Posts Tagged ‘Run For Cover Records’

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If you’re hoping to score some life tips from Camp Cope’s sophomore LP How To Socialise & Make Friends, you might want to look elsewhere.

“It’s not like an instructional album. Like I don’t know how to socialise or make friends,” frontwoman Georgia Maq admits . The Melbourne trio are about to follow their acclaimed, self-titled debut with a record that’s even more raw than the first, if that’s even possible.

“In the last one we had like a couple a harmonies and like a gang vocal and this one is just like fully stripped back, there’s nothing,” Georgia says. “Everything was done just really quickly, how we like it, and I think I don’t care as much for this album. I don’t care what people think.

“I care less because I’m happy with what we’ve done and so anyone else’s opinion doesn’t really matter.”

When she says “really quickly”, she means it. The album was written in a couple of months, and recorded in just two days (though half a day longer than the first). In fact, drummer Sarah ‘Thommo’ Thompson says she booked the tour for this album before a single word was written.

“[We] went ‘Uh oh, now we have to record it’ and we just went to the same place we did last time, just booked two days with nothing written knowing that if we didn’t have dates to aim for we wouldn’t do it,” Thomo says.

The album is totally done now, though we’ll have to wait until March to hear it.


Camp Cope the band:

gmaq – vocals/guitar
kelly- lead bass
thomo – drums

Pre Oreders for ‘HOW TO SOCIALISE & MAKE FRIENDS now if you’re in australia, hit up to check out the different colour options, along with this lovely tee designed by Celeste Potter, & the first ever camp cope stickers. friends throughout the rest of the world! run for cover have a different range of colours for you to choose from over at available to order now. thanks so much to everyone who’s helped make this possible, we are stoked for you to hear it



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Camp Cope have made a fiery comeback with the first taste of their upcoming second album.

The empowering punk trio pretty much instantly found their musical voice – loud, fearless, sincere – on their self-titled debut album (which was nominated for a 2016 J Award).

Now we get ‘The Opener’, Camp Cope’s first new music since last year’s ‘Keep Growing’, which doesn’t mess much with the sound you’re used to but it does cement their status as a vital voice in the music scene as they simultaneously call out the hypocrisies within it. ‘The Opener’ bites back at the phoneys in a male-dominated industry who’ve told the band to do things every other which way but their own.

“It’s another all-male tour preaching equality,” bellows singer-guitarist Georgia Maq in a line dripping with acerbic determination; her cutting lyrics coiling around Kelly-Dawn Hellmrich’s mercurial bass melodies and Sarah Thompsons’ sturdy rhythmic backing.

The song is also the first taste of Camp Cope’s upcoming second full-length record. No title or release date yet but the LP is due sometime in 2018 (via Poison City Records)

CAMP COPE ‘The Opener’. Taken from forthcoming 2018 album – via Run For Cover (EU/UK/USA) and Poison City (Australia/ NZ/ Asia).

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Crying began as a chiptune/power pop band who embraced their love for stadium rock to write infectiously melodic tunes on a massive scale. The new incarnation retains Elaiza Santos‘ personal, conversational vocal delivery put over progressive guitar riffs, spaced out synths and gargantuan, energizing production. Put your fear of change aside and enter into the new era of Crying. Band is awesome live too, I was introduced to this band when I listened to ‘Beyond the Fleeting Gales’ . That record is probably the best record I have heard this past decade! This band truly is magical and is now one of my favorite bands of all time!

Band Members
Elaiza Santos – Vocals
Ryan Galloway – Guitar and Synth
Kynwyn Sterling – Drums


Camp Cope have inked a deal with Run For Cover Records.

The first move for the Aussies on their new home will be to co-release the band’s self-titled debut album with their domestic label Poison City Records in North America for the first time.

Live footage from Crowbar, Brisbane.

You’ll be able to get your hands on that stateside from 8th September.

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Somewhere between the proto-emo of the likes of the Appleseed Cast and the backwoods folk of Whitney , lies New Jersey based outfit Pinegrove, a band who emerged from the depths of Bandcamp to appear on numerous end-of-year-lists with their album “Cardinal” released in 2016. Capitalising on that surprise success, Run for Cover Records have re-released this compilation of the band’s early work. Everything So Far does a nice job in charting the Pinegrove’s progression into the bookish and lovelorn brand of indie rock they later perfected on Cardinal, marked out by vocalist and main songwriter Evan Stephens Hall quavering tenor and perambulating and pleasingly funny guitar lines. As with such completist compilations there’s a fair chunk of filler here, and over time its 21 songs begin to congeal into each other a shade, but as an introduction to the band’s many charms, it’s solid enough.



Chicago songwriter Spencer Radcliffe lends a little bit of foreboding to just about anything he touches. That’s long been true of the lonely ambient compositions he’s made as Blithe Field and, over the last couple of years, he’s made even his rock songs feel spooky. On “Wrong Turn”—the lead single from his first album with his live band (billed here as “Everyone Else”)—Radcliffe sounds like he might be having a good time. Swooning guitars and fluttering string lines surround him as he sings about peeling down an open road with the windows down. But lurking behind the sunny guitar lines is a sense of doom: Listen closer and you can hear that he’s actually hit the road because he spotted smoke on the horizon (“If the world’s gone cold/Let us watch it burn…My true desire is to be one with the fire”). With that in mind, the newfound looseness of his band shouldn’t feel as comforting as it does. This isn’t rock music for nihilists: The push and pull between the breezy pace and the morbid lyrics is pleasant, even kind of funny. “Wrong Turn,” presents a new look for Radcliffe—one that repackages his sinister side with a smile.


The first album recorded by someone other than the band themselves, Modern Baseball enlisted Joe Reinhart (Hop Along, Joyce Manor) at Headroom Studios in Philadelphia to help refine their sound on Holy Ghost. In a tight 28 minutes, Holy Ghost covers an impressive emotional range, with co-songwriters Jacob Ewald and Brendan Lukens literally splitting the record in half. The record kicks off with six songs from Ewald and ends with five from Lukens. What they ended up with was a complete record of the past two years– the highs alongside the lows, tales from the road and glorious days at home alongside songs of heartbreak and personal struggle.


This band is so honest and down-to-earth, it’s amazing. Love the vibe of the whole album.

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Mewithoutyou’s relevance spans well over a decade. they’ve released musical masterpieces time and time again, and haven’t missed a beat with this one. while still not as energetic as their first three releases, it’s as good as hell and is a welcome addition to their discography. .

The ever-changing MewithoutYou never went away or stopped making good albums, but Pale Horses still felt like a comeback, or at least the beginning of a new life for the band. Their two best albums are 2004’s Catch For Us The Foxes and 2006’s Brother, Sister, albums that blended art rock and post-hardcore and quickly earned them a devoted following. They followed those with two albums that took a foray into whimsical indie folk, and great as they were, it’s nice to see them returning to the earlier style. This year they signed to an exciting new-ish label (Run For Cover Records), worked with the great producer many of that label’s bands work with (Will Yip), and toured with a crop of younger rock bands whose music fit right in with their own (Foxing, Pianos Become the Teeth, Restorations, etc). It wouldn’t be crazy to assume that some of those bands’ younger fans were hearing MewithoutYou for the first time, and thankfully Pale Horses is the kind of album that’s perfect for newcomers and longtime fans alike. It’s a return to their best era, but not an exact replica of it. Aaron Weiss often works in the more delicate singing style he developed on the last two albums, but he also saves plenty of time for his trademark speak-shouting. Over music that switches from hushed atmospheres to arty prog riffs to headbanging climaxes, he sounds compelling as ever.



“Cadmium” by Pinegrove from the CD/LP/Tape/Digital “Cardinal” available on Run For Cover Records released February 12th,2016. Pinegrove leader Evan Stephens Hall hinted at songwriting genius with earlier recordings, but Cardinal is a revelation of tunes not reliant on predictable song structure. The record sounds like the unveiling of a band out to make a career — sturdy melodies, lyrical depth, and a general sense of ease.a childhood band turns into a grown-up band, with life-long friends finding their footing with tunes equally comfortable in the alt-country and emo scenes. For the eight songs that sound like a modernized, Americana-informed mixture of American Football, Something to Write Home About-era Get Up Kids and Stay What You Are-era Saves the Day, we hear the stress, loneliness and reconciling adulthood with what we thought adulthood would be dealt with more honestly and directly than normal, each song containing a line or two that plainly summarize a myriad of feelings in just a few words. Life is full of ups and downs, fuck-ups and reconciliations, and at the end of the day Pinegrove wants us to know it’s all (probably) going to be okay. The band originate from Montclair, New Jersey.

Pinegroves Evan Stephens Hall performs on Audiotree Live, April 30, 2016.

Digging into Nicole Dollanganger’s back catalogue  is like falling through a trapdoor in a cobweb-covered old mansion. It’s a little scary but mostly thrilling, never knowing where you’ll end up, what  horrors you’ll find when you get there, or what weirdo friends you’ll make along the way.

Boston label Run For Cover Records get it, which is why they’re putting out two of the Canadian singer songwriter’s home-recorded full-lengths releases onto vinyl for the first time: 2014’s Observatory Mansions, which includes the moth-eaten demo version of my favourite Natural Born Loser song , and the 2013’s Ode To Dawn Wiener: Embarrassing Love Songs, an album-length tribute to a misfit that features barely-in-tune schoolyard melodies, a track about watching I Love Lucy with a Puppy, and the lyric your cum is like warm milk.


Nicole is in the middle of a month-long tour with labelmates Teen Suicide and Elvis Depressedly. Here down below you can hear “Observatory Mansions II,” a huge-sounding full-band take on the a two year old title track. (The new version is a bonus cut on the reissued vinyl)