Posts Tagged ‘public Access TV’

Nestled in the middle of latest album Street Safari is “Lost in the Game,” a tongue-in-cheek, poppy dive that has Public Access TV lead John Eatherly lackadaisically singing “So what, who cares, goodbye” so often that you, too, will feel the same way. It’s a carefree, buoyant track driven by an understated bass line and surprise brass, a song fit for a dance hall in any of the last 4 decades

The official video for “Lost in the Game” off Street Safari.

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Among our favourite New Yorkers, Public Access TV, go for the ‘difficult second album’ with the release of ‘Street Safari’ next month – the follow-up to their debut album ‘Never Enough’ two years ago.

Public Access TV have announced plans to release their new album ‘Street Safari’ in early 2018.

The band have confirmed they’ll release the follow-up to their ‘Never Enough’ debut in February, and have also firmed up plans for a full UK and European tour to coincide.

“I think it’s a cop-out to say that this is our mature album, or whatever cliche thing it is that bands say about their second album.” says frontman John Eatherly, in a press release. “There was no spiritual awakening or come-to-Jesus moment. We’re four young guys trying to figure our lives out, be good people, and a lot of the time find ourselves coming up short. The song is described by frontman John Eatherly as a “retrospective of our last teenage years after moving to NYC. ‘Livin’ that roach life’ is how we referred to our conditions. Fifty dollars a week income fuelling delusional self-indulgence. The golden years…”

Expressing this through songwriting is the challenge and I can only hope the deliverance.”

Prior to which, they have shared a new track from the record, ‘Lost In The Game’.,

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Kings Of Leon  – Walls

Multi-platinum selling rock band Kings of Leon return with their hugely anticipated seventh studio album Walls. The Grammy Award winning group decided to return to their recording roots in Los Angeles and worked with famed producer Markus Dravs (Arcade Fire, Coldplay, Florence and the Machine). Lyrically, the album touches on band members’ personal stories.

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Public Access TV –  Rebounder EP

The debut four track EP from New York’s most hyped and most loved band Public Access TV. Limited to just 500 copies and exclusive from Rough Trade Shops. Stand out track is ‘Middle Child’ which opens with a drum beat which cheekily apes The Stone Roses’ ‘I Am The Resurrection’ before settling in a noisy garage punk groove with a pop edge. In under three minutes Public Access TV prove they are a band waiting to cross into the mainstream.

Crocodiles  –  Dreamless

Moving both geographically (from San Diego to Mexico City in the case of vocalist Brandon Welchez) and stylistically (eschewing the more post-punk tinged origins of yore for a broader sweep of sound) the electronically-augmented sound of this sixth album may still be rooted in the ’80s, but it’s more akin to New Order in its melancholia and bold primary colours. Nonetheless he glam-tinged exuberance of this duo may still be present even if the Bunnymen-esque raincoat-brigade guitars aren’t. Ironically enough given it was an album inspired by insomnia, ‘Dreamless’ sounds for all the world like a bold new dawn for the band.

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Jagwar Ma –  Every Now and Then

Since the release of 2013’s ‘Howlin’ Jagwar Ma have played sold out shows across the world and supported the likes of Tame Impala, The xx and Foals, filling festival tents and clubs alike with their explosive, hypnotic live performances, not to mention legendary DJ sets – most recently illustrated through their televised Park Stage performance at Glastonbury, and a raucous closing DJ set at the Crows Nest the same weekend. Now the song-writing duo of multi-instrumentalist and producer Jono Ma, singer and guitarist Gabriel Winterfield return with their second album ‘Every Now and Then’. The new record returns to the melody soaked nods to club culture and instantaneous vocal hooks they’ve become well known for, but has also seen them employ their passion for the Beastie Boys, citing this eclectic album as their ‘Paul’s Boutique’. Overall this stunning record encapsulates the band at their most entrancing and anthemic – a wig out of oscillating acid bassline, ricocheting dub-fused guitars and heady pop psychedelia bathed in strobe-lit sonics. It was self-produced and recorded in the United Kingdom, Australia and France, then tweaked and mixed with the assistance of some of their brightest contemporaries, James Ford (Florence and The Machine, Arctic Monkeys), Blue May (Kwes, Kindness), Ewan Pearson (LCD Soundsystem, Chemical Brothers) and David Wrench (Caribou, FKA Twigs, Glass Animals).

Big Star –  Complete Third

Omnivore does an in-depth vault dive into the creation of Big Star’s Third for a new 3-CD box set.  Complete Third includes every demo, rough mix, outtake, alternate take and final master from the Third sessions known to exist. The 69 tracks on this set represent the culmination of a decade-long search to assemble all extant recordings for the album originally released in 1978.  Some alternates and demos have appeared on various compilations over the years, but this first-of-its-kind collection presents every track in context – including 29 never-before-released tracks captured by producer Jim Dickinson and engineer John Fry.

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The Growlers – City Club

The Growlers are an American band formed in Southern California who’s sound has been described as a trademark style of music, effortlessly managing to combine eclectic elements of country, lo-fi punk, surf/psych/garage rock, Tex-Mex, and slacker/stoner/skate culture into something that is uniquely their own. Known for their relentless touring schedule and DIY work ethic, the band is one of the most exciting independent success stories of recent years. The band has toured with The Black Keyes, Dr. Dogg, Devendra Banhart, and Jonathan Richman, among others. The album is produced by Julian Casablancas the first he has produced).

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Gurr  –  In My Head

When two best friends start a band, songs get filled with inside jokes. In My Head takes the listener on a journey of Andreya Casablanca and Laura Lee’s friendship, their life, and a step further into the world of GURR. Having met in an American Studies class in Berlin, and after spending time in the US together, the US West coast sound was an obvious influence on their music, but Andreya and Laura draw from a wide set of pop culture references and personal experiences for their debut album. First Wave Gurrlcore they call their own genre, always with a slight and acknowledging nod to riot girl culture and yet stressing that they want to invent their own style – they pair straightforward garage rock tunes with more psychedelic and wave elements on their debut album. “We didn’t start making music because of Kathleen Hanna,” explains singer Andreya Casablanca. “Musically we were more influenced by bands like Gun Club, Echo & the Bunnymen, the B52s or classics like the Ramones and Beatles.”

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La Femme – Mystere

Direct from the Parisian overground, French pop connoisseurs La Femme will release their second album Mystère this week. La Femme have made a huge mark on modern Paris’s cultural landscape, by engraining in their music the two sides of the city : the glamour and the grit. Returning with a more psychedelic sound and numerous female guest vocalists that slice through the starkest of electro beats, La Femme celebrates their wonderful city and tackles the enigmatic questioning of falling in and out of love. Mystère is indeed a compendium of short stories describing loves and losses and each song breaks down language barriers through an inventive and astute knack for melody. The band’s chic retro-futurist surf-pop sound possesses the same dose of glamorous punk stomp as before, but this time around it’s layered with an elegant fusion of influences from Ennio Morricone, Marie Et Les Garcons’s disco-rock touch and the lysergic romanticism of The Velvet Underground. Through increased use of strings and further exploration of sound, Mystère also incorporates the band’s new love of oriental sounds, Turkish disco, Tuareg blues, medieval psychedelia to mainstays Brian Eno and Pink Floyd.

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Las Kellies  –  Friends And Lovers

Following the release of ‘Total Exposure’ the fiery Argentinian Riot grrl group Las Kellies return with new album ‘Friends & Lovers’. Inflected new wave post-punk blends garage-psych with infectiously deft dance beats and melodic pop. ‘Friends & Lovers’ fuzzed-up gems sees them move away from the heavier dub sounds of their last record instead sinking their teeth into a groove like Thee Oh Sees with the spirit of ESG and Delta 5. Rupturing with dance floor classics like ‘Sugar Beat’ and ‘I Don’t Care’, they effortlessly move into sun-soaked psych-pop tunes (‘Summer Breeze’, ‘Sun Goes Down’) with slow grooving honeyed tones, shimmering guitars and propulsive percussion. Produced by Iván Diaz Mathé (credits include Lee “Scratch” Perry & Mad Professor), who’s worked on their previous records.

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Josefin Ohrn + The Liberation –  Mirage

Having already been nominated for a Swedish Grammy with their debut EP, Diamond Waves, their full-length 2015 debut on Rocket Recordings, Horse Dance, marked out a territory in which beguiling repetition could sashay with sweet pop suss, melodic flourishes with experimental intensity, and it was summarily rapturously received on arrival, making new fans and earning them appearances at Roskilde Festival and Eindhoven Psych Lab. Their second effort Mirage, which follows a mere year after its predecessor, sees the band sculpting sprawling, hypnotic jams into elegant nocturnal serenades. “We agree on not remembering very much about how these tracks came about, that all of them were written on the road and that most of them came fully formed” note the band. “Most were really long to begin with, but we found it relieving to break away a bit from the mandatory psych jams a little bit. We also just realised that none of them were written in daylight, which might be why memory is so elusive.” Indeed, this hypnagogic approach seems to fit well with the primary inspiration for the five-piece, which centred on ‘the state where dreams, visions and the present are entwined’ .Mirage sees the band taking a chic tradition of avant-pop that extends all the way from Serge Gainsbourg and Françoise Hardy to Broadcast and Saint Etienne, and warping it mercilessly to their own darker ends. Whilst the brooding yet sultry ‘Sister Green Eyes’ is no less than a sharp slice of velveteen motorik-pop and ‘Looking For You’ reinvents three-chord garage-rock attack with mighty finesse, The Liberation are just as comfortable dealing out the heavy-lidded and electronically-driven ‘In Madrid’ or the dive in the hallucinatory deep end of ‘Circular Motion’, on which they’re aided and abetted by Lay Llamas’ Nicola Guinta. The seductive splendour of these ten songs åmake manifest a parallel world of disorientation and deliverance in which one would be a fool not to want to languish adrift . Fresh excitement for the band lies in wait, courtesy of a UK tour with Goat and an appearance at Liverpool International Festival Of Psychedelia. Limited holographic mirrorboard sleeves.

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Thurston Moore  -Chelsea’s Kiss

Cassette Store Day 2016 Release. 2 Tracks / 16 Minutes. Double sided printed extended j card.
Edition of 1000. Sonic Youth’s Thurston Moore and Brooklyn-based drummer Ryan Sawyer along with UK-based members of Thurston Moore Group: bass player Deb Googe (also of My Bloody Valentine) and guitarist James Sedwards (also of Nøught) met up in the studio to record these songs offered here to support the campaign to Free Chelsea Manning. Partial proceeds of the sales of this cassette will support the Chelsea Manning Support Network (chelseamanning.org), and will be earmarked for the defence of Army Pvt. Chelsea (formerly Bradley) Manning. Former Private Manning was sentenced to thirty years in military prison for sharing the video of a US helicopter attack that killed a dozen Iraqis, exposing US State Dept. cables, the “Iraq War Logs”, and the “Afghan War Diaries” with the WikiLeaks website.

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Josienne Clarke and Ben Walker – Overnight

British Folk duo Josienne Clarke and Ben Walker have risen to star status lately on the English acoustic scene, earning last year’s Best Duo award from the BBC Folk Awards and across-the- board praise for two self-released albums, most recently ‘Nothing Can Bring Back The Hour’, with its lush single ‘Silverline’. While The Guardian anointed them “chamber folk” (they certainly cut their teeth in that thriving part of the UK music scene), Clarke is an unusually compelling singer, sharing more in common with Sandy Denny, Gillian Welch, or even Nina Nastasia and Laura Marling, than your usual staid folk artist. Walker is a prodigiously talented guitarist and arranger and the two of them are engaging and often funny in a live setting where, in addition to their own songs, they choose covers brilliantly, from Denny, to Jackson C Frank, to Nina Simone, to death-obsessed traditional ballads. Clarke and Walker Rough Trade debut album brings bigger, more modern arrangements and production to their beautifully-wrought songs and Clarke’s tremendous voice.

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Dusk is the third album from London-based duo Ultimate Painting, a ten song set that expands the group’s sound from their self-titled debut and their critically acclaimed sophomore effort Green Lanes, about whose tunes Pitchfork raved their “deceptively simple interplay slowly worms into your synapses…” Dusk heads along the same path, albeit in a slightly different direction, forging to new territory by heading inward. Most groups would kill to have one talented songwriter in their ranks, but Ultimate Painting are lucky enough to be comprised of two singular voices in Jack Cooper and James Hoare.

The pair’s distinctive songwriting styles began to blur a bit with Green Lanes, but on Dusk it ’s hard to tell where Cooper ends & Hoare begins. Their tunes weave in & out of each other like the duo’s respective six-strings, spiralling around each other in a laconic dance. Album opener ‘Bills’ dives head-first into a crystalline pool of jangle, furthering the duo’s rep as purveyors of the Verlaine/Lloyd legacy, but despite the evident influence of American guitar pop both past & present, the group’s recorded an album that feels decidedly English. Cooper’s abstract poeticism balanced perfectly alongside Hoare’s alluring & universal pop leanings. The group’s discovered a simple lushness in Dusk’s arrangements, sometimes only with subtle additions like Hoare’s recently acquired Wurlitzer piano that drives tunes like ‘Lead The Way’ or washes underneath others like ‘Monday Morning, Somewhere Central’. They’ve tapped into the subtle grace that infects the mood and emotions experienced at times like sunrise & dusk. Hopefullness. Resignation. Ennui. A breathing in. A breathing out.

Dusk was once again recorded to tape by guitarist James Hoare in his London flat. The casual setting allowed the sessions & songs to unfold naturally, with the two of them accompanied by recent live drummer Melissa Rigby, who drums on the entirety of Dusk. Her skills lend a rhythmic elasticity to songs like ‘A Portrait of Jason’ and ‘I Can’t Run Anymore’, with jazzy undertones that break from the band’s previously unadorned 4/4 leanings. Dusk feels different and cements the group’s presence in the modern world guitar pop, finding voice in the allure of quietude.

Image of Jenny Hval - Blood Bitch (Bonus Disc Edition)

Norwegian artist Jenny Hval announces the release of her new album, Blood Bitch via Sacred Bones. Co-produced with acumen noise producer Lasse Marhaug, Blood Bitch is in many respects a complete 180° from her last album, Apocalypse, Girl, in subject matter, execution and production. It is Hval’s most focused album, but the lens is filtered through a gaze which the viewer least expects.

In the words of Jenny Hval: “Blood Bitch is an investigation of blood. Blood that is shed naturally. The purest and most powerful, yet most trivial, and most terrifying blood: Menstruation. The white and red toilet roll chain which ties together the virgins, the whores, the mothers, the witches, the dreamers, and the lovers. Blood Bitch is also a fictitious story, fed by characters and images from horror and exploitation films of the ’70s. With that language, rather than smart, modern social commentary, I found I could tell a different story about myself and my own time: a poetic diary of modern transience and transcendence. There is a character in this story that is a vampire Orlando, traveling through time and space. But there is also a story here of a 35-year old artist stuck in a touring loop, and wearing a black wig. She is always up at night, jet lagged, playing late night shows – and by day she is quietly resting over an Arp Odyssey synthesizer while a black van drives her around Europe and America. So this is my most fictional and most personal album. It’s also the first album where I’ve started reconnecting with the goth and metal scene I started out playing in many years ago, by remembering the drony qualities of Norwegian Black Metal. It’s an album of vampires, lunar cycles, sticky choruses, and the smell of warm leaves and winter.”

Jenny Hval has developed her distinct take on intimate sound since the release of her debut album in 2006. For her last two solo albums, 2013’s Innocence Is Kinky and 2015’s Apocalypse, girl, Hval has received thoughtful and widespread international acclaim for her fascinating voice, singular delivery and markedly non-traditional arrangements which incorporate elements of poetry, prose writing,
performance art, and film. She eloquently brings to light issues of both male and female gaze.

Warehouse -

Atlanta’s Warehouse will release their sophomore album, Super Low, at the end of the month by way of the Brooklyn-based label Bayonet. This is welcome news, since we named Warehouse a Band To Watch last year based on the strength of their unconventionally catchy debut LP Tesseract. We’ve heard a few singles off of super LowReservoir and Simultaneous Contrasts and today we’re premiering the title track. While Warehouse was recording Super Low, Elaine Edenfield was coping with a personal loss, which affected her creative process tremendously. She describes feeling “Super Low” as follows:

Super Low is about near loss, loss, and fear of loss. The slowest song, leaning towards the album’s most heavy subconscious undertones, Super Low is the coming to a point of resolution, understanding, and maturation.

Though this song was born of trauma, it’s not an upsetting first listen. There’s so much life in “Super Low” that it’s hard to fathom this song is about death until you listen carefully to Edenfield’s lyrics. Still, her words are resilient: “I can’t destroy the things/ They keep me alive/ And I can’t destroy the things/ That lead to where you lie.”

Image of Public Access TV - Never Enough - Bonus Disc Edition

Having successfully nabbed the attention of NME early on, with the magazine singing their praises after uploading just one song to SoundCloud and declaring them “New York City’s hottest new band”, the group played their first live show at the legendary East Village bar Niagara, to a packed crowd before heading to England to hone their sound.
Touring under the fake band name “The iLL Herbs’ their run of UK shows was a huge success, culminating in their performance at The Great Escape Festival in Brighton.
The band have more recently played both the Bonnaroo and Governor’s Ball Festivals. In addition, both NME, and Entertainment Weekly declared the group one of the “buzziest” bands at SXSW this past year. The band also played a sold-out NME show at Birthdays in London this February, as well as a number of support slots for The Strokes, Hinds, FIDLAR and Palma Violets.

Image of Ian Sweet - Shapeshifter

IAN SWEET’s indie pop packs the personality that [Hardly Art] is known for, spinning conventional rock band setups into output that is unconventional.”

“They’ve relocated across the USA, gone on three tours, eaten a lot of donuts, climbed rocks and worn crocs.”

“The unmistakable voice of singer Jillian Medford is a force that stands all on its own.”

“I have a way of loving too many things to take on just one shape,” Jilian Medford sings over and over again on the title track of the Brooklyn-based band IAN SWEET’s debut album, Shapeshifter, repeating it like a mantra. This is Medford’s thesis statement, a narrator to carry us through Shapeshifter, which is above all else a meditation on loneliness and displacement. It’s about losing love and your sense of self in the process, about grabbing at the little things in life that bring joy when nothing else is going according to plan. It’s also an ode to the bandmates, and the friends, that see you through. Ian Sweet started in 2014 with a string of text messages. Medford was a few days away from embarking on her first tour when the driver and drummer she recruited cancelled. Medford sent Ian Sweet drummer Tim Cheney  whom she barely knew a series of desperate messages, asking if he knew how to drum and whether or not he would be willing to take two weeks off of life to go on tour. Cheney responded soon after with a simple: “Yes.” Accompanied by Cheney and bassist Damien Scalise’s playful instrumentation, Shapeshifter becomes a celebratory purging, an album that finds humor in self-deprecation and vice.

Ian Sweets debut interrogates capital-e Existence through a candy-coated lens, their mathy precision scaffolding the chaos of Medford’s personal neurosis and turning those anxieties into something hook-laden and relatable. And though the narrative of Shapeshifter clings to an ex-lover, the yearning felt on this album isn’t directed at a particular individual so much as it’s turned inward. “You know the feeling. When you really like someone, you forget to do anything for yourself, you forget all of the things that gave you your shape,” Medford says. “The things that form your absolute.”

Image of Various Artists - Liverpool International Festival Of Psychedelia Presents PZYK VOL.2: Further Adventures In The PZYK Diaspora

Liverpool International Festival of Psychedelia are thrilled to announce the release of PZYK Vol.2 – a deluxe triple vinyl compilation celebrating the latest stars in the neo-psychedelic firmament.

The release comes one year on from the original, scene defining release PZYK Vol.1, which was named Piccadilly Records ‘Compilation Of The Year’. Featuring a mix of exclusive tracks, re-mixes, rarities and album cuts, the compilation spans and charts the global PZYK diaspora, with artists from around the world contributing to an international selection comprising 30 of the current movement’s key noisemakers.

Festival headliners SUPER FURRY ANIMALS are featured, as are The Horrors with a scintillating cut from TOM FURSE. The compilation again celebrates the internationalism of the neo-psych underground, with appearances from KIKAGAKU MOYO (Japan), DUNGEN (Sweden), PURE PHASE ENSEMBLE (Poland), ZOMBIE ZOMBIE (France), THE GANJAS (Chile) and 10,000 RUSSOS (Portugal), to name but a few.

All the artists featured on the release have performed at Liverpool Psych Fest.

Image of Bon Iver - 22, A Million

22, A Million is part love letter, part final resting place of two decades of searching for self- understanding like a religion. And the inner-resolution of maybe never finding that understanding. The album’s 10 poly-fi recordings are a collection of sacred moments, love’s torment and salvation, contexts of intense memories, signs that you can pin meaning onto or disregard as coincidence. If Bon Iver, Bon Iver built a habitat rooted in physical spaces, then 22, A Million is the letting go of that attachment to a place.

Image of Pixies - Head Carrier

Sophomore ‘post reunion’ album from the alt-rock four piece, their first new music since 2014’s Indie Cindy.

This 12 track record showcases the band’s unique mixture of surrealism, psychedelia, dissonance + surf rock.

Produced by Tom Dalgety (Royal Blood, Killing Joke) and recorded at London’s Rak Studios.

Paz Lenchantin, the band’s touring bassist since early 2014 (and previously a member of A Perfect Circle and Zwan amongst others) is now a permanent member of the band and her cool vocals can be heard on the album, most notably on ‘All I Think About Now’ on which she takes the lead.

Image of The Wytches - All Your Happy Life

The Wytches second album All Your Happy Life draws on a lifetime’s worth of new experiences shoehorned into two whirlwind years since their acclaimed debut album ‘Annabel Dream Reader’. There’s no difficult second album syndrome here. This black-hearted set is a combination of heavy comedown psychedelia and bilious and brilliant baroque ‘n’ roll. It’s portentous and scathing. Scabrous and bold. Utterly nihilistic.

Influences and inspiration is drawn from unexpected places – reading Tolstoy’s stories of dysfunctional relationships on the tour bus, digging the warm Hammond-and-acoustic tones of Elliot Smith, loads of underground metal band – but mainly it is informed by observing small town English life with new eyes, having traversed the planet on that first wave of success that followed their 2014 debut. It’s not so much the sound of the calm after the storm, but the howling vortex that follows in its wake.

All Your Happy Life marks a creative leap for The Wytches. Some might say it is the sound of a band finding their place in the world but really it is about world being allowed to enter the sphere of The Wytches – on their terms.

Image of Slaves - Take Control

Following on from the success of Slaves’ top 10 Mercury-nominated debut album ‘Are You Satisfied’, the duo mark their return with first single ‘Spit It Out’, an explosion of punk-rock fury that trails second album, ‘Take Control’. ‘Take Control’ was produced by one of the legends of early hip hop and New York punk, Mike D!!

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A statement from Drive-By Truckers’ Patterson Hood: “We are beyond thrilled to announce the release date of our new album ‘American Band’.

“These are crazy times and we have made a record steeped in this moment of history that we’re all trying to live through. We’ve always considered ourselves a political band, even when that aspect seemed to be concealed by some type of narrative device i.e. dealing with issues of race by telling a story set in the time of George Wallace or class struggles by setting ‘Putting People On The Moon’ in the age of Reagan.

“This time out, there are no such diversions as these songs are mostly set front and center in the current political arena with songs dealing with our racial and cultural divisions, gun violence, mass shootings and political assholery. Once again, there is a nearly even split between the songs of  and myself, with both of us bringing in songs that seem to almost imply a conversation between us about our current place in time.

“‘American Band’ is a sort of rock and roll call to arms as well as a musical reset button for our band and the country we live in. Most of all, we look at it as the beginnings of some conversations that we, as a people very much need to begin having if we ever hope to break through the divisions that are threatening to tear us apart.

“Drive-By Truckers are celebrating our twentieth anniversary as a band in an election year where some people are trying to define what it is to be American. Definitions based on some outdated ideology of prejudice and fear. We are loudly proclaiming that those people don’t speak for us. America is and always has been a land of immigrants and ideals. Ideals that we have often fallen short of achieving, but it’s the striving that has given us whatever claims to greatness we have had. That’s what America means to us and “We’re an American Band”.”

Image of The Wands - Faces EP

Scandinavian psych-rock outfit The Wands pinned themselves at the forefront of the European psych stage long ago with their previous efforts but the new Faces EP is certain to keep them sitting there comfortably. Dining on an influence of Nuggets-era rock and roll and Eastern acid-rock this is psychedelic music as it should be, underpinned by a nostalgic yearning but wholly innovative and equally addictive. Their latest cut is a much more dynamic and vivid effort and it’s immediately evident that The Wands are back with a clearer vision than ever with their vibrant and infectious psych. Whilst the groovy fuzzed-out guitars, otherworldly solos and tremulous vocals still echo a tripped out ode to the 60s and 70s psychedelic forefathers, the cosmic swell of synths and organs propel it with a contemporary and ethereal vigour.

Limited Copies come with a bonus 4 track CDEP the ‘Japan’ EP. Public Access TV finally unleash their debut album and it’s wall to wall hits central. It’s a modern new wave album that’s not afraid to take bits of the Strokes, Costello, Joe Jackson and Tom Petty and come up with something that is instant and joyous. The band had a buzz going ever since their first-ever Soundcloud upload and that din is only going to get bigger with the release of album ‘Never Enough’. Public Access TV are the kings of the chorus and this album will get stuck on your turntable.

Public Access T.V. are a band firmly planted in downtown New York City. Before they released their first song, played their first show, or even had a name, Public Access T.V. were a band. Best friends out every night together, sharing clothes, cigarettes, pocket change, and most importantly living together in a dilapidated East Village loft where they could stay up all night playing music… loudly.

“It wasn’t like ‘let’s start a band,'” 24-year-old singer and main songwriter John Eatherly says of the formation. “We already were playing music and hanging out together all the time. We were all doing different things, playing as hired guns for anybody just to pay the rent, and then one day I came in with these songs I wrote and we all just knew this was something we wanted to do for real.”

What followed was a whirlwind of activity; singles “Monaco” and “In the Mirror” along with last years Public Access EP, lead to critical acclaim, and tours in the US and UK supporting acts like Weezer and Gang of Four. Everything was moving on the correct trajectory when in April 2015, while PATV were on tour in California, they flicked on the TV to see live pictures of their Manhattan loft on every single news channel. It was on fire from a gas explosion and then collapsed into rubble.
“We wrote there, rehearsed, recorded, lived, everything,” says John. “It was home…and then it was completely gone.”
Demoralised and thousands of miles from NYC, PATV did the only thing they could think of. As John says: “We told our agent to book as many gigs as possible – because we didn’t want to deal with the reality of the situation. We actually had nowhere to go.”

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But, as things happened, that chain of events was to set PATV on an entirely new and fruitful path. Among those frantic gig bookings were a bunch of festivals in Europe, as well as dates with The Strokes, Fidlar and Palma Violets.

The group released their double A-side single “In Love and Alone” / “Patti Peru” last autumn to critical acclaim. “In Love and Alone” was debuted by Zane Lowe on Apple’s Beats 1 with him exclaiming, “We Love Public Access T.V.” and giving the track his signature stamp of approval by playing it twice in a row. This single as well as their follow up track “On Location” led to Public Access TV being one of the buzziest bands at SXSW this year… with both Entertainment Weekly and NME listing the group as one of the “Top 10 Best Artists” at the festival.
Also check out there Live in NYC session for Spotify

These New Yorkers, Public Acess TV, have been on the peripheries of the scene for some time now since we first saw them with ‘Monaco’. But when we all thought they were dragging their feet what was actually happening was a honing of their talent for sexy rock and roll, all revved up and seemingly ready to go for their debut LP Never Enough The first taste of that is new track ‘Sudden Emotion’.

When you add rock and roll to New York it is not only instantly and effortlessly cool but done via the modern age it gets an extra dimension of sexuality and a darkness unseen in other bands. ‘Sudden Emotion’ is all of that and more.A bouncing rhythm and the ever-present funk and disco beat allows the track to hum across the airwaves like and infection to be carried across your summer.

No, we didn’t mean that kind of infection. Although with Public Access TV that could also be very likely. Stay safe kids.

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Another New York act that I just adore, this lot stepped up their game recently with a brilliant single on Terrible Records called ‘In Love And Alone’ – culled from their debut album, it was one of the strongest guitar tracks of the past 12 months.

This track ‘On Location’ has an ecstatic, driving melody that pushes and pulls in all the right directions. Like all great garage anthems, from The Troggs to The Buzzcocks to The White Stripes, it serves to annihilate, and is a full-bodied gasp of trailblazing, chugging and relentless guitars.

“I remember writing it in a hotel room in Glasgow in late 2014,” says singer John Eatherly of the track. “I was very frustrated, feeling like different people wanted different things from me. The song is centred on a fictional character, but it’s also a reminder to myself to not give a fuck what others think when I know I’ve got something.”

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The best moments come in the three choruses, when the normally placid frontman almost completely loses it. Sounding more seething and exasperated each time, it serves as a lesson in the kind of stuffy punk frustration that made Elvis Costello so compelling back in the day, and not least because the rest of the band behind Eatherly manage to top even his burgeoning, yelping nihilism in the thrilling breakdown and subsequent ‘A Day In The Life’-style build two-thirds of the way through the track.

Strangely, considering everything else that’s going on in it, what ‘On Locationsounds like is the perfect album opener. But then again, so did Public Access’ TV’s previous track. And perhaps the one before. Maybe they’re on to something?  Public Access TV are one of a number of bands including Crystal Castles, Spring King, King Gizzard and the Lizard Wizard, Suede, Mystery Jets and Blossoms confirmed to play the NME Awards Shows 2016 with Austin, Texas next month.

They play London’s Birthdays on February 25th, supported by fellow up’n’comers Misty Miller and Strange Bones

Typically, we all find out about new music the old-fashioned way Public Access TV, however, entered our lives through the phenomenon called a “concert.” This is what it’s called when a band goes on a stage, in front of an audience, and plays their music on actual instruments. It is invigorating.

Public Access TV opened for current favorites Hinds at the Music Hall of Williamsburg in Brooklyn, and within the first 10 minutes, they converted us into fans. Their music is timeless rock packed with sing-along choruses, sharp guitars, and plenty of New York energy.

Their debut EP Public Access is out now, and they’ll be dropping their full-length album on Terrible Records next year.

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Can you introduce yourself? How did you get started? Where did the name come from?
I’m John and I’m the lead singer of Public Access TV. I picked the name because my friends and I used to always get fucked up and watch NYC Public Access TV late at night and sometimes even call in. The shows were so insane because they seriously let anyone have a TV show and do whatever they want on air. That whole vibe and concept of being an outlet “for the people” and not worrying about what other people are gonna think always stuck with me. Also I think it just sounds cool and different that the usual band names you hear. I wanted it to stand out.

What music are you guys inspired by?
I grew up listening to all my parents old records like The Beatles, Stones, Kinks, all the classic rock stuff. As I hit my teens I got into all the ’70s punk stuff like Buzzcocks, Richard Hell, Television, The Clash. All that stuff. I’m inspired by all of those bands still. Everyone else in the band is on the same page musically. In the van we listen to a lot of Velvet Underground and Bob Dylan.

We first saw you opening up for Hinds. How did that come about? What was the experience like?
That tour was amazing. We met them in London a year ago and just hit it off. We instantly felt like old friends. We would see them at places like SXSW or in Spain throughout the year and would always hang out and party. So when they asked us to support them on a full US tour we were beyond psyched. It was really the most fun we have ever had on tour. It felt like summer camp or something. We would stay at the same hotels, ride in each others vans, party every night. I love them all and miss being on tour with them.

My favorite night was probably San Diego. We all got to stay at this amazing house together and just raged. The next day we were all hungover together and watched that terrible movie Anaconda and went to the beach.

Is life on the road exhausting?
Even when things are stressful or there is a long drive or anything we always have a good time. I get to travel the world playing music with my best friends, so I try to always appreciate it and remind myself of how lucky I am. There are definitely some terrible hangovers though.

What do you think about the state of rock music and guitar bands in 2015? Seems like with pop, electronic, and hip-hop, there’s a lot of interesting new stuff happening in other genres, but we haven’t seen a lot of emerging rock bands pop up and catch on.
I think people in rock just follow such a dead model. Releasing an EP or single and then rushing out an album immediately is just so boring. People don’t really consume music like that anymore and every genre except rock has realized that. We’ve release a few singles so far and an EP, and we’ve been asked a lot where our debut album is… which drives me crazy. I want to put out an album as soon as possible, but I want it to be perfect and I want to have as many people listening as possible for when it comes out. The debut album is what you have to build towards.

I also think most of rock has just gotten stale where its either extremely pretentious or it’s extremely ironic and sounds like shitty ’90s pop-punk. It seems like there isn’t much of a middle ground anymore for just great rock and roll bands. I don’t think we really fit into what’s going on right now.

How important is NYC to your sound?
I moved to NYC when I was 17 with our bassist Max. I dropped out of high school and was coming from a small town in Tennessee with a population less than 3,000. Since I was a kid I always dreamed of living in New York City because of all the movies I loved like Taxi Driver and also all the bands I loved were from there. It just seemed so romantic. One day I just said fuck it and got on a Chinatown bus to NYC for $40. It’s extremely important to the music we make because the city has an energy that you just can’t escape. The city makes me go fucking crazy sometimes and I feel like I have to get out, but no matter what it always gives me inspiration to write. It’s home.

Do you guys feel like part of a scene?
We definitely aren’t part of any scene. We all live in Manhattan and that is pretty rare these days for bands. I don’t really know of another young band that does. Brooklyn is definitely where it’s at with venues and bands and I think it’s all great and cool what’s happening… we just aren’t part of that scene. The band and I really only hang out with each other, we all live on the same street, we all go out together every night to the bars. We really live in our own world and try avoid any noise around us.

What’s your goal with music? If you got offered a major label deal, would you want it?
Our only goal is to make great music and be proud of it. Really nothing else matters to us at all. It’s amazing that we get to do this. It’s also really important to us to work with people who we like and believe in this band as much as we do. I think as long as we keep making music we believe and would want to listen to if we weren’t in the band, we will be OK.

What are you working on now?
We’ve got a bunch more singles ready to go for the rest of the year and early next year, and were gonna be announcing more tours and festivals and all that good stuff soon. We also recently recorded our debut album so that will be coming out in 2016. Working on details for that now.

Anything else you guys want us to know about you?
We really want to get a sponsorship from Winston Cigarettes. If anyone has a connection, please hit us up.

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From the “Public Access EP”

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NME says Public Access TV is “New York’s hottest new band”; playing Baby’s All Right w/ Twin Peaks & other dates

If you haven’t heard of Brooklyn trio Public Access TV, well that’s because you’re not a British music journalist. They’ve already been acclaimed by the likes of Q, The Guardian and NME who called them “New York’s hottest new band” before they even played their first live show — which was at NYC’s Niagra in January. (Lindsay Lohan and Alexa Chung were there.) PATV is fronted by John Eatherly who was in Be Your Own Pet and also played in Eleanor Friedberger’s band and The Virgins for a while. Guitarist Xan Aird was also in The Virgins, and drummer Peter Baumann is also in Grand Rapids.
As for what they sound like, Eatherly knows his way around a hook and PATV’s guitar pop seems directly decended from Phoenix and The Strokes, with a little hyperactive 1979 new wave in there on tracks like “I’m Allergic.” Stream a couple songs below and look for their debut later this year.

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You can also see Public Access TV live, including a few shows in the NY-area. They play NJ’s Wonder Bar on July 29 with Reignwolf, and then a free late night show at Mercury Lounge on July 31. Then they’ll play Baby’s All Right on August 14 with Chicago’s Twin Peaks, and Lemons. That’s an all-ages show and tickets are on sale now.
After those shows, PATV will be on the road for a few shows with The Features.

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Public Access TV have all the hallmarks of the kind of band who flash across magazine covers and generate wild excitement and pick up model girlfriends before the world decides whether they are going to be a new Strokes or a second Mooney Suzuki, destined to be remembered only by a few. They were the subject of what is always referred to as a “major label bidding war” – one that began before their first gig, and before anyone bar the bidding labels had heard a note of their music. In the near year since people began talking about them, they’ve rationed out the music – only four tracks are widely available, because that’s the way Polydor, which won the bidding war, has wanted it. They’re based not in Brooklyn, but in Manhattan, the island from which still wafts the faint smell of the CBGB punks and Lower East Side cool. That first gig, a free show in a New York bar at the start of this year, was attended by Alexa Chung and Lindsay Lohan.

Public Access TV