Posts Tagged ‘New Jersey’

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.

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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)

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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

Pinegrove

This month the New Jersey alt-country outfit Pinegrove will share “Marigold”, the group’s debut on their new label, Rough Trade Records, and the announcement arrived with a single and video for one of its tracks, “Phase.” “Phase” feels like a return to the Pinegrove’ former sound on their acclaimed record, Cardinal. In it, there’s a driving drum beat and palm-muted guitar setting the stage for frontman Evan Stephens Hall’s ardent yelps. The restrained verse builds to a chorus where everything comes to a crescendo at Hall’s cry of “I’m torn right through / Divided right in two.” There’s some fantastic slide guitar fills within, giving the track Pinegrove’s signature almost-country feeling. Pinegrove took a year-long hiatus after Hall issued a statement in response to an allegation of “sexual coercion” made against him in 2017. Since then, their self-release of Skylight in 2018 and new record deal with Rough Trade have shown the group attempting to put those events behind them.

Taken from Pinegrove’s new album ‘Marigold’, coming January 17, 2020 on Rough Trade Records.

Francie Moon is, at this point, a New Jersey institution, a force creating balls-out rock n roll that is at turns, psych, garage, and punk, imbuing it with urgency and confidence.” Alternating between raging and chill, “All The Same” shows off both sides of their personality, a duality that feels immediate and lasting. Culled from their newest 3-song 7″ vinyl and expanding it with 5 more tasty tunes, All The Same is required listening.

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Another incredible album by Francie Moon following on from 2017’s So This Is Life.
On All The Same Melissa Lucciola turns the amps up higher and the album is full of guitar pyrotechnics, Melissa throwing out Hendrix and Neil Young style licks with abandon. There are blistering instrumentals and tightly crafted garage/psych bangers aplenty and Melissa’s voice sounds as expressive and striking as ever.
One of the most exciting independent artists on the scene

Released September 21st, 2019 Recorded to cassette between 2016-2018 at The Shed in Stockholm,NJ.

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From their humble beginnings in Lodi, New Jersey in 1977 as a garage band to selling out Madison Square Garden in 2019, the Misfits remain one of the most important bands in the history of punk. blending punk and other musical influences with horror film themes and imagery.
Founded in 1977 by vocalist, songwriter and keyboardist Glenn Danzig, and drummer Manny Martínez. He named the band after actress Marilyn Monroe’s final film, The Misfits Eventually Jerry Only joined on bass guitar and Danzig and Only were the only consistent members throughout the next six years, during which they released several EPs and singles, and with Only’s brother Doyle as guitarist, the albums “Walk Among Us” (1982) was released in March 1982 through Ruby and Slash Records. It was the first full-length Misfits album to be properly released, and the only album to be released while the early incarnation of the band was still active. “Earth A.D./Wolfs Blood” (1983), both considered touchstones of the early-1980s  punk movement.

Heavyweights such as Metallica, Green Day, and Rob Zombie site the Misfits as an influence. Even pop-punk acts such as My Chemical Romance, Alkaline Trio, or Blink 182 wouldn’t exist without the inspiration. Combining elements of hardcore, gothic imagery, and campy horror movie aesthetics, their sound is just as important. Even if you’ve never listened to a single track, odds are you’re familiar with the iconic “Crimson Skull” badge that adorns all their merchandise. It’s arguably just as recognizable as the Rolling Stones’ lips emblem.

Despite their influence and importance, the Misfits don’t have a large body of work.

Without counting the releases recorded after 1983 (the Jerry-fits are weak and the less said about the Michael Graves-lead variation of the Misfits, the better), they only released 2 full-length albums and a handful of singles/EPs. If you’ve never listened to the Misfits but want to know what the fuss is all about,

here are 10 songs that perfectly sums up the experience. 10 songs is a considerable amount of music for a band with under 40 songs! , If you like these songs, you’ll probably be interested in the plethora of music Glenn Danzig was responsible for post-Misfits.

10. “Death Comes Ripping” – Just like the intro to each of the modern reunion shows, “Death Comes Ripping” opens the show with rapid-fire drums, chaotic guitars, and faux-goth lyricism. I can’t think of a better introduction to the world of the Misfits.

9. “Attitude” – There’s an indescribable satisfaction hearing an up-beat pop-punk guitar riff behind lyrics of anger, frustration, and violence as the answer. If you’ve never sung this at the top of your lungs to release the tension of an unforgiving workday, you’re not me.

8. “Where Eagles Dare” – Continuing the theme of major chords and pent up aggression comes this charming little diddy about standing up to the oppression society inflicts on its people. In fact, it just might be the most punk of punk songs ever recorded!

7. “Cough/Cool” – Despite being such an important punk band, the Misfits utilized atmosphere far more than guitars. With keyboards and synthetic rhythms as it’s fuel, “Cough/Cool” is closer to the likes of early Ministry or Depeche Mode (who’d show up long after this song was recorded).

6. “London Dungeon” – Equal parts goth and surf, “London Dungeon” is a black-eyed love song recounting the infamous story of the band being arrested for accusations of grave robbing and thrown in jail while on tour in the UK. This description is textbook Danzig and I adore every second of it.

5. “Die, Die My Darling” – The kiddies will recognize this by the Metallica cover years. And while those dudes do a serviceable version of “Die, Die My Darling”, nothing compares to the atmosphere and raw emotion Glenn and the boys offer up here. As a kid, I always thought the keyboard or guitar riff  (whatever it is doing that beeping sound) was emulating a heart monitor, especially as it fades then abruptly stops at the end.

4. “Hybrid Moments” – As a strong contender for one of their most recognizable melodies, this song sounds just as powerful now as the very first time I heard . It’s not only one of my favorite Misfits tracks, its probably one of my favorite songs period.

3. “American Nightmare” – They don’t call Glenn Danzig the Evil Elvis for nothin’. There really isn’t much more I can say about this track. If you dig old school rock n’ roll seasoned with murderous imagery and gothic swagger, this should be your favorite song

2. “Last Caress” – No matter what anyone says, who compiles it, or who listens, there can’tbe a list of iconic Misfits songs without “Last Caress”. It’s ugly, offensive, and magical when singing along in public while getting all sorts of dirty looks from your peers.

1. “Astro Zombies” – Early 60s chord progression, lyrics referring to a campy B movie, and the most satisfying “whooaaaahs” of any song ever recorded, “Astro Zombies” may not be the best song from the Misfits, but it definitely sums them up in just over 2 minutes. Every sensational second of this song properly represents everything I’ve loved about this band since the moment I was introduced to them all the way to the time I’ll be laid to rest.  Its the perfect combination of IDGAF attitude, ferocious energy, and unmistakable attitude. All presented with a certain self-aware wink as if they’re having just as much fun playing it as we are listening and singing along. If I had to pick a single track to introduce someone to the Misfits, it would be, without question, “Astro Zombies”.

If this playlist is your first introduction to the Misfits, I hope you have a good time as I did when I was first introduced to them.

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New Jersey band Pinegrove has announced that their new album “Marigold” will be released on January 17th, 2020, via Rough Trade Records. This announcement comes paired with the release of new song “Phase,” the second song released from the album following the album’s first single “Moment,” .

“Phase” has that now-signature urgent and emotional Pinegrove sound, packing a lot in it’s 2 1/2-minute runtime. Evan Stephens Hall wrote the song about those times you’re desperately trying to sleep but you can’t because your mind is racing with different ideas and anxieties.

The official music video captures this idea in a humorous fashion, which was directed by Colin Read. Find it posted below, along with the Marigold tracklist and some newly announced tour dates.

we’re also real psyched to report that we are working with Rough Trade Records! they’ve been terrific to work with so far & it’s an honor to be on their roster. may we also say! our tour is coming up—beginning, in fact, next week! we’ll be playing this song “moment” & perhaps some other new ones out there on the dusty trail.

28-Mar-20 Dublin, Ireland @ The Grand Social
30-Mar-20 Glasgow, UK @ SWG3 TV Studio
31-Mar-20 Manchester, UK @ Academy 2
01-Apr-20 Bristol, UK @ SWX
02-Apr-20 London, UK @ Electric Ballroom

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It’s probably too late now to assign a Song of the Summer 2019, but “Bummer” makes for the perfect anthem to a long-anticipated crack-up in the waning days of August. Weezer-y guitars quickly make way for a desperate, shouted chorus, screeching guitars, and a breakdown I have literally considered writing home about if my parents had any idea what in Henry Rollins’ name slam dancing is.

“Bummer” by Save Face from the Save Face / Graduating Life Split, available 12th September.