Brooklyn, NY by Robert Lombardo and mastered at Strange Weather by Daniel Schlett. On this new record, the group has created a cycle of songs about acceptance – the struggle to accept defeat and loss, and whether to give up peacefully. It’s about finding comfort in seeing the reality of a situation and reckoning honestly with your own part in it. If the question is acceptance, one answer then is to run away – not alone, but together. This a record about living in the tiny space between “I want to leave” and “I want to believe.”

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Released May 22nd, 2020

All Songs written by Roadside Graves.
Colin Ryan: drums, percussion, vibraphone
Dave Jones: bass
Jeremy Benson: guitars, violin, harmonium, keys
John Gleason: vocals
John Piatkowski: electric piano, organ, synths
Guest vocals by Renee Maskin and Dana Sellers

Last Friday, the record was officially released and so that seems more than enough reason to share two more tracks from the record, which on first few listens, is just another very fine example of their reflective and compelling Americana.

So check out the gentle There Was A Way, and the mournful piano lament Dead Kids from the record, which you can order from Bandcamp here.

Hello & welcome. this recording marks a record of the recent past when people could gather together by the hundreds. I also see it as a note from a future where people will gather & applaud again. the crisp percussive clatter of all those hands, people chatting to their friends or people they just met, going “woo,” singing along—it’s very surreal & nearly heartbreaking to hear now, the tapping dents & divots of rain against my bedroom window, skylit & glowing overcast tonight. it’s a sideways smile hearing so many people together but a smile nonetheless. & singing all in the first person! the first person plural? what should we call this? grammar has generously bent open for us to make room for something momentary we might call “the communal i.” —a line of people, their singing heads in the tungsten floating sweetly over their shoulders, shoulder to shoulder, singing stretched-out vowels in unison, affirming together our collective intent to try to be better to ourselves, to those we know, & to those we don’t know. thank you to anyone who came to these concerts! thank you to anyone listening now. we appreciate you all so much & look forward to playing music again for you soon. <& stay safe, much love. Evan Stephens Hall

all proceeds from this pay-what-you-want record will be donated to the MusicCares COVID-19 Relief Fund. this fund provides relief for musicians & for professionals across the music community, including concert crew members, many of whom are fully out of work due to this crisis. this charity is run through an American organization, so if you live elsewhere & you’d like to donate to something local, we invite you to download the record for free & make an independent donation! here are a few suggestions, & please help us with this list if you know of other worthy music industry support funds around the globe!

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all songs written by Evan Stephens Hall, released April 21st, 2020

recorded between January 17th – February 23rd, 2020
performed by:
Evan Stephens Hall (vocals / guitar)
Josh Marre (guitar / vocals)
Sam Skinner (guitar / keyboard / percussion)
Nick Levine (guitar / pedal steel / vocals)
Megan Benavente (bass / vocals)
Zack Levine (drums / vocals)

Image may contain: 2 people, people standing and outdoor

Indie-pop punks Candy Hearts changed their name to Best Ex in 2017, and they’ve been changing their sound to something a little more synth poppy too. You can very much hear that on these two songs off their upcoming EP Good At Feeling Bad, due May 22 via No Sleep.

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Formerly fronting the awesome punky-poppy outfit The Candy Hearts, the chance signing of Mariel Loveland’s incredible new project ‘Best Ex’ came about with not some small level of involvement from former Kerrang Ed James McMahon. Introducing us to her on Twitter, we soon realised we were mutual fans – so it seemed a natural step really, especially once we’d heard her sensational EP ‘Ice Cream Anti-Social’!

Written in an introspective kick after seeing her friend’s band play a great show, making her think of the struggle they’d all been through to make something of themselves, singer-songwriter Mariel Loveland called the song “a sort of anthem to the most insecure parts of myself — the parts that felt like the best I could do was never really good enough.” Demonstrating open-book lyricism coupled with dance arrangements, Best Ex is very much a reflection of Mariel’s coming into her own as both a person and musician.

Ice Cream Anti-Social is a glistening artistic re-imagination for Mariel and only the beginning of this fine new project, which has taken the heartfelt lyricism and hooks from her previous punk leaning work and brought them into looser, poppier arrangements. ‘Girlfriend’, the first single released under Best Ex, was called a “synthpop jam” and “DIY pop charmer” by Billboard (where it premiered last month) and Substream said “the name change comes with a new sound that is downright impossible to resist.”

Songs like ‘February 4th’ and ‘See You Again’ retain some of the more guitar-involved sound of past work, with the former a softer, string-backed ballad and the latter combining the more electronic-leaning sound of Best Ex with some of the rock influence that many associate with Mariel. The EP-closing track ‘Jellyfish’ fittingly features just Mariel singing over a ukelele, bringing a record that explores a lot of sound and emotion to a close with the most intimate spotlight on the words and music of the songwriter at the heart of it all.

For a while, it looked like Brian Fallon was riding a wave to superstardom. The Gaslight Anthem, the New Jersey band he fronted, had graduated from playing dirty punk basement shows in New Brunswick to touring around the world in support of their breakthrough second record, 2008’s The ’59 Sound. By mixing their punk roots with driving, heartland rock influences, but also throwing in a little soul-searching tenderness along the way, The Gaslight Anthem tapped into a sound that was familiar—but which they also made very much their own. Even fellow New Jerseyian Bruce Springsteen wasn’t immune to their charms—not only was he a fan, he also shared the stage with the band numerous times, aiding their growing popularity.

And yet, despite—or partly because of—the success of his band, Fallon found himself struggling. He wasn’t happy. He didn’t like the amount of attention he was getting as a result of the group’s rising profile, and his personal life was falling apart. In 2015, just under a decade after the band was founded, they went on hiatus. And while the The Gaslight Anthem did reconvene for a brief tenth anniversary tour of The ’59 Sound, Fallon has been busy pursuing a solo career since the hiatus began.

While his first two solo records, 2016’s Painkillersand 2018’s Sleepwalkers, weren’t too distant musically from the emotionally charged, nostalgia-ridden heartland rock of his band, Local Honey is a more stripped-back and folky affair. With only eight tracks, it has the perspective and wisdom of someone who recently turned forty, who’s now a father, and whose rock ‘n’ roll dreams—dreams that were essentially forced upon him—no longer occupy the same space in his heart. It is, as he explains, a step in a different direction both musically and lyrically, but the new record also finds Fallon incredibly comfortable in his own skin as someone who is finally able to take stock of his life and what it means.

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Released March 27th, 2020