I allowed myself to be surprised and wowed by acts like Har Mar Superstar, Diarrhea Planet, and so many others. The band I want to mention now was completely the band I wanted to see anywhere last year . They were called Speedy Ortiz, fronted by a badass named Sadie Dupuis. In the tiny venue, they blew me away, and I’ve since become a loyal fan of their music, which “rings loud and clear by way of ass-kicking guitars, thunderous rhythms and a promising new voice,”. So I give them my highest recommendation, but also have to insist that you spend some time adrift in Austin, pushed and pulled by forces out of your control, so that you can find your own Speedy Ortiz
BANKS profile continues to rise rapidly with another outstanding track form the forthcoming album Goddess, “I got some dirt on my shoes,” Jillian Banks sings on “Beggin for Thread,” as if she just tracked it in from the graveyard across your new white rug with a c’est la vie shrug. Following several online releases, her debut LP confirms a beguiling, diaristic voice that echoes avant-pop forebears (Aaliyah, Fiona Apple, Kate Bush) and a taste for gloomy, synth-centric productions. On “Someone New,” electronics stripped off, you hear a singer needing more song. But elsewhere, parsing romantic doubt over humming hardware, emotions swell like storm clouds. And when she fully brings the weather – see the f-bombing title track – it’s something to behold.
The name’s Banks, Jillian Banks. Or, if you’re shouting about her like plenty of people seem to be doing; BANKS.
Armed with enviably high cheekbones and a seductive, throaty Los Angeles drawl, Miss Banks is causing a stir with her moody r’n’b, and she knows it. From self-taught keyboard to recording songs using a dictaphone, Jillian’s childhood shoulder-brushings with music were humble. Now she’s being compared to artists including Lauryn Hill and Tracy Chapman – the very women who inspired her to write her own songs in the first place. Not bad.
The 26-year-old’s first attempt at a full-length is intense and straight-talking from the beginning. Goddess is a stand-out: self-assured and laced with sophistication, it certainly doesn’t sound like a debut. Then again, BANKS has been making music for over a decade, which is probably why.
The Allman Brothers Band’s classic 1971 live album “At Fillmore East” will be expanded into a six-disc box set, The 1971 Fillmore East Recordings, to include 15 previously unreleased performances. The group originally compiled the album from four sets recorded over a weekend in March 1971, and the new box set also includes a complete performance recorded at the venue that June. For that performance, promoter Bill Graham handpicked them to headline the Fillmore East’s final night. The new box set features liner notes by “Allmanologist” John Lynskey .
“That weekend in March of ’71, when we recorded At Fillmore East, most of the time it clicked,” drummer Butch Trucks said in a statement. “We were finally starting to catch up with what we were listening to. We had lived together. . . we got in trouble together; we all just moved as a unit. And then, when we got onstage to play, that’s what it was all about – and it just happened to all come together that weekend.”
The four March sets were recorded by Tom Dowd, who produced the Allman Brothers’ second album, “IdlewildSouth”, and the Derek and the Dominos album Layla (the latter of which paired Duane Allman with Eric Clapton). With so much going on around the band at the time, Dowd and Atlantic Records decided to put out the live album to show what the Allman Brothers were capable of outside of the studio.
One of the best live albums of all time The Allman Brothers Band’s cornerstone LP, At Fillmore East, compiled from the four sets recorded on the weekend of March 12-13, 1971, has been expanded, stretching over six CDs with fifteen unreleased tracks. Additionally, The 1971 Fillmore East Recordings contains the complete June 27 performance during the iconic venue-s final weekend, after the band was handpicked by impresario Bill Graham to headline closing night. The 1971 Fillmore East Recordings captures the most inspired improvisational rock unit ever at the peak of their prodigious powers, blazing their way through extended instrumental elaborations, so taut and virtuosic, that the crowds that packed the Fillmore East on those memorable nights were utterly transfixed. When it came to live performance, no other band could touch the Allmans.
‘The 1971 Fillmore East Recordings’ includes 37 tracks, 15 previously unreleased and a 36 page booklet with extended liner notes and never-before-seen images of the Fillmore concerts.
Rhodes EP, “Morning from Hertfordshire newcomer David Rhodes seems to have all the BRIT-scooping authenticity that should see him lauded by plenty of grown up musical aficionados, and probably see him on Jools Holland too. And to be fair the opening piano strokes of ‘Your Soul’ are briefly promising, niggling nerves that Thom Yorke used to when the insect-click tedium of his albums was at least interspersed with moments of sparse beauty. But with overblown yet still oddly cold swirls of Coldplay-ish echo on the aforementioned song,
taken from the latest album “NEW GODS” new album from Scottish singer songwriter, Dan Willson, better known by his stage name Withered Hand, he is a Scottish indie rock musician. His first studio album, Good News, was released in 2009 in Scotland, and was re-released on 15 March 2011 on Absolutely Kosher Records in the United States. His new album, entitled New Gods, was released in March 2014 through Fortuna Pop Records in the UK
Brooklyn based Folk Rock band Woods performing backstage at the Austin Psych Fest , Woods are an American folk rock band from Brooklyn, originally formed in 2005. The band’s membership now includes singer-guitarist Jeremy Earl, multi-instrumentalist Jarvis Taveniere and drummer Aaron Neveu.
Woods have released eight albums, the latest being “With Light and with Love” reviewed one of their previous albums, Songs of Shame, giving the band its “Best New Music” designation and described the sound as “a distinctive blend of spooky campfire folk, lo-fi rock, homemade tape collages, and other noisy interludes, all anchored by deceptively sturdy melodies. Singer-guitarist and founder Jeremy Earl also runs the rising Brooklyn labelWoodsist,Records for whom the band releases their work.
Caveman really made a name for themselves in the blogosphere with their hit, “In The City”; the extravagent vocals and ample background instrumentals made for quite the grand song all around. Vacationer have elected to take a more delicate approach to the song, though, as they introduce harp arpeggios that flutter throughout. Their morphed version brings a much more tranquil and outdoorsy, organic feel that strongly juxtaposes the title, and you’ll find yourself transported to a classic Disney-esque, lively, and yet serenely natural atmosphere nice storytelling video from cool New York City band CAVEMAN,
“Burn Your Fire For No Witness”, Angel Olsen’s new album, isn’t an experimental piece of work by anyone’s standards, but it represents a vast step forward for Olsen. Musically, she’s changed everything, combining her ghostly folk with some beautifully executed ’90s-style indie fuzz. But the real great thing about the new album is this: Olsen suddenly sounds like a real person.
Angel Olsen is singing about the same things on the “Burn Your Fire” as she was on “Half Way Home”: Loneliness and longing, and the way you look at the world when you’re always trapped inside your own head. But there’s also giddy elation there from time to time, and deep connection. The first words she sings on opener “Unfucktheworld” are these: “I quit my dreaming the moment that I found you / I started dancing just to be around you.” And even though it’s not a happy song — it’s about losing all that happiness, not finding it — there’s a conversational directness to it that I didn’t hear on her older songs.
Taken from the album “How Far Away” on Woodist Records. Real Estate guitarist Matt Mondanile’s other band, Ducktails, released one of 2013′s most unjustly overlooked LPs, “The Flower Lane“, is an album so dreamily, wondrously relaxed that it should seriously come with the same warning label you’d find stuck to the side of a bottle of Vicodin. Now, Mondanile’s Real Estate bandmate, bassist Alex Bleeker, is set to release a new one from his own side project, Alex Bleeker & The Freaks, the title of which is “How Far Away”, and the content of which is almost as chilled-out as The Flower Lane. “Step Right Up” is the third track following “Leave On The Light” and “Don’t Look Down“ and … well, it’s probably enough to point out that the song is subtitled “Pour Yourself Some Wine.” Don’t mind if I do! No kick back and give this thing a spin.
You can’t accuse Los Angeles quartet Allah-Lasof not doing its homework. Three of the four members met while working at one of the country’s great record stores, Amoeba on Sunset Boulevard, where they spent countless hours studying up on the vintage sounds that compose their affectingly melancholy self-titled debut. The band formed in 2008, and worked for several years painstakingly assembling the songs on Allah-Las, first releasing the vinyl single, “Catamaran”/”Long Journey”, in 2011 and following up with two singles in 2012. All of these songs, plus the eight other tracks that make up Allah-Las, were produced by Nick Waterhouse, a fine L.A. singer-songwriter whose 2012 LP Time’s All Gone is a spirited and record-geek friendly collection of raucous 50s-style R&B thrashers.Innovative Leisure, PRES RECORD Co.
The Fat Angel Sings 