Artist To Watch

Why 2010 will belong to Taproot

2009-12-09T17:11:00.001-08:00

Taproot is back. Freshly signed with Victory records and working on a new album, singer Stephen Richards took time to catch up with CWG and update us on all things Taproot.
Follow along as he and I catch up.

How is this Wednesday finding you?
(00:15) Tell us about signing with Victory records.
(1:58) His wife is a fan of the website.
(2:35) Whatever happened to, “Path less taken?”
(3:40) Back to the beginning.
(4:10) The error of Fred Durst.
(6:00) What almost became of Taproot in 1998.
(7:00) The gift.
(7:20) Ozzfest in 2000 and 2001.
(8:15) “Welcome” hits the charts.
(8:40) “Blue sky research” and the story of Billy Corgan.
(10:25) The fall of Durst and Corgan and how Taproot effected them.
(11:05) “The Morgan Freeman effect.”
(11:50) “The long road home.”
(12:40) Victory has their back.
(13:10) The progress of the new record.
(13:50) The direction of the new record.
(14:50) An “ideal” 2010.
(15:45) Personal goals.
(16:50) We will talk again.

Stephen was on point in this conversation. He did what he had to do by plugging his band and label, but also went along with my antics and showed me his personality. He is a hell of a character and musician.

Find more from Taproot on Victory records at:
http://www.myspace.com/taproot

Stay tuned for updates on Taproot in 2010 at CWG magazine.

Tiesto: World's biggest DJ?

2009-11-20T17:14:00.001-08:00

Tiesto is arguably the biggest trance/dance/electronica artist in the world. He's had hit singles, a grammy nomination, is featured on the new DJ hero video game, and performed at the opening ceremony of the Athens Olympics. Not to mention, he can start a party anywhere, anytime.
Today I had a chance to talk with him briefly. Listen here for our conversation:

I ask him the following questions:

Q: Can you even begin to describe what it must be like to perform in front of 250,000 people?
Q: The new album is Kaleidoscope and the first single is “I will be here.” The song hit #1 on Billboard's dance radio Airplay chart. Safe to say it's your biggest hit so far?
Q: How/where did you learn to dance? What do you feel the dancing adds to your music and performance?
Q: Your track, “elements of life” is featured on the new DJ Hero game. How did that come about?
Q: Kaleidoscope is your fifth album. What can you say about the album?
Q: On this album you work with acts like Sneaky Sound System, Nelly Furtado, Emily Haines and Calvin Harris. How did these collaborations come about and what was it like working with those artists?
Q: The tour for the album sees you playing 175 live shows across five continents. Where are you currently in that process?
Q: It has been said that you have, “created the biggest and best live show to date leaving fans and critics breathless.”
Q: Some people say that you have made the dance album an art form. Your thoughts?
Q: Your website features a section where fans can remix your songs and submit them back to you. Tell me more about this.
Q: Any thoughts on your future as an artist?

Find more on Tiesto at:
http://www.tiesto.com/
http://www.myspace.com/tiesto

Kate Miller-Heidke

2009-10-23T17:09:00.000-07:00

Fearless. That was the word that kept coming up when Kate Miller-Heidke was dreaming up her second album. Fun was another one. The fact that she dared to dream either while her 2007 debut Little Eve was still ringing loud and clear suggests a couple more F-words. Forward. And Fast.

“We had no songs,” she says. “What we had was a huge burst of inspiration. We went into this album with a vision. We mapped out how we wanted it to sound; the aesthetic, the spirit of it. Experimental, hooky, unashamedly pop… we wanted to exploit everything that’s unique about my music.”

She had a tough act to follow. After a trilogy of EPs from ’04 to ’06 – Telegram, Comikaz and Circular Breathing – Little Eve burst onto the scene to land in the upper reaches of the ARIA charts and earned the singer a host of accolades. The album went Gold and clocked up four ARIA nominations.

But her sophomore set Curiouser, which began to take shape on a holiday in Laos shared by Miller-Heidke and her partner and guitartist/songwriter Keir Nuttall, brought the dream to brilliant life. Radiating a newfound sense of mutual certainty, Curiouser immediately struck a chord with fans and critics when it was released in October 2008. The Gold-selling album earned itself another F-word: the first album of Miller-Heidke’s to be an iTunes #1 and storm into the ARIA Top 10 Albums chart.

Impressively, it’s the wonderfully unself-conscious yet accomplished songwriting that takes both Curiouser and Miller-Heidke to the next level. Remarkably, it’s also the first time she’s opened herself up to collaboration – here, working closely with Nuttall – and the results are inspiring.
“Songwriting was always too personal and I felt too self-conscious to collaborate,” Kate says. “But after a certain point, I just lost my inhibitions and I didn’t care. We got into a groove where we bring out the best of each other. These songs are better than anything we’d written individually before.”

Recording with Los Angeles producer Mickey Petralia (Beck, Peaches, eels, Dandy Warhols), who had the right mix of humour, enthusiasm and weird old electronic stuff to offer the new tunes, Miller-Heidke, Nuttall, bassist Ben McCarthy and drummer Steve Pope spent two months crafting Curiouser. With his strict 4pm to 4am shifts (with no days off), Petralia’s studio wizardry turned out to be the perfect galvanising force for Miller-Heidke’s and and Nuttall’s carefully detailed home demos.

“To me,” she says, “it sounds like a modern album, a forward-looking album.” To everyone else, however, it sounds like one of the best Australian records in recent memory – a set embraced by an enthusiastic audience and one lauded with critical acclaim.

“Can’t Shake It”, possibly the world’s first booty-swinging tune about a booty that just won’t swing, was the first taste of Curiouser and one eagerly devoured by a growing fan base. It became the most-added track to radio upon release and gave Miller-Heidke her first Top 40 single. The icing on the cake was its nomination for the 2009 APRA Song of the Year.
Meanwhile, a very different song, “Caught In The Crowd” – a double-fisted tug of heartstrings between the gently tootling texture of the music and the recognisably real story of lingering childhood regret – shot to greater heights. Miller-Heidke made history as the first Australian to win the prestigious International Songwriting Competition grand prize, with “Caught In The Crowd” handpicked from more than 17,000 entries to woo judges including Tom Waits, The Cure’s Robert Smith, Neil Finn and The Kinks’ Ray Davies. The song shone with heart and soul – something indicative of Curiouser, even in its most fun and playful moments.

“Songs had to either have heart and be really emotionally affecting or have a sense of fun or wit about them. If a song didn’t meet either of those criteria it was out. I’ve written songs in the past that don’t fit those two categories and those are the songs I kind of get sick of. They don’t seem to have much potency after a while,” Miller-Heidke adds.

Then, one such emotionally affecting moment, “The Last Day On Earth”, ideally surmised the universally resonating power of Curiouser. A beautifully compelling tune, which perfectly captures the indestructible power of love in the most fragile and finite surrounds, it was viewed a phenomenal 200,000 times on YouTube in just four weeks, going on to sell Gold and becoming Miller-Heidke’s first #1 ARIA single.

It also cemented the Brisbane native’s status as one of the country’s finest artists. Building on the unique vocal and performance dynamics learnt through early operatic training and a love of musical theatre, Miller-Heidke’s shows are as affecting, fun and memorable as her songs. And thanks to word-of-mouth renown through her Little Eve tours, Miller-Heidke is now right at home on stage in large rooms filled to the with her ever-growing hoard of devotees. It’s been an incredible journey for an artist whose dream of an album came from such a, well, curious origin.
“Mickey thought Curiouser was a noun, something that made you more curious,” Miller-Heidke says. “That’s what made up my mind about the title. Wouldn’t it be great if people listened to this album and it made them curiouser?”

Orianthi

2009-10-23T16:05:00.000-07:00

At 24 years old, Orianthi has already experienced what most aspiring musicians only dream of. She's opened for her hero (Steve Vai), backed an Idol (Carrie Underwood), traded solos with a legend (Carlos Santana) and shared the stage with the King of Pop (Michael Jackson). What's left to conquer? The world stage, for one, and this guitar wunderkind has her sights clearly set on the road ahead.

After a performance with Carrie Underwood on stage at the 2009 Grammy Awards the blogosphere was buzzing with news of this little-known guitar prodigy. It prompted Michael Jackson to call with an offer for her to be his guitarist for his dates at the O2 Arena in London. When offered the gig in Michael Jackson’s live band, Orianthi joined a prestigious line of guitar players including Eddie Van Halen, Santana, Slash, Steve Stevens, Jennifer Batten and Larry Carlton. Sadly the tour was not to be and music lost an icon. “Working with Michael was a life-changing experience,” Orianthi reflects, “One I will never forget.”

Her story starts in Adelaide on the southern tip of Australia where, at the age of six, Orianthi began taking an interest in her dad's record collection. "Jimi Hendrix, Eric Clapton, Cream, Santana… he was into guitar players that are real songwriters," she boasts. Growing up in the 80s, a decade remembered for its many guitar greats, Orianthi also listened to a lot of Whitesnake, Van Halen and Def Leppard. Her father, who used to be a player in a Greek band, also kept plenty of instruments around the house, and it didn't take long before Orianthi strummed her first chord. Mastering the six-string came naturally.

"When I was 11, Carlos Santana came to play Adelaide and that show really affected me," she recounts. “I begged my dad to get me a second hand electric guitar so I could be like Carlos, and that was it, no more acoustic. After that, I would buy all of Carlos' videos — on VHS! — which I kept rewinding to try and learn his solos. I totally wore out the tapes."

Some seven years later when Carlos Santana passed through Adelaide again Carlos' brother arranged a sound-check meeting between the guitar god and his young disciple after hearing some of her music. A sound check jam evolved into an invitation to join him on stage where Orianthi played for about 35 minutes and took a solo in front of a hometown crowd. Performances, tours and guest appearances with Steve Vai, ZZ Top and Prince have kept Orianthi busy up to this point.

But guitar is far from Orianthi’s only means of expression. Before she received the call from the King of Pop, Orianthi had already been hard at work on her upcoming album, Believe, on which she sings, writes and leads her own band. Working with Geffen Records Chairman and A&R veteran Ron Fair and producer Howard Benson (All American Rejects, Daughtry, My Chemical Romance, Three Days Grace) her fierceness of character has made its way to songs that will simply knock the socks off of any boy in the rock star schoolyard.

Orianthi packs modern girl-power punch into every turn of phrase, but it’s the shredding that takes her brand of rock to an entirely new level. Songs like “Suffocated” and “Think Like A Man” are anthemic rock tracks recalling at time Evanescence, Avril Lavigne, Paramore and even a less-music row more-sunset strip Taylor Swift. First single “According To You” is a catchy tale of an ungrateful boyfriend with a killer guitar solo. The result: a thunderous, hook and riff driven debut that sounds larger than life. If, for a moment, you’ve thought the music world could use another taste of The Runaways’ Joan Jett, let us introduce you to Orianthi.

Love And Theft

2009-10-20T14:04:00.000-07:00

The story of Love and Theft has been a steady stream of magic moments:

-- Developing a distinct sound with three equally and uniquely talented singers, where each member shares lead vocal duties and join together for harmonies that explode on the chorus;

-- Their three-song showcase for representatives of the performing rights organization ASCAP ended with many in the room pulling out cell phones to tell friends at record labels, "You've got to hear this band before someone signs them!"

-- After making the rounds with a few labels in Nashville, the band performed a 3-song showcase in the offices of Lyric Street/Carolwood Records for A&R chief Doug Howard who immediately declared, "You should have never made it to my office...you should have already been signed! Please don't play for anyone else," and the label quickly moved to sign the band

-- After Taylor Swift heard the trio's music, she brought them on board as an opening act for her headlining concerts in '08

-- Audiences at those and other shows have been swept away at first listen by the trio's soaring harmonies and on-stage charisma, standing in line for up to three hours after the show for a chance at an autograph and to meet the band.

The magic behind those episodes has been apparent since Stephen Barker Liles, Eric Gunderson and Brian Bandas first sang together. During an early rehearsal, they worked up the harmonies for "Drowning," a poignant song about loss and hope.

"When all three of our voices came in together on the chorus," says Stephen, "I got chills."

"There was obvious chemistry from the beginning," adds Brian, "personality-wise and musically. The harmonies blended effortlessly and immediately. That was when we were like, 'OK. We've got something here. We need to stick with this and make it a priority."

Others quickly came on board--seldom does a new act find people both inside and outside the industry signing on so quickly and eagerly as fans and supporters. The secret, if there was one, was the patience with which Stephen, Brian and Eric developed their sound.

"We rehearsed for six months before we ever felt like we wanted to take our music out in front of people," says Stephen.

"We wanted to spend time writing music," adds Eric, "and making sure we had the right songs to showcase our vocals and make our harmonies stand out."

That approach and their undeniable talent -- all three are also strong songwriters who wrote or co-wrote every song on their debut album --threw open doors that normally give way slowly in Nashville, launching the young trio toward the national spotlight.

Stephen, Eric and Brian met not long after each arrived in Nashville, and their backgrounds bonded them as strongly as their love of music. Each was born in 1984, first sang in church and developed an affinity for harmonies at a young age.

Stephen grew up in Palm Harbor, Florida, exposed to a great deal of early gospel and contemporary Christian music. He was a fan of Michael W. Smith and Elvis early on. As a teenager, he expanded his tastes to include everything from Johnny Cash to MxPx and has always loved the music of Tim McGraw and George Strait. He was on scholarship as the Head Student Assistant for the University of South Florida Men's Basketball team and intended to coach college ball after graduation. While traveling with the team he would bring his guitar and write songs, but it wasn't until reaching the state finals of the Colgate Country Showdown in his third year of college that he realized "music was where I was supposed to be." With his decision made, Stephen left college to pursue his dreams in Nashville.

Eric, raised in Charlotte, North Carolina, picked up an appreciation for Johnny Cash and Roy Orbison from his grandfather, who played banjo in bluegrass bands, and for the Eagles and Beatles from his father. He went on yearly mission trips to Romania throughout his childhood and realized early on "I didn't really want to grow up and have a normal job." He began writing songs and played in bands while at the University of North Carolina-Charlotte. In Nashville, Eric got a job playing bass on a six-week college tour. When the singer dropped out at the last minute, Eric was forced to fulfill the dates, so he hired a percussionist and toured singing his own songs. That went so well he realized his days as a sideman were over.

Brian was surrounded by music from birth and comes from a long line of accomplished musicians, including a grandfather and uncle who were noted jazz players. Growing up in Austin, Texas, he started playing piano after listening to Michael W. Smith then later began playing acoustic music, writing music and eventually started his own band after hearing the Goo Goo Dolls. Both an athlete and a musician, he showed up at Tuesday night open mic nights with his basketball warm-ups on after high school games. When his parents talked to him about his options in life after his second year of college, he jumped at their mention of Nashville and took off on what he viewed as "both an adventure and a life calling."

Their obvious chemistry enabled them to forge a distinctive three-way sound.

"We consciously decided not any one of us would be the lead singer," says Eric. "We all rotate singing lead, and see where the harmonies fall most naturally. In most songs, each of us will sing a different verse or the bridge. Then, our signature is that big three-part harmony on the chorus. It doesn't really matter who's singing lead or who's singing harmony. Somehow it just works."

"Love and Theft," adds Brian, "is in this really comfortable place that lands right in the middle of all three of us and makes us all really satisfied with what we're doing."

Once they had their label deal, they signed with O-Seven Artist Management and began working with producers Robert Ellis Orral and Jeff Coplan on their debut album. In capturing the energy and incredible harmonies they bring to their live performances, the project introduces country fans to one of the freshest new acts to emerge in years. Underpinning it all is an authenticity that resonates with audiences everywhere.

"We believe," says Brian, "that the most impactful music is written from a personal place, which is the way we approach it. The priority for us is to write something people are really going to connect with. Otherwise, what's the point?"

"Lyrically," adds Eric, "we feel like rawness and authenticity is a real driving force behind this band."

"Nothing beats country songwriting," says Stephen, summing it up for his brothers-in-song. "That's as real as it gets and that's why we're here. We love what it represents and we want to carry it forward."

Hotel St. George

2009-10-18T02:40:00.000-07:00

Hotel St. George is a four-piece band from San Diego, but you would think they were the neighbors of English bands like Artic Monkeys or The Cribs with their catchy guitar rhythms and their quick, and equally catchy lyrics. The band formed in late November 2007, after a chance meeting between singer/guitarist Matt Binder and bassist/guitarist Erik Visnyak. As a guest at Matt's Thanksgiving Party, Erik proceeded to spill an entire glass of red wine on Matt’s borrowed Wurlitzer Piano.

After a sincere apology and some chit chatting, the two decided to form a band, enlisting Erik’s pal Simon Leader to play the drums and guitarist Brian Reilly. Two months later they recorded their first EP titled Yippee!!!, a simple, but fun collection of songs reminiscent of early British Invasion. The song ‘Watch Out, It’s the Blues’ won a SPIN Magazine contest and became a feature song in the new video game MLB 2K10. The release earned them two nominations at the San Diego Music Awards, including Best New Band and Best Alternative Album.

The band followed up Yippee!!! with their second release titled Hundreds & Thousands. Where Yippee!!! was written mostly by Brian and Erik, H&T’s songs were written almost exclusively by singer Matt Binder. Less poppy and predictable, the new album was richer in maturity and texture. A lack of money and time for touring led them straight back into writing. The next record City Boy Lemon was by far the boys’ most collaborative to date. The record got picked up by LA based label, This Is Tightrope. The album was released August 2009 for vinyl/digital download only. With only 500 copies of the vinyl in existence, each copy was hand silk screened by a member of the band. The new album will be featured in the second season of the hit MTV show "The City."

The boys are now hard at work on their fourth record, tentatively titled Fun Shine Line. Though Hotel St. George is predominately a guitar band, the new album is heavy in keyboards and bass synthesizer. While we won't see a release until 2010, the band is confident in the album's new direction.

www.myspace.com/hotelstgeorge

Beatnik Castle

2009-10-16T01:23:00.000-07:00

Bay Area psychedelic pop duo Francillia and Quincy B – collectively known as Beatnik Castle, released their stunning debut cd maxi-single “Will U B Mine?” in spring 2009. CD Maxi-single features mixes from internationally known remixers Cato K, Lenny B and, of course, Quincy B. The single is currently getting airplay on over 100 dance/mix radio stations across the country, including XM/Sirius BPM and 16 radio stations in Europe, including the UK and Germany, as well as Australia and South America. The Bay Area’s hottest musical duo was recently added to Clear Channel’s New Discover/Uncover nationwide artist roster, including local station 95.7 The Beat and the single has over 15,000 spins! Also set for release later this year is both an audio and video unplugged acoustic performance (featuring “Will U B Mine?” and five songs from Francillia’s 2010 solo CD “Temptation”) and the much-anticipated music video for “Will U B Mine?”

Since signing with promoter DJ Harry F. Towers of DEET Promotions in March 2009, Francillia and Quincy have been extremely busy - performing at the Winter Music Conference in Miami, Urban Music Awards in New York, the grand opening of Club Q-S.I.N.Y. in Staten Island, as well as personal appearances at local dance clubs, art exhibits, fashion shows, charity events, as well as performing their unique dance/club songs “unplugged” at coffee shops and private parties as well.

Written and produced by Quincy, "Will U B Mine?" was originally released in 2008 by Scovill Avenue, yet another unrecognized Bay Area gem whose 2008 Mad Monk, LTD CD “Big House” amazingly garnered seven Grammy nods from the National Academy of Recording Arts & Sciences Committee last year, including the coveted categories “Record of the Year,” “Album of the Year,” and “Song of the Year”. Incidentally, “Will U B Mine?” in its original version, was in the Grammy category “Dance Single of the Year” as well. In 2007, Beatnik Castle’s Mad Monk label mates Peasants of Posture had four different songs nominated in four different categories for the 2008 Grammy Awards. All nominated songs were written, arranged, and produced (and, in some cases, performed) by Mr. Quincy B. himself! US Virgin Islands born singer Francillia not only is a US Army veteran but a current member of the active reserves.

In addition to his duties with Beatnik Castle, Mr. Scovill is continuously busy. Though his priority is collaborating and co writing his unique brand of hard-edge psychedelic hippie trippy metallic hop-pop for Francillia’s solo CD “Temptation” (which features a cover of a 1971 Alice Cooper classic!), he’s working on a doom/death hip hop/rap project and Blind Granny’s Euro-techno debut CD-release.

MySpace: www.myspace.com/BeatnikCastle
Video: http://www.youtube.com/watch?v=ySzo-v803BQ
Website: www.beatnikcastle.com

Adelitas Way

2009-10-15T02:10:00.001-07:00

Rick DeJesus – vocal
Chris Iorio – lead guitar
Keith Wallen - guitar
Trevor Stafford – drums
Derek Johnston – bass

“Invincible,” the edgy, empowering rocker that kicks off the self-titled debut from Adelitas Way is also an apt description for singer Rick DeJesus’ undaunted focus and determination. Born and raised in a rough Philly neighborhood, he saw family members in jail and on drugs, and a friend shot in the head and killed by drug dealers. Rick’s future was likewise bleak -- “my friends were carrying guns, selling drugs, doing drugs, leading reckless lives. I knew I was going to pay the consequences,” Rick acknowledges. So, in 2005, grasping for any escape, on a dare Rick auditioned for a VH1 show that would take him to Los Angeles. With no idea what he was in for, in short succession Rick appeared on the VH1 show ‘Strip Search,” then ended up in Vegas, living in his car for three months, doing anything to make ends meet. “Anything” included the “American Storm” show at the Rivera. Rick calls his short stint in the revue “a rock moment. I was young, poor and crazy… and it beat robbing people.” It also allowed him the means to focus on the anthemic, potent hard modern rock that would become the calling card of Adelitas Way. Rick’s compelling personal dramas are channeled into his performances -- and every dynamic note on Adelitas Way. The heartfelt, radio-ready songs, captured by Grammy-nominated producer Johnny K (Disturbed, Plain White T’s, 3 Doors Down), Adelitas Way, range from the sexy romp of ‘Dirty Little Thing” to the emotionally charged rock anthem of “Last Stand” to the classic mid-tempo rocker “Scream.”

Rick is joined by kindred spirits in the Las Vegas-based quintet. First to join Adelitas Way was Iorio, a high school senior who credits his “rock & roll parents” with getting him a guitar at 7, and turning him on to KISS, Ted Nugent and Van Halen. His style is a mix of ‘70s rock with modern flair, and he notes: “I like Slash and Randy Rhoads—both bluesy and ‘shreddy’ styles.” Trevor Stafford, an in-demand tour and studio drummer, was on Ozzfest with the band Shuvel at 17, and is a fan of System of a Down, Primus, and grunge. A Huntington Beach, California native, he moved to Vegas to be in the band full time. The final puzzle pieces are New York-bred bassist Derek Johnston and West Virginia native guitarist Keith Wallen, who joined after the record was complete. They both bring indie, hardcore and classic rock influences to the Adelitas Way stew.

Trevor gives major props to Rick for getting Adelitas Way shows with artists like Chris Cornell, Hinder and Tantric, and generating the huge industry buzz that ended with the band signing to Virgin. “I played with a lot of people,” says Trevor, “but never anyone like Rick; his work ethic is out-of-control amazing.” Rick and Trevor have more than rock in common. Determined to rise above the chaos of his existence in Philly, Rick graduated high school with a 3.7 GPA and went to college for three years, playing college baseball. Likewise, Trevor earned a partial baseball scholarship, but, like Rick, ultimately chose music. It wasn’t until Rick was 18 and snuck into a bar for an acoustic night, singing in front of 60 people for first time ever (and getting a standing ovation), that he thought, ‘hey, I might not suck!’” Now they’re team players in Adelitas Way, Rick’s winning personality and dogged work growing the band’s reputation one fan at a time, literally. “Every second of my life was focused on music. I bought nothing for the first year doing music in Vegas. I wore the same shirt every day. I handed a demo to every person I saw, and that’s how the mystique began. If I was in Walmart, Dunkin’ Donuts… I probably handed out 6,000 demos. So our first show we drew 900 kids at the Rainbow Bar.”

Rick and the band (in a different lineup) sold 10,000 self-titled records under their own steam, “Move On” earning #1 song accolades in 2006 on Vegas rock station KOMP. Regional tours further honed their reputation as a powerful live act, solidifying Rick as a charismatic frontman who wrote songs that exorcised and explored the demons of his past. Their songs, like “Scream,” written in a scummy Memphis motel room, are a whole-band effort. Rick’s lyrics are at once introspective, compassionate, unflinching and inspiring. On “Invincible,” a band favorite, Rick explains, “I was going for that ‘Incredible Hulk’ feeling; a song that pumps you up, a crowd-pleaser. It’s about our attitude: I’m not going to let anyone stand in the way of my dreams.”

One of the band’s most-asked questions is their name. Rick, the consummate storyteller on and offstage, relates a great true tale. During a band road trip to LA, they took a detour to San Diego, and when Rick woke up from a nap in the back of the band truck, they were getting arrested in Mexico. Corrupt cops robbed the band, but Rick secreted away a little cash in his socks. Freaked out, the band went to the first bar they saw in Tijuana to have a beer and calm their nerves. It was the Adelita Bar. “There were a bunch of young, really pretty girls and I realized it was basically a brothel,” explains Rick. “I chatted with one girl, questioning why she was living this life? And I wrote a song about it. The band name emerged from the sad stories behind the ‘Way’ they lived at the Adelita—Adelitas Way. As a songwriter,” Rick continues, “I’m very emotional, I put myself in people’s shoes a lot and live vicariously. My songs are about true situations.” That’s reflected in their well rounded and timeless album. For instance, “All Fall Down” is about Rick’s headspace before he left the mean streets of Philly. “Before I moved, everything was gloomy and depressing. But as a kid, your only concern was what you were going to be for Halloween, or get for Christmas. So the song is about how you should have savored those moments. I took things for granted.”

In 2009, with the rising success of Adelitas Way, Rick takes nothing for granted, and some days, feels lucky just to be alive. As teenage guitarist Chris observes, “we made it this far by hard work and nickel-and-dimeing it, vans breaking down in the middle of the desert, the whole bit. It took a while to find this ideal lineup, where we all want the same thing. And everything finally feels right.”

Dare 2B Dif’rnt

2009-10-15T01:22:00.001-07:00

Dare 2B Dif’rnt is a co-ed act that consists of Debra Torres and Paulie D. They both hail from Staten Island, New York and got together in 1993. Paulie had studio time booked for himself and Lisa Gonzalez known as Split Dis. They were to record a cover of the Machine disco classic “There But For The Grace Of God.” They chose this song because the original made waves with its reference to a place with “No blacks, no Jews, no Gays.” They wanted to flip the line to make it a positive one by replacing that line with “No crack, no crime, no A.I.D.S.”

They felt in a small way they could affect the world in a positive way. However on the day of the studio appointment Lisa had to back out of the act due to some long term dental work that she didn’t realize would affect her pronunciation of certain words. Debra Torres was Lisa’s cousin and since she knew the tune and happened to be there hanging out, volunteered to do it. Debra and Paulie worked together so well that they decided to make it permanent and changed their name to Dare 2B Dif’rnt. That studio effort became the “B” side of their debut ZYX release in 1994 called “A World Of Love.”

“A World Of Love” scored number one placements on the International Hi-NRG Chart in DMA Magazine and in Streetsound Magazine on the Canadian Dance Chart. It was also a Sales Breakout in Billboard Magazine. “A World Of Love” was also licensed to Indo China where it still appears on compilations today in it’s original version. This single led to many gigs, the first of which found them performing with KC & The Sunshine Band!

They followed up “A World Of Love” with a cover of the Melissa Etheridge hit “Come To My Window.” Where the first one established them in the clubs, this one went straight to radio, going top 10 on the Hitmakers Mix Show Chart and garnering enough airplay, (particularly in Texas) that the group popped up as Chartbound in the Billboard Radio Monitor. Performances in clubs such as the Rock Island in San Antonio for KTFM, the Sound Factory in San Francisco for the Billboard Dance Music Summit and Sanctuary in Miami for the Winter Music Conference followed and they soon became a hot live act. Both of these singles were produced by B Squared D Productions which was made up of Billy and Walter Brandt who went onto success as part of the group Seven & The Sun on Atlantic Records (“Walk With Me”) and Guiseppe D. (Celine Dion, N-Sync, Michael Jackson), who still remains one of the hottest remixer/ producers in the dance business.

ZYX released as their third single a white label extended mix of the Tony Moran produced “Live Without Your Love.” At that very time their A&R guy and Promotion man at ZYX, Harry Frank Towers left to do the same job at Popular Records and the new A&R man Kevin Doyle was more interested in bringing in his own acts than working with the artists already signed to the company. A commercial release of that extended version of “Live Without Your Love” was never to be even though the single was an out the box add on the radio in Chicago on Energy 88. Debra and Paul started proceedings to get a release from ZYX to join Harry at Popular but the proceedings took a bit longer than Debra was willing to wait so she left to pursue a career as an Emergency Medical Technician with the New York City Fire Department.

For the next couple of years Debra and Paulie toyed with the idea of coming back, the events of September 11th 2001 made that a possibility. Debra is a member of the FDNYEMS. So when the Twin Towers fell she was called to the scene and remained there for many months searching through the rubble for her friends and also working in the morgue at Ground Zero. She eventually came to the decision that rerecording “A World Of Love” would be a positive statement and help her get through one of the most difficult experiences anybody could ever go through. They were positive that this was the right move after they heard from Lexington, Kentucky disc jockey Marvin Collett who told them that after 9/11 he ended each evening with the original “A World Of Love” as he wanted to send people out into the world with a positive feeling at such a difficult time. In 2003 “A World Of Love” was remixed by Guiseppe D. and came out on Cetacean Records. It became a top 15 mix show single and secured airplay in a number of markets of which KNRJ in Phoenix had it in gold rotation until they went off the air in 2009

Their next single “Please” was on the TVI subsidiary Sirenia Records (formerly Cetacean). “Please” was written by Paulie D. as a description of the day he moved out of the house to pursue life with his lover as a Gay man. This tune pays tribute musically as an Interpolation of the Bronski Beat single “Smalltown Boy.” It was produced by Chris “The Greek” with remixes from Chris Brophy from the UK, Liquid 360 and Guiseppe D. The Liquid 360 mix entitled “Mother May I,” has additional vocals by Bruce Donnally of Liquid 360. He added the first verse of “Smalltown Boy” and perfectly integrated it into the track to really nail home the connection between the two songs. “Please” was featured on “The Wedding Party” compilation raising money for Gay Rights and Same Sex Marriage Initiatives. It was released in July 2005 by the Tone 1 Music Group. Also Centaur Records licensed it for their Pride CD mixed by world reknown DJ and Splash NY resident Max Rodriguez which was released in June, 2006.

Their latest single, "Running Up That Hill (A Deal With God)" by Dare 2B Dif'rnt f/ Nancy Yvonne will be on the forthcoming full length Capp Release entitled "Best Of 80's Dance." Other cuts on the album are "Freeway Of Love" by Pepper MaShay, "I Can't Wait" by Ohsha Kai, "Time After Time" by Rikah, "Be Near Me" by Ernest Kohl and "Magic" by Jacinta.

Paulson

2009-09-29T23:33:00.000-07:00

Written By: Steve Sawyer

Paulson has managed to be one of the few notable musicians besides Bon Jovi, to stumble out of New Jersey. Amidst a haze of glorious praise and an equally remarkable DIY attitude, they have netted themselves in a plethora of shows, untold amounts of street cred, and respect among their fans and peers. But unlike Bon Jovi, and New Jersey alike, they've also managed to avoid being repetitive or creatively barren, while doing it for 8 years to boot. That's quite a long time.

Time is a complex, and nefarious thing for music, and musicians in general. Time treats most musicians with the same regard as wine. A wild experiment that is dependent on the virtues of patience, dedication, and most of all creativity. If you are one of the few musicians that manages to stand the test of it all, you will have a catalog that sheds light on the birth of your idea, evolution, and ultimate maturity. But at the same time, just like wine... music can fall victim to any number of factors that would serve to make the end result bitter, sometimes with very little sweet to fall back on.

So it's no surprise that when we find something that breaks the barriers of mediocrity, we do one of two things. We either run to the phone (or whatever your preferred method of communication is) and tell every single person on our contact list. Or you clutch it to your chest, and hope that no one else learns of your discovery, for fear that the band will somehow be poisoned by fame and recognition; or that the music that you love and cherish so dearly, will never be the same.

The fear isn't without merit. Most bands lauded with critical praise don't make it past a second album without any casualties. Whether it be fans that are left confused by a change in sound, or critics that are perplexed by the evolution... no one involved ever really seems to be pleased by progress.

It's odd then that Paulson is able to do it so well and without having to do much in the way of damage control. They started as a melodic post hardcore band from the seemingly always overflowing sea of talent that is the east coast hardcore scene. While they managed to established a fan base, and carve out a comfortable DIY niche within the scene, they weren't content to settle creatively. They managed to include elements of new wave and pop, and still avoided the pitfalls of sugar coated nonsensical lyrics, or worse, taking themselves far too seriously. With their EP “Ridiculous Engine” Paulson managed to both establish themselves, and their sound. Heavy bouts of screaming post hardcore noise was often suddenly replaced by delicate fuzzy synth grooves and catchy melodies. It made for an amazingly catchy collection of tunes for the disenchanted and dance prone.

But, where most bands would just plod through their own repertoire, Paulson took the extra time to grow and expand. So it shouldn't have come as too much of a surprise that their second release (and first official album) “Variations” not only managed to escape the dreaded Sophomore Slump but completely blew their first body of work out of the water. Even more interesting than the albums many twists and turns through both familiar and unfamiliar territories, was the fact that their fan base remained virtually nonplussed by their musical progression. No small feat unto itself when you keep it tucked in the back of your mind, that east coast scenesters are notoriously fickle. Maybe it was that the changes themselves were so subtle that most fans never noticed that they were listening to something far more complex than it's individual components ever accomplished on their own. Or maybe, just maybe it was the fact that Paulson was, and remains an immensely talented band.

Their last release “All At Once” is very aptly named. It's the culmination of a band that has been dedicated to creating something very different within a genre that has seen it's share of silly archetypes. But they somehow still manage to avoid anything that comes close to self parody. In fact beyond that, they became incredibly important. Paulson represents some of the few things that are still right within music itself. All throughout the album Paulson pushes themselves. Whether it be the absolutely breathtaking, and at the same time sincerely haunting melodies that make the heartbreaking song “Voids”, or the amazing groove and energy of “Ultra High”. The album is never at a loss for ideas to play with, or sound to explore. It is constantly pushing the definition of their own sound, and expands on almost every single idea they have ever crafted. The resulting product is pretty amazing. Which just may explain why even through their third total reinvention in sound, their number of fans have remained largely unchanged.

It's undoubtedly a sign of a great band that they have managed to take east coast hardcore kids, and get them singing along to infectiously sincere ballads about love and loss, without the horrendous lip gloss and eyeliner that seems to go hand in hand with such subject matter. And all the while they've done it without falling prey to themselves or the industry. Their work ethic, passion and music, is pretty much unquestionable at this point. And if their new song “No For an Answer” is any indicator of how their next album is shaping up, then with a little luck and a healthy amount of word of mouth, 2010 will most likely belong to a little Midtown New Jersey band named Paulson.

It will be about damn time too.

Enter Shikari

2009-09-18T01:49:00.000-07:00

Common Dreads is the new album by St. Albans-based quartet Enter Shikari. It was born in a back garden shed in St. Albans after a mental two years (we’ll get to that in a minute) in the lives of these young men. Here, during summer 2008, in a bungalow dubbed The Low built in bassist Chris Batten’s parents’ back garden, the words and music came together

The band then moved to Arreton Manor, a studio amongst the remote and picturesque rolling moors of the Isle Of Wight with producer Andy Gray (who has not only worked with U2, Korn and Tori Amos, but penned that ubiquitous Big Brother theme music). In this the rural seclusion that seems totally odds with the apoplectic and articulate squall of Common Dreads, our four plucky young heroes created a squall of political protest handily disguised as a club bangers and mosh-pit epics. The end result is a soundtrack for an entire generation – one where the party is as important as the politics.

Some are already suggesting Common Dreads will come define the era into which it was born: one of recession, paranoia, state control and the fallout of decades of accelerated capitalism. But – and this is important – also an era of hope and creativity, humanity, hedonism, irreverence and fun. This revolution may not be televised, but it will certainly be amplified. Just check out lead single ‘Juggernauts’, a song that is already eating it’s way through Britain’s radios and sending all the other songs running for cover.

“Politics are unavoidable,” says singer Rou Reynolds. “We just can’t write sappy music. Personally I can’t write limp soulless songs about how lovely a girl is. If the first album was quite cryptic and metaphor-heavy, this one is more direct. Since we gained popularity we realised, whether we like it or not, we have the ability to influence people – and with that is a responsibility to speak our minds.”

And what are Common Dreads exactly? “They’re shared worries,” says Rou. “The things that concern people today on a global level – catastrophic climate change, wars, terror laws, CCTV society, modern imperialism and the affects of capitalism.”

All of this may come as a shock to those who had Enter Shikari pegged as nothing but a lurid new band for the misunderstood Skins / ‘Broken Britain’ generation. Wrong. They were always more than that. But let’s not get too distracted by the politics – ‘Zzzonked’ is pure head-stoving drum ‘n’ bass metal madness with a double side order of donk while ‘The Jester’ is a wry, jazz-infused chooon with a stomping cocksure klaxon of a melody designed to destroy festival crowds. lt’s an album for the late 00s, basically; a big, bold record bursting at the seams with ideas.

Let’s put all this into context for a moment. Enter Shikari (the name comes from a boat that belonged to singer Rou Reynolds’ uncle) formed in 2003 in the quaint and historical home counties town of St Albans, just near enough to London to know something exciting lurked beyond the horizon, but too far away to run headlong into it.

They spent their formative years forging a sound that audaciously melded hardcore punk with hardcore rave/trance. And while media scenesters down the road were harping on about the fictional nu rave scene, Enter Shikari were out there doing something much more exciting. Something that hit a nerve.

Remember those early shows? We do. We remember the sweat and the smiles, the laser beams and the elegiac choruses. We remember the blur of flashing Shikari cygnet rings as somersaulting fists pumped the air; we remember the surges of serotonin up the spine into the lower cortex. We remember looking at the crowds and thinking: holy shit – this is a generational thing! We remember Tony Wilson telling Seymour Stein to check out Enter Shikari – and we remember his reaction: “You’re not a band - you’re a revolution.”

And it was. And it still is. And then things got hectic. In summer 2006 Enter Shikari packed out the MySpace tent at Download festival on reputation alone, and by November of that year had become only the second ever unsigned band to sell out the London Astoria. Two sold nights at the Hammersmith Palais followed shortly afterwards.

This all happened away from the patronage of any of the big record labels. Enter Shikari did it themselves – the old way. The DIY punk way. Which is why, despite plenty of offers, they decided to release their debut album Take To The Skies on their own Ambush Reality imprint. When it cruised in at No. 4 it became one of the most successful self-released rock albums ever. That’s ever.

Accolades came thick and fast: the NME John Peel Award for Innovation in 2007, Kerrang! Awards (including Best Live Band), with sales of their debut now pushing 250,000 worldwide and frankly silly statistics, like the one about their single ‘Sorry, You’re Not A Winner’ having clocked up 6.3million plays on YouTube.

And so onto Common Dreads then, an album whose politicised ‘people power’ beginnings were inspired by the band joining fellow St Albans’ residents to fight against Tesco when the supermarket chain unveiled plans to build a big new store on a green patch of land. “It was the first time we actively got involved in something like that,” smiles Rou. “And, collectively, we won.”

Musically, there are still twists of Refused’s screamo punk in there, but also the everyday colloquial man-in-the-street chats of The Streets’ Mike Skinner and nods towards The Prodigy, the most pumpin' drum & bass, the most euphoric of trance, Altern-8 and even some of the darkest of dubstep too. More than anything though Common Dreads is an album destined to unite the tribes, divide the critics and thoroughly satisfy anyone who has witnessed the mad live spectacle that is Enter Shikari.

“The main thing we stand for is unity,” concludes Rou. “Although it’s fair to say this is a political album, we’re aware that we don’t want to preach ideas - our only solution to today’s problems is to get together, share ideas and have fun. Because ultimately that’s the Enter Shikari way. You’re only young once, so positivity during dark times is as important to us as anything else.”

Q&A with Rou Reynolds - (lead vocals, keyboards/samples)

Your first album Take To The Skies--released on your own Ambush Reality label--debuted at #4 on the U.K. chart, becoming one of the most successful self-released rock albums ever. With your choice of major label offers in the U.K., why did you decide to release it on your own and what did you learn from it?

At the time, we didn't really feel like we had a choice--we'd been touring for around two years properly without any press or label interest. We'd done everything along the way ourselves from the booking to the designing and printing of T-shirts to recording our demos. It was only as we released "Sorry You're Not A Winner" that the interest suddenly boomed and by that time we realized we could do it ourselves with the help of the family we had built up around us. I'm glad it happened just as it did as I'd hate to be tied up in a major label deal now in this current era of uncertainty.

Your new album COMMON DREADS will be officially released in the U.S. in the Spring of 2010. For the U.S. release, you are partnering with DGC/Interscope. What made you decide to join forces with a major at this point?
We were lucky enough to get involved with a good crowd over there as there's no way we could repeat the same rise in the U.S. as we did in the U.K. It's obviously colossal in size compared to the U.K., so we knew we'd always need some help along the way and have to play a different game. Saying that, we have done a fair few tours now by ourselves-- just playing the toilet circuit and it's been really fun and still feels organic.

On COMMON DREADS, you teamed with producer Andy Gray (U2, Tori Amos, Korn, Gary Numan) and holed yourselves up in the isolated Isle of Wight. How did this work for you? What did you feel the result was for COMMON DREADS?

It was superb-- it couldn't have been more of an opposite experience from the recording of our first album. That was rushed down in two weeks and I've never been happy with the way the vocals sound. This time around, it was a conscious decision to get away for a few months and experiment. Andy (Gray) was wicked as well--he was up for anything from burning pianos (“Havoc B”) to breaking into churches and recording organs (“Fanfare”) to singing outdoors in boxers whilst it was snowing at 1:00AM to get that real 'cold' vibe (‘’All Eyes On The Saint’’). It was a real fun experience and I'm really proud of the result! COMMON DREADS really captures the live feel of the band and our vision.

Fusing such polar genres of music such as electronic and hardcore, how would you describe your music to someone who has never heard of you?

Good Music. There's good music and bad music. That's all.

What would you describe as the most powerful song to you on this album? Which new song do you really enjoy performing right now?

That’s a tough one--I'd probably have to go with “Fanfare.” It was all done pretty last minute, so I guess it came out as a final outpouring of frustration with both our countries’ aggressive foreign policies this past decade. I'm loving performing “Havoc B” at the moment--Chris pulls down some vicious sub bass to get the ground shaking and at the end hearing the crowd join in with the chanting creates such an unbelievable sense of unity.

What was it like growing up in St. Albans, England and how did it shape you as a musician?

St. Albans has always had a struggling, but thriving music scene. First getting into the local hardcore, punk and ska scenes was great, but as we got older we noticed the local Council really started coming down hard on gigs and local venues. We fought for years putting on shows at our local youth club, and they’d actually go to crazy lengths to try and pull our live shows. Ironically, it created a sense of community for our scene and everyone got involved to do what they could to keep it alive. It still happens to this day; the last time we did a homecoming the Council tried to pull it--luckily the local press were on our side and exposed them for how stupid and malicious they were being. Other than the music, St. Albans has a great Roman history and the most pubs per square mile in the U.K.!

You’ve performed at some of the most impressive festivals in the world including Coachella Valley Music & Arts Festival, Download Festival, Reading, Leeds, Summersonic and all of the major European festivals. What’s the difference between your festival performance and your club show?

Nothing really--we don't really approach them any different. It's just a longer run to get to the crowd at a festival which is always a bummer, but we get there.

What was the inspiration behind the song “Juggernauts?”

We campaigned to stop a local superstore giant here in the U.K. from building a store right in the center of our town. It was just a nice quaint victory that was really inspiring to see everyone getting involved. The song itself is about how important it is to feel involved and to have a sense of belonging to your community and how our current economic and social system actively discourages this.

Describe your worst night on tour, ever.

On our last U.S. tour our van broke down as we were leaving Philadelphia. We spent 12 hours in a Walmart car park with a mechanic trying to fix it from 1:00AM whilst right in the middle of a thunder storm. It was pretty horrendous. We had no sleep and had to miss our show the next day so we were totally gutted.

What do you think is the biggest misconception about ENTER SHIKARI in the United States?

Rob isn't allowed in the States because he posted a box full of his own shit to Walmart’s Headquarters and there was consequently a bomb scare and the whole building was evacuated (joking).

Why is English food “as some people say” so bad?

Who needs good food when you have good beer and cider?

How would you define English food? It's just a culmination of other cultures food really... oh no we have Trifle! Come on! Trifle rules.

The name ENTER SHIKARI came from a boat that belonged to your uncle. Why did you choose it and what do you feel it means?
Shikari means “The Hunter” in many Indian languages. My uncle was a fisherman and back when I was a kid I used to go out onto the high seas with him and just thought it was an awesome word. When we made the band, it just kind of fitted into what we had to do. We knew to make changes in this world you have to get out there and hunt yourself. It just seemed apt for how we were working as a band (the whole DIY style) as well as our political outlook.

What is your biggest guilty pleasure?

Lady Gaga.

Have you been to Stonehenge and what do you think of Spinal Tap?

Stonehenge is awesome. Still fills me with absolute wonder and awe every time I go there. Spinal Tap is just the industry standard, total classic.

If you could record a song with an artist outside the genre of music for which you are known, who might that be?

I'd love to work with a rapper called Lowkey from London. He does really political hip-hop, which is such a breath of fresh air from the normal commercial bulk of hip hop which just glorifies violence and condones negativity and greed.

If you could have a conversation with anyone, living or dead, who would it be?

John Lennon.

What has surprised you most in your career so far?

How nice the majority of people you meet around the world are.

Any hobbies outside of music? Sports, etc?

I like swimming and dirt jumping (bikes), but other than that I’m not really into sports. I don't like the sense of rigid and ruthless competition promoted in most sports. It always puzzled me in high school the amount of anger sports produced in people. I think it's kind of pointless and silly.

HalfDown Thomas

2009-09-01T03:18:00.000-07:00

HalfDown Thomas’ third album was blown away by Hurricane Katrina. Literally.

The band, which hails from the sleepy little backwoods town of Cullman, Alabama, had the honor of working on the record with 3 Doors Down’s Chris Henderson. They entered the studio in Mississippi, with Henderson producing, in 2005, laying down the tracks in short order. Then, the hurricane hit, leaving the studio, and the master recordings for the album, under twelve feet of water.

Not easily deterred by Mother Nature, the band and Henderson reconvened in the same studio (completely rehabbed from the hurricane damage) in 2006. Again, they laid down the tracks, completing the majority of the recording in three weeks’ time, only to find a computer glitch had rendered a large portion of the recordings unusable. Because they had meshed so well with Henderson (who said he really wanted to be involved in the rest of the recording), the band was willing to wait to work around his 3 Doors Down schedule in order to re-record the tracks that needed to be redone in Henderson’s new Rivergate Studios in Nashville in 2007.

“This band is so easy to work with,” says Henderson. “From a production standpoint, they provided me with a wide open palette, bringing some amazing riffs into the studio, then taking my suggestions to the next level in their continuing songwriting endeavors. And they’ve been so amazing about recording the album three times. It was not anyone’s fault; it’s just the way that things went down. But they took it all in stride and they made it fun.”

“Chris is the hardest-working guy I know,” says guitarist Wesley Smith. “When we were in the studio with him, he’d only get four to five hours of sleep before he was back to work. It was fantastic being in the studio with him. He’s very down-to-earth, and he gets what we are doing.”

The result is HalfDown Thomas’ third-full length album, “Beautifully Strange,” which will be released via Rock Ridge Music on February 17, 2009. In addition to Henderson’s production, the album boasts mixing by Geoff Ott (3 Doors Down, Nickelback, Unwritten Law) and Kirk Kelsey (3 Doors Down, Creed, Redding). Bobby Capps of .38 Special contributed vocals on several songs, and Ivan Arnold of Five.Bolt.Main engineered some of the album.

HalfDown Thomas (or HDT) was begun on the verge of the new millenium by a group of friends with one simple goal: to start a band and see how far it could really go. Eight years later, singer Randy Ayers, guitarist Wesley Smith, bassist George White, and drummer Mark Underwood are finding out. Starting as everyone does in sweaty little clubs, opening shows for renowned local acts, HDT spent their time developing a high-intensity stage show to compliment their hard-driving modern rock sound. The band came to the attention of their label after they won a Birmingham, AL, Battle of the Bands and went on to compete in the finals in Biloxi, MS. Henderson’s 3 Doors Down bandmate Todd Harrell was the creative force behind the contest. Rock Ridge Music CEO Tom Derr, who was a judge at the Biloxi contest, was so impressed by HDT that the efforts to sign them began immediately.

The band has continued to plug away live, sharing the stage with acts as diverse and influential as Kings of Leon, OutKast, Evanescence, and Fuel, just to name a few. At the same time, HDT has also worked hard to hone their personal sound. With two full-length releases, three EP's, and numerous compilation spots under their belts, writing and recording have been a large piece of the equation. Somewhere between Pearl Jam and Nickleback, between Stone Temple Pilots and Breaking Benjamin, is where you'll find HalfDown Thomas' sound. Throw in individual influences as varied as Southern rock and 80's hair metal, and what shakes out is modern rock alternative with scorching guitar solos, bombastic rhythm work, and attention to lyrical hooks that create an interesting and listener-friendly mix.

Just how far can four guys take a dream? The answer seems to be a lot farther than anyone expected. And they won’t let a little something like Mother Nature get in the way.

Check Out HalfDown Thomas Online - Myspace - Website

Violent Soho

2009-08-25T14:17:00.000-07:00

VIOLENT SOHO is an Australian punk-grunge band hailing from Brisbane's suburb of Mansfield, who has a unique sound with raging riffs, battering-ram guitars, vocals obscured by haze and distortion, and a rhythm section so powerful it threatens to flatten buildings. Luke Boerdam (Vocals, Guitar), James Tidswell (Guitar), Luke Henery (Bass), and Michael Richards (Drums) came together half a decade ago to make music that would embrace an 80's and 90's punk-grunge sound. Since the release of their first full length, We Don't Belong Here, VIOLENT SOHO has toured extensively and has played shows with bands such as The Grates, The Black Keys, The Bronx, as well as played shows in the US and UK.

They have also been featured in major music festivals around Australia including Homebake, Meredith, Falls Festival, and Laneway Festival. This 2.5 min power-in-your-pocket pure rock is something different that is oft long forgotten in this electro nu-age of music. Look for their full length debut album on Ecstatic Peace / Universal coming soon!

In the mean time, check out the band's MySpace page and find out for yourself!

Autumn Hour

2009-08-25T03:08:00.000-07:00

Alan Tecchio (lead vocals), Justin Jurman (guitar/vocals), Clint Arent (bass), and Dave Lescinsky (drums/vocals) joined forces in the spring of 2008 to form Autumn Hour. Since that time the band has been on a creative journey that has culminated in their fierce and dynamic debut recording: “dethroned.”

The origins of the band can be traced back to the summer of 2003 when Tecchio and Jurman wrote about a dozen somber, acoustic songs together. It took until 2008, but eventually these songs morphed into a group dynamic with the addition of Lescinsky and Arent. The quartet deconstructed some of the 2003 material and also wrote new, heavier songs. The results transcend genre but the majority of the songs have strong metal music roots.

At the same time, “dethroned” is an album that boasts many textures, tones and ideas. A concept CD, the premise of the story is based around ideas developed by Ray Kurzweil in his ground-breaking book “The Singularity Is Near.” Taking forward-thinking concepts like strong artificial intelligence, exponential technological development, and nanotechnology, AH has woven their own shadowy, sorrowful tale of a potential future.

“dethroned” is a songbook of utter, worldwide devastation, and an aftermath in which technology tries to save the human race from extinction. The story is told in three parts: Part I: Singularity In The Making, Part II: Endgame, and Part III: The Machine Kind. The crushingly clear sound of this musical tale was devised through the keen production talents of Jon “Jonny Rod” Ciorciari (Exodus, Six Foot Sissy, Forman, Sicks Deep). Ciorciari helmed the tracking and mixing of “dethroned” at his J-Rod Productions facility in New City, New York. He perfectly captured the dark, haunting, and, at times, brutal moods of the story itself.

A U T U M N H O U R : The Players

Autumn Hour as individuals have been involved with the recording, touring and teaching aspects of the music industry for many years. Vocalist Alan Tecchio forged his career touring and recording seven CDs with 80’s thrash/power metalheads Hades, two of which also featured Lescinsky on drums. Alan did one CD with the unique, progressive Texas act WatchTower as well, and he fronted the doom/power band Non-Fiction touring the world and releasing three CDs with them in the early 90’s.

It was through Non-Fiction that Alan met Justin, as their bands had played a number of shows together. Alan recorded two CDs in 2005 and 2007 with Seven Witches, which is how Clint Arent came into the fold, since he had recorded and played out with that band. Arent also plays in Metal Mike’s Painmuseum. Musically speaking outside of AH, both Clint (School of Rock) and Justin (privately) have a background teaching music, and Dave owns two rehearsal studios and practices ceaselessly. Alan just hums, screams and whistles to himself a lot. We’re not sure what’s up with that.

Check Autumn Hour Out Online - Myspace - Website

Avery Storm

2009-08-24T15:03:00.000-07:00

Photo By: Eric Vogel

Singer Avery Storm, whom Pharrell Willams has called the "Next Big Thing" and Jimmy Iovine referred to as "A Modern Day James Dean," has worked with a dream team of producers on his new album including but not limited to Cool & Dre, The Runners, Babyface etc.

It’s been a long time coming for R&B singer Avery Storm. By now, you’ve probably heard him singing hooks for some notable singles of the past few years. The chorus on Notorious B.I.G.’s “Nasty Girl” featuring featuring P. Diddy, Nelly and Jagged Edge? That was him. And on Rick Ross’ “Here I Am” and “Rich Off Cocaine?” Avery had that ish on lock, too. And in addition to these top-billing guest appearances, he’s also lent his vocal talents to a smattering of albums, popping up on Nelly’s Suit, Jadakiss’ The Last Kiss and Murphy Lee’s So So Gangsta.

But after years of patiently waiting to get his shot at rocking on his own, Avery is finally ready to unleash his debut album Shotgun Love on the world on September 29th. The album’s lead single “Not Like My Girl,” produced by The Runners and featuring Rick Ross, is about to drop, but Avery’s got a lot more in store for his first official solo joint, including songs produced by Babyface and Jermaine Dupri and guest appearances from Jadakiss, Rawse and Nelly.

Shotgun Love in Stores September 29th
www.myspace.com/averystorm
www.youtube.com/averytv

9mm Solution

2009-08-14T02:59:00.000-07:00

For years, the fearsome foursome known as 9mm Solution has been turning heads and eradicating eardrums, leaving bloody, barely-moving masses as they tore across the Midwest’s music scene. After the physical intensity of their performance, it’s easy to see that this band is on a mission to prove themselves as one of the hardest-working stage acts in the biz.

One of the many things that has always set 9mm Solution apart from other acts has been their seemingly effortless ability to cover the spectrum of today’s heavy metal sound. With songs like “Suicide Letter” and “Below,” you get a very real sense of loss with a hint of hope. Add to that the guttural, smashing assault of “One In The Chamber” and “Belly Up,” and you have the total package.

When the band formed in 2003, it was clear that these boys had a very real goal in mind. In the spring of 2006, the band shocked fans, reintroducing themselves by taking the stage at Milwaukee’s Rave dressed in matching suits. It was around this time when SOiL bassist Tim King came into the picture and kicked things up a notch by producing the band’s music, which piqued the ears of industry greats like Ulrich Wild (Static X, Deftones, Tool), and Sterling Winfield (Pantera, Hellyeah), who also signed on to mix various projects for the band.

9mm SOLUTION released their first full length album, “One Shot... One Kill,” in the summer of 2006 through King’s Mortal Music. It gained wide recognition throughout college and mainstream radio. It wasn’t enough. The band set their sights even higher. They turned up their game, playing even more shows alongside bands like Five Finger Death Punch and Hellyeah.

These days, it’s business as usual for 9mm Solution. Whether it’s one person or entire crowds, these guys will take out anyone and leave them screaming. When these crowd killers suit up, stand back: when they’ve got a job to do, there’s not a force in the world that’s going to stop them. Just ask their fans, the Bulletheads.

This summer marks the culmination of the band’s efforts. They’ll take aim on the world when they release their second album, “The Dream Is Dead,” through Rock Ridge Music. But, rest assured, the dream is never dead with these guys.

9mm Solution is: Dave Gregor (guitars, vocals), Chad Novell (bass, vocals), Joe Thillman (drums), and Hobbes Caltous (lead vocals).

www.myspace.com/9mmsolution

Imaad Wasif

2009-08-12T14:02:00.000-07:00

In another life, Los Angeles-based singer-songwriter Imaad Wasif might have been a poet or a priest. He draws inspiration from beyond the veil, seeking connections and cosmic patters in the hopes of expressing the simplest but most profound message to his listeners: We are not alone. The urgency of that communication, and his need to convey it, give both his delicate guitar ballads and his fervent rock songs a ferocity and focus that resonates with every note.

Wasif goes far beyond the here and now in his music, but he is very much of this time. He is a rock musician who came of age in the Coachella Valley of the 1990s. Early on he played live and in the studio with Lou Barlows Folk Implosion. In 2006, Kill Rock Stars released Wasif's self-titled solo debut, an acoustic psych gem. Around the same time, he was enlisted as a touring guitarist and opening act for Yeah Yeah Yeahs.

Sophomore album Strange Hexes revealed Wasif's varied influences. The album was recorded with his band Two Part Beast (Bobb Bruno and Adam Garcia) and self-released in March 2008. That album was the first to hint at the distinctive sound Wasif has ultimately crafted for himself; a blast of post-modern psychedelic rock that is at once potent and refined. The album will be re-released by Tee Pee Records in 2010.

Having gained a reputation for his intense live shows while opening for RTX, The Raconteurs, Neko Case, Arthur Lees Love and Sebadoh, Wasif has plans for an extensive tour in the fall of 2009. He can also be found playing guitar on "Little Shadow" from the YYY's latest album, It's Blitz! and Lou Barlow's forthcoming solo album, Goodnight Unknown. His collaboration with Karen O of Yeah Yeah Yeahs, Bradford Cox of Deerhunter, and "Little" Jack Lawrence of The Raconteurs and Dead Weather on the score for the Spike Jonze-directed film adaptation of Where The Wild Things Are hits theaters in October.

The theme of love in its many guises, both as redemption and call to arms, is one that Wasif returns to again and again in his songs. Its mythical quality becomes a springboard from which he explores the mysteries of life and the universe on his third album, The Voidist. Recorded with Two Part Beast, plus guests Dale Crover (Melvins) and Greg Burns (Red Sparowes), by Chad Bamford (Weezer) with additional recordings by Mathias Schneeberger (The Obsessed, Gutter Twins), the release is due from Tee Pee Records in October 2009.

Farewell

2009-08-03T23:43:00.000-07:00

Photo Credit: Brett Arthur

The sophomore album poses an interesting situation for any artist: They can either take the if-it-ain’t-broke-don’t-fix-it approach, or they can opt to push the envelope and try something progressive, all the while subjecting themselves to potential failure.

On "Run It Up the Flagpole," Greensboro, NC pop-punkers Farewell have chosen the latter, toeing the line between sugary pop melodies and unbridled punk-rock energy while creating a record that both Top-40 fans and punk purists can enjoy equally. The set follows 2007’s "Isn’t This Supposed To Be Fun!?," which, along with the band’s earn-it-yourself attitude, kept Farewell on the road alongside acts including Forever The Sickest Kids, The Secret Handshake, Four Year Strong and Hit The Lights, as well as earning them a spot on last year's Van's Warped Tour.

When facing the task of writing their follow-up, the band — vocalist Marshall Davis, guitarists Wil Andrews and Kevin Carter, bassist Buddy (just buddy) and drummer Jeff Ellis — set out with one goal: to diversify its sound while proving that it’s possible to play catchy, pop-based music without pandering to overtly glossy production and studio trickery. “So many bands’ second record sounds exactly like their first one, and it’s almost always a letdown,” says Davis. “We wanted to continue to move forward as a band and help expand our fans' perception of what 'pop-punk' could be. That's why this new record has its own identity. It's a perfect blend of our past and present."

If you’re looking for a record full of snot-nosed vocals and breakneck tempos, you’ll probably be disappointed. Instead, Farewell’s punk influence is exuded in swagger and attitude, drawing from influences like Jawbreaker and Screeching Weasel. Even so, it’s clear the band isn’t pulling any punches this time around. Calling out the “cookie cutter caffeinated teens, deployed for mass consumption,” the lead single “Devoid (That’s What I Think About It)” kicks listeners in the teeth with massive Green Day-sized guitars and its rallying-cry chorus of “When did rock and roll become this fucking fashion show!?”

No, Farewell has not become a band of crusty punk-rock belly-achers. Nor have they turned their backs on the fan base that’s supported them since the beginning. They’re simply not willing to stand by and watch their pop-punk scene be overrun by sound-alike clones who care more about looking good than making good music. “We’re basically a punk-rock band that's more rock than punk," Davis laughs. “I wish I could sing like Armstrong, but I guess I'll settle for Hoppus."

Farewell’s members, most of whom had grown up playing in various punk and hardcore bands, came together in 2005 and quickly built a name for themselves, touring the Southeast and crafting their upbeat pop-rock sound, all the while showcasing for labels across the country. They eventually caught the ear of Epitaph founder Brett Gurewitz, who signed the group in 2007. It was an ideal situation for the band; many of their influences were veteran Epitaph artists. “They understood our band and didn’t want to change us,” Davis says of the label, “They were stoked on what we had to offer and gave us 100% creative control. It was perfect for us.”

Throughout "Run It Up the Flagpole," Farewell tempers it’s us-against-the-world mentality with a hearty dose of earnestness and sincerity. That’s best found on “Catch As Catch Can,” an autobiographical mid-tempo number that recaps the band’s history – from its nascent stages in the dive-bars of North Carolina to an eventual deal with Epitaph and subsequent worldwide touring. "Run It Up The Flagpole" not only cements Farewell as a band that won’t compromise its ideals for the sake of rock stardom, but also shows its members will never forget their roots and what it took to make it this far.“You have to keep in mind that your fans are growing as individuals too, along with their musical tastes,” Davis explains. “We’re playing the type of music that made us want to do this in the first place. It's what we love, and what we do best."

"Run It Up The Flagpole" hits stores September 1st, so be sure to pick up a copy and listen for yourself.

Icon

2009-07-23T16:58:00.000-07:00

Born and raised in the Los Angeles area, iCon was surrounded by music. A friend of the family's, Focus…, had began working for one of the most known record companies, “Aftermath Entertainment,” as a producer when iCon was 12.

Although Focus… was often away from Los Angeles promoting and working, iCon still attended several studio sessions whenever possible and learned the production side of music at an early age. iCon began playing instruments at age 5 when he attended Baldwin Hills Elementary School; he went on to win his first music scholarship at age 7 and knew he wanted to live his life around music at age 10.

After graduating from high school at Alexander Hamilton Music Academy, iCon started making moves with independent labels and working with a few high school friends that also shared the same dream. Right out of high school, he started selling beats locally for a couple of hundred dollars to keep money in his pockets without getting a “day to day” job and stopping his creativity. Although, things were not moving the way he would have liked them to. So, after a year of sweat, blood, tears and a few misunderstandings with Independent Labels, iCon decided to take matters into his own hands and work alone. “Promoting myself has been one of the best career decisions I could have made. Trying to work with managers with more established clients than you, it gets pretty tough when the producer feels like he is being pushed off by the wayside. Especially, when you have the talent, drive, and passion for the art,” says iCon.

As iCon’s talent, drive and passion grew, it led him to currently work with people from publishing companies such as, Bug Music and Hollowstone Music, where he is currently negotiating a deal.

In 2007, iCon began working with a group called “The Jerk Boiz,” who from his understanding, created a dance entitled “The Jerk.” iCon liked the movement and had an idea of creating a song that expressed what jerking was. This is where he co-produced as well as co-wrote a song for he and a member of the group, "AD,” entitled “Im Nice (jerk wit it)." iCon says, “This song was never promoted properly, and led to another talented group (New Boyz) taking advantage of the movement in 2009.”

iCon’s work has appeared on every mixtape, as well as album The Jerk Boiz have put out around Los Angeles since that time. His work has also been heard on other projects from talented local acts like, (L-Rich) “Try to Hard” and “Let it Bang,”(Mischif‘s) “What it Do” and “Gutter Lane,” as well as a previous A.Fam Records/Aftermath Entertainment artist, (Pro-Verb’s) “Sexy Lady.”

What makes iCon stand out is his diversity. iCon went on to comment, “I don’t want to be someone who came in, placed a few hot beats and features, then gets thrown by the wayside. I have a serious passion and love for my music and I want to be known for just that; my music! I don’t want to sound like the rest. Sounding like the rest will only make you disappear with the rest when a new style presents itself to the world. I want my name to be mentioned among greats like JD, Kanye, J Dilla, Dr. Dre, and The Neptunes. Not just, ‘Oh that’s that guy that made that one track.’ That’s not my goal.”

iCon keeps his music fresh by relying on his moods for inspiration. “Everything I make is based on my emotion at the time,” he says. I was feeling creative when I made Mischif’s (What it Do),” says iCon. “That’s why it has a bit of everything in it. It’s dark, with a sense of gutter emotion, and has piano in it to lighten up the mood a bit. If I’m in a good mood, it’s most likely going to be R&B, Pop or Soul. Emotion is the trigger for me.”

iCon plans to make an impression on the entire industry, disregarding the genre. He said, “This year I plan on going hard and moving as fast as I can, while still making solid decisions and creating quality music. Lots of producers these days have forgotten that quality is huge; and part of that quality is getting the raw sound from real instruments, not just synths!" iCon says, “I just want to live up to my talent and be a great Entertainer, Producer, Songwriter, Artist, all of it.”

At a young age, playing 4 instruments and having his discipline, he is well on his way.

Credits:
(Mischif) "What it do" "Gutter Lane"
(L-Rich) "Let it Bang" "Try To Hard"
(Pro-Verb) "Sexy Lady"
(Jerk Boiz) "Im Nice (Jerk Wit It)"

Soon to come: "Lee Charm"

Check iCon out Online - Myspace - Twitter

Pendulum

2009-07-22T02:04:00.000-07:00

Pendulum formed in their home-town of Perth (Western Australia) in 2002, when producers Rob Swire and Gareth McGrillen teamed up with acclaimed local DJ Paul 'Elhornet' Harding. While their individual formative roots ranged from producing drum & bass, breakbeat and hardcore, to playing in metal and punk bands, their comparable talents proved an unstoppable force when they managed to single-handedly conquer the world of drum & bass in their first 12 months together.   

After selling more than 100,000 units of their debut artist album "Hold Your Colour", remixing for such respected artists as The Prodigy, being play-listed and featuring regularly on BBC Radio 1, all whilst continuing to tour the world over as DJs...Pendulum decided that was finally time to take things to the next level - performing live.

 The last 12 months have seen Pendulum retreat to the depths of the underground to work on their second album, and to hone and perfect their sound for the live arena. Finding that using purely electronic sounds left something to be desired, they fetched their guitars and worked on perfecting their ultimate sound - an electronic Led Zeppelin, a crunked up Soundgarden, Tool meets Timbaland, combined with the synthetic aggression and sonic purity of the original Pendulum sound.   So apart from that, what the hell are Pendulum all about? In the words of the boys themselves...   

"We want our music to be an escape. While technology continues to constantly advance production techniques and (arguably) sound quality, something has been lost in the process - that original sense of self-escape, the idea of leaving yourself open to experience something you don't necessarily find in every-day life. That was the energy we picked up on and liked about electronic music when we first got into it. It felt like the same energy found with bands like Led Zeppelin and even The Beatles, and still occasionally today with bands like Tool, The Mars Volta, Queens Of The Stone Age and others.

 To us, it made perfect sense to combine the best of both worlds, but it had to be done in a way that didn't make it sound obvious. In the last 10 years you've had all these bands that tried to cross the bridge by recruiting a turntablist / using a synthesizer on their new single, or electronic artists who just threw an obvious guitar sample into a tune...but eventually it just came across as a gimmick or a bit cheesy. We thought we'd try and do it properly, because to us it still hasn't been done right and there’s a lot of room for exploration.

 If you turn on the radio today you'll hear 20 tracks in a row describing someone's every-day life, or songs with a one-line catchphrase chorus about shaking your ass in the club - the production is usually great but when you look deeper, there's nothing behind it...it doesn't offer you anything past its face value. We want to hear something different and exciting, but the material we want to hear isn't getting made. Thats why we spend nearly every waking moment trying to create music that takes you out of this universe - for ourselves and anyone else who wants to listen."

The Darlings

2009-07-20T04:18:00.000-07:00

Hailing from LA’s South Bay beach communities of Redondo Beach and Hermosa Beach, The Darlings are a proud part of the new generation of South Bay punk bands weaned on local legends like Black Flag, the Descendents, and the Circle Jerks, as well as current hometown scene leaders Pennywise.

Playing a no-holds-barred, brutally honest and in-your-face style of punk rock, The Darlings are soon to make their own impact on the scene.

Maybe it’s too early to declare The Darlings as leaders of the third wave of South Bay heroes on par with the '80s scene and the '90s resurgence, but if their seven-song, self-released, self-titled EP, available now on iTunes, has anything to say, it would be ‘turn it up and get out of the way.’

Proudly bringing rock n’ roll back to the underground scene, The Darlings (singer/guitarist Buddy Darling, guitarist Josh Kearney, bassist Kris Kranes, and drummer Josh Fasen) have already toured with such legendary acts as Pennywise, Social Distortion, Bad Religion, Youth Brigade, Ignite, Guttermouth, and the one and only aforementioned Circle Jerks.

Quite the major accomplishment for such a young band, the lads in The Darlings are armed with the skills, dedication, and street-cred to back their DIY success. Singer Buddy Darling states matter-of-factly, “We’re going to be around simply because we love it! So check us out.”

The band lists as musical inspiration everyone from Elvis to the Blues as well as contemporary rockers like Social Distortion, Murder City Devils, and Tiger Army. In 2006 The Darlings won the Battle of the Bands presented by AMI Productions, the South Bay’s most prestigious band competition. The battle victors, who completed some rousing performances on the 2008 Vans Warped Tour, plan to keep their momentum going by performing wherever their music takes them, in addition to putting out a full-length release this year.

Check out The Darlings on Myspace.

Halestorm

2009-07-15T15:33:00.000-07:00

Halestorm unleashes a turbulent torrent of infectious hard rock on their self-titled Atlantic debut. The band—guitarist Joe Hottinger, bassist Josh Smith, drummer Arejay Hale and singer/guitarist Lzzy Hale—churn out uncompromising rock n' roll anthems. Drawing from an arsenal of songs that she's penned since she was 13, Lzzy examines love and life on the edge.

Lzzy and her brother Arejay formed Halestorm in 1998 while in middle school. They immediately began playing local shows and garnered a following across Pennsylvania. The band line-up was solidified with the addition of Joe and Josh. Further honing their sound, Halestorm began showcasing for labels in 2005. Lzzy explains, “We were doing a show at Don Hill’s in NYC. Don Hill himself loved the show and asked us to come back on a regular basis to help us build a buzz in the area. It was snowing hard in New York on the coldest night of the year when Atlantic Records first saw us perform. From there it was only a matter of time until we solidified our relationship, and put ink to paper.”

Halestorm signed with Atlantic and released the live EP, One and Done. The band immediately hit the road, touring with Shinedown, Seether, Flyleaf, and Trapt. Playing more than a thousand gigs, they cultivated a captivating live show, while appearing on various festivals and the annual Sno-Core tour.

In 2008, Halestorm entered a Los Angeles studio to record their debut album with Grammy-nominated producer Howard Benson (Three Days Grace, Flyleaf, My Chemical Romance) and mixer Chris Lord-Alge (Underoath, AFI, Green Day). The album’s a fiery flurry, and Lzzy describes the band’s sound best: “It’s powerful rock’n’roll. We have a lot of classic rock influences, but the music never feels dated. It’s got an old school feeling with a modern edge.”

The record’s first single, “I Get Off,” blends a sexy hook with a rough and tumble groove. “On that song,” says Lzzy, “I reach outside of myself and explore sexuality. It also has this crazy metaphor of me getting off on the crowd getting off on me.”

Lzzy casts a hypnotic spell on stage. Drawing from influences as diverse as Pat Benatar, Janis Joplin, and Metallica, she has a dark sensuality that’s undeniable. Her sultry side comes through on the moody “Familiar Taste of Poison.” “That track is an amazing journey for me,” she explains. “It’s very low key, but it’s a bit of a performance piece. It shows a different side of this band.”

Lzzy’s dynamic voice cuts across genre boundaries. “I approach my timing and singing like a blues singer,” she says. “I’m very influenced by blues and soul. For me, it’s always about making sure I have feeling in my voice.” The soaring standout, "Bet U Wish U Had Me Back," highlights Lzzy's range as her voice oscillates from a sultry croon to a massive hook.

She exudes that feeling on stage and in the studio, because she’s not afraid to be herself. She laughs, “As a kid, when a lot of my friends were into Backstreet Boys, I attached myself to Alice Cooper, Cinderella, and Van Halen. I want to give the audience a ride and connect with them.”

Ultimately that connection will be tangible, because Lzzy and co. were meant to be in a rock band. “My brother and I were very fortunate to know what we wanted to do at an early age. When I was 13 and he was 10, we got together and wrote five songs. We wanted to be in a band together, we wanted to make music, and that was it. Everything came second to that.”

In the end, that philosophy will ensure Halestorm’s longevity. “This album has been a long time coming,” says Lzzy. “There’s been a lot of dirty work that went into making it. Creatively, we went to rock’n’roll college through the experience. It was crazy, raw, down and dirty. Our blood, sweat, and tears went into this thing.”

The Friday Night Boys

2009-07-10T00:12:00.000-07:00

Photo Credit: Bryan Sheffield

It may seem like Fairfax, Virginia’s The Friday Night Boys have led a charmed life thus far, but to say they don’t deserve everything that’s come their way would be an out-and-out lie. Like many of today’s breakthrough musical acts, The Friday Night Boys—which features frontman Andrew Goldstein, bassist Robby Dallas Reider, guitarist Mike Toohey and drummer Chris Barrett—got their start on the Internet. However where their story goes from there is where things really get interesting.

Just one year after this group of tight-knit high-school acquaintances formed The Friday Night Boys, they decided to self-record The Sketch Process EP and distribute it online—but even The Friday Night Boys themselves were surprised by the way it took off considering that they only played regional shows at that point. “I put it on iTunes and the first month we had a decent amount of hits, but second month we had a whole lot of hits and it just kept increasing,” Goldstein explains. The EP would go on to be the catalyst for the band’s appearance on MTV’s Total Request Live’s “On Your Radar” segment for unsigned bands.

As you can probably guess, The Friday Night Boys didn’t stay unsigned for long—and they were introduced to Fueled By Ramen by one of the band’s early supporters: All Time Low’s Alex Gaskarth, who also decided to make The Friday Night Boys the first signing to his brand new imprint, The Party Scene. “We had played some local shows with All Time Low when they were in high school and Alex always used to tell us how much he liked our band,” Goldstein explains when asked how this relationship formed. “Alex worked so hard to promote us and help us out with recording,” Goldstein continues. “We feel honored to have him on our side.” The band also had the support of Photo Finish Records who have been longtime supporters of the band and have grown alongside the act.

To hold over their fans until the full album debut, The Friday Night Boys released the five-song EP That’s What She Said in October of 2008, which was the perfect introduction to the band’s raucous band of pop-rock. However, once you hear the band’s debut full-length Off The Deep End, it will be no surprise why MTV still supports the band and recently christened The Friday Night Boys “guaranteed to rock in 2009.” Produced by Emanuel Kiriakou, the album shows how much the band has grown in the past year and features everything from instantly accessible power ballads (“She’s Finding Me Out”) to energetic pop-punk rockers (“Suicide Sunday”) and everything in between. In fact, it’s not hard to picture songs like the electronica-tinged “Stupid Loveletter” as a dance floor anthem that’s will instantly get people moving—and the band wouldn’t have it any other way.

While The Friday Night Boys have toured with popular pop punk acts like All Time Low and Mayday Parade, they are in no way ashamed of their addiction to pop music. “I don’t really worry about where we fit in or how people want to categorize our music,” Goldstein explains. “I love pop and it’s my favorite genre of music,” he continues, adding that his favorite bands include everyone from Oasis to Avril Lavigne. “I love songs that are catchy and fun to listen to and that’s how I can relate to music,” he says. “Personally, I tend to gravitate toward songs that I can connect to on an emotional level.” In other words despite their fun-loving façade, not everything is one huge party for The Friday Night Boys. “We all love partying, but we also have a serious side as well; we’ve all gone through relationship issues with girls and heartbreak so it’s a two-way street,” Goldstein says when asked about some of the lyrical themes.

Ultimately The Friday Night Boys are just excited to get on the road and bring their music to their fans and soon-to-be followers. “We all feel so lucky and incredibly blessed to be working with the people we are working with,” Goldstein explains adding that the band grew up listening to artists on Fueled By Ramen. “We’ve all toured the country multiple times in other unsigned bands, so finally doing it in this band means our work has paid off—but we’re also extremely excited to work hard in this band and tour year round,” he summarizes. “We’re willing to do whatever it takes.”

Like The Friday Night Boys? Check Them Out Online:
Myspace - Fueled By Ramen - Photo Finish Records

Quixote

2009-07-08T15:36:00.001-07:00

Tactfully incorporating simplistic rhythms and hallowed, organic instrumentation, Quixote's self-titled debut album, being self-released on June 14, is an array of diverse styles that cohesively mold together creating an album craftily flowing between epic highs and mellowed dips.

Starting in Brookline, MA, Quixote's first baby step began in early 2007, with members Joe Stulpin (vocals/guitar) and Evan Murphy (drums/percussion) jamming together and recording some tracks for a class. Genius ensued, along with the properly timed folding of previous musical endeavors, and Quixote was on the market. Shuffling through a number of different line-ups during the recording process, including now electric-guitarist Anthony Valera who played bass on the album, they eventually completed the record then found the perfect fit with the remaining members Justin Demers (bass guitar) and Greg Prendergast (keys/percussion). The band found a common tie that coalesced their individual music backgrounds and tastes, each separately drawing musical direction from diverse genres such as folk, hip-hop, classical, 60's pop, and electronica, the quintet had a heavy hand in the production of the album, which invariably resulted in the fruition of an organized collision of sound. Joe has said "working on both sides of the soundboard really gives you a whole new perspective on sound and what makes a great sound; the kind of stuff that really hits you on the inside."

  The album opens with the staccatoed punch of "Annunaki" and immediately you are on a fierce, unstoppable ride. Flowing into the subtle twang of the violin opening in "Hubris," the song picks up with the energy of Gogol Bordello-esque horns, big band style drums, and the careening down slope of an electric guitar solo. Slowing down the tempo, "Owls" is a stripped down, folk breath of fresh air that leads into the aggressive rumble of "God Damn" which juxtaposes a slower accordion line against thundering drumbeats. The album ends with "Don't Hurt," an effects-infused blues thunderstorm, layering a mystical fog of guitar and airy samples; Greg describes the song as displaying the "duality of a dysfunctional relationship both metaphorically speaking and literally sounding," ending mid-sentence, ever so cunningly leaving you wanting more.

Like Quixote? Check Them Out Online: Website - Myspace - Twitter

The Return of… Buckcherry

2009-06-25T00:34:00.000-07:00

Written By: MusicSUBMIT

When last year’s smash single “Sorry” by rock group Buckcherry reached #9 on Billboard, lead singer Josh Todd had to be smiling. He and guitarist Keith Nelson had tasted a bit of success before, but not like this. Who would have thought the band that had been abandoned and dropped by their major label in 2002, could come back and release a new album on an indie, and eclipse their previous, short-lived fame? - It doesn’t happen very often in the music world, but it does happen…

It was the summer of ’00, and things were looking good Buckcherry. The band had just come off a full length U.S tour with Lenny Kravitz. On the strength of three radio hits, Buckcherry had toured non-stop in support of their self-titled debut album, released by major label DreamWorks Records in 1999. The band was about to hit the studio for their follow up CD, "Time Bomb." By the time the album released in ’01, the title “Time Bomb” proved befitting for a self-fulfilled prophecy. Slow initial sales of "Time Bomb" and a disinterested DreamWorks helped to all but tank the record. Add in the inevitable inner band tension and Buckcherry was all but a flash in the pan rock group for one summer, a footnote in music history...

Early Years

Buckcherry originally formed in 1995, then under the name “Sparrow”, playing mostly in clubs in the LA rock scene. For the next 3 years, after countless club gigs, the band built up a noticeable following. A few demos later and they finally caught the attention of the label DreamWorks and long time rock producer Terry Date. The album “Buckcherry” (after a band name change) was released in 1999, and soon after the band scored their first radio hit, “Lit Up”.

At this point, some musicians might feel lucky or satisfied to reach the level of success attained by Buckcherry. When the band added two more radio hits in 2000, including “Check Your Head”, indeed they were in an enviable position: a successful tour supporting a gold-almost-platinum record, with 3 radio hits, for a powerful record label. But one album seldom makes a band, and what you do on the follow up album is just as, if not more, important than the first record, if your goal as a band is to remain relevant (i.e. employed) for years to come. Perhaps the early fame and (relatively) quick success contributed to a sub-par effort that resulted in “Time Bomb.” And of course, bands that get dropped by their record label after a poor 2nd record is nothing new.

The Comeback

By 2002, lead singer and band leader Josh Todd had left the band. Not that this mattered much, as all the other members were long gone anyway. Todd & Nelson continued to work collaborative projects with other musicians, but the band Buckcherry had completely faded from the scene, a one-hit-wonder band.

In 2006, a full 8 years after first signing with DreamWorks, Todd and Nelson regrouped with new band members and began writing songs. For any band that was once signed by a major label, the chances of having a new record released again on a major are pretty close to nil. Wet newspapers are usually treated better than dropped rockers. Instead, the group enlisted the help of indie Eleven Seven, a record label of basically musicians with loose affiliations to Warner.

In just 15 days, the band recorded an album, and perhaps with no expectations for a release, titled the record “15”. It wasn’t long after the release of “15” that radio stations began picking up the song “Crazy Bitch” for airplay rotation. For many music fans, the song “Crazy Bitch” was their first introduction to the band Buckcherry, whose initial fame was so short-lived they were mostly missed the first time around. Or, because comeback albums for one-hit-wonder bands are so rare, the name Buckcherry didn’t resonate. Whichever the case, a whole new level of success came rushing back to the band. Timed radio releases of the next two singles, “Everything” and “Sorry”, the latter reaching all the way to #9 on Billboard’s Mainstream Charts, completed the comeback. Buckcherry was once again touring with the likes of Motley Crue and Avenged Sevenfold. Next up – a touring opening up for perhaps the greatest comeback rock band of all time – KISS. How cool is that???

Avery Storm

2009-06-22T01:37:00.000-07:00

If Avery is to confirm authentic and Storm is a disturbance of the atmosphere, what better way to describe the newest arrival in music? Avery Storm proves to be the next fire-starter in Hip Hop/R&B and if his timeless and sultry voice does not convince you, his charisma and charm is sure to have you checking the forecast.

Born into a working-class Italian American family, Avery was raised in a small town in New Jersey minutes away from New York City. Influenced by his folk singer father’s musical talent and aware of his gift at an early age, he began creating songs that emulated his love for music. He sought refuge from the familiar issues of adolescence and early adult hood in his craft, singly daily, writing lyrics and consistently playing piano, drums, and guitar. Upon completing high school, Avery left his NJ home and relocated to New York City in search of his dreams. Respected by his peers and a staple in New York’s underground talent sector, he became a favored guest in many of the downtown open mic venues including Groove, Village Underground, and Café Waah. Avery’s efforts as a writer were also acknowledged with an ASCAP nomination for the Writer’s Workshop Award.

Paying his dues on the competitive circuit paid off, as Avery went from being a young artist who lived for the song to a strong and talented musician, able to pick up an instrument and entertain with unadulterated raw energy, nothing fake or manufactured. Newly confidant in his live performances, in the summer of 2001, Avery joined a local production company and through their collaborative efforts, scored a record deal with Timbaland’s Beat Club/Interscope Records. Jimmy Iovine, chairman and CEO of Interscope Records, best known for developing multi-platinum stars such as Eminem, No Doubt and Tupac, referred to him as the new age James Dean. Unfortunately, due to creative differences, an album was never released and both artist and production/record companies parted ways.

Forced to start from the ground up and determined to let nothing stand in his way, Avery hit the underground circuit with unfaltering force. With the money generated from working in a neighborhood deli, he created promotional cds of his music, then took to the streets of NYC and handed them to everyone who crossed his path. Avery’s relentless dedication paid off when a promo disc landed in the hands of a talent scout for Derrty Entertainment, Nelly’s record label with Universal Music. After numerous meetings and a 13-city tour, he went on to become the first R&B artist signed to Derrty/Universal Records.

Avery, who’s grown his buzz through catchy hooks & distinct vocals(which are interestingly stacked on purpose to give depth/emotion in every word), has co-wrote & produced several hit records including, “In My Life” & “ Tired” from Nelly’s Suit Album, “ Nasty Girl” w/ Notorious B.I.G, Nelly, P.Diddy & Jagged Edge from Biggie Duets LP. Most recently, he’s been noted for his infectious hook “Here I Am” alongside Rick Ross off Gold certified album Trilla and “Rich off Cocaine” off Ross’s latest “Deeper Than Rap” album as well as Jadakiss’ “I Tried”. " Avery’s also worked with several award-winning producers including Pharrell, Cool & Dre, Babyface, Bryan Michael Cox, The Runners and Jermaine Dupri.

Focusing squarely ahead on his solo debut, Avery’s upcoming album is a mixed pot of love, fear, hate & frustration that run the gamut of daily life under the aptly titled “Shotgun Love” moniker. What started as an interlude stemming from bits and pieces of previous songs Avery wrote, “Shotgun Love” progressed into a felt connection to Avery’s journey to present day. This tapped him into a common trepidation we all encounter in love, from annoyances with lovers to frustrations with personal passions & obstacles. “Shotgun Love” has come to define itself under the umbrella of love at its wits end. The moment you lose control of your emotions and allow it to run its course, for good or bad, Shotgun Love has come to life. With this Avery has been able to create a sound that is all his own and the realness of his music is so evident it’s almost tangible. It’s as if he’s holding your hand and walking you through his life.

Ask Avery about his music and he replies, “Sometimes I feel like I'm straight out of left field and wonder, is anybody gonna get this? My harmonies are big, dramatic and exaggerated at times which makes people wonder who the hell is singin background, but it's all me. My music is like me turning myself inside out and lettin' everybody see in, so I want people to really feel what I'm sayin'. I want them to be able to say, damn… I feel you.’ cuz I talk about real shit, things we all go through on one scale or another. I put my life on a plate for the world to taste. Somethin' on the menu for everyone, I think…You tell me.”

Check Out Avery Storm Online - Myspace - YouTube

The Warlocks

2009-06-19T15:04:00.004-07:00

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The Warlocks are currently in the studio putting the finishing touches on their as yet untitlted sixth studio album and second release for Tee Pee Records. The record is set for a late spring/early summer release.

Lead guitarist/vocalist and cheif songwriter Bobby Hecksher describes the album as "A collection of songs- a mish mash in the key of life….written in modern psychedelica"

This new studio record follows up 2007's Heavy Deavy Skull Lover which the band did two major US and UK tours in support of including a 2008 US Summer tour with The Black Angels.

Black Market

2009-06-19T15:04:00.003-07:00

Teaming up with Sean Slade (Radiohead, Dinosaur Jr., Hole) and Matthew Ellard (Morphine, Weezer, Elliott Smith), the month-long recording process features songs that have been in the works for years. Inspired by The Beatles, Elliott Smith and David Bowie and drawing upon personal experiences, Blackmarket brings a refreshing sound to the music industry.

“It was great working with Sean and Matthew,” Daryl says, “the contrast between Sean’s ability to capture the feeling of a song and Matthew’s technical standards really contributed to the overall sound of the album. For a group of kids that have played together for so long, the album feels more like an accomplishment than any sort of pretentious satisfaction.”

Blackmarket has also seen significant success in Japan. They have released an EP and LP on FMAC/Rough Trade Japan. Blackmarket had a sold out show in Tokyo in Dec and has been invited to play the FujiRock Festival in July.

One listen to Blackmarket, and it is undeniable that this band has chemistry. The Lake Havasu-based rock quartet has been playing music since they were in junior high, and has grown together as musicians and as a band. Their self-titled EP captures their journey through insightful lyrics, catchy melodies and overall brilliant musicianship.

The EP traces Blackmarket’s journey over the last few years to the band they are today. Each song distinctly tells a story and pulls the listener into the lives of Blackmarket, experiencing their excitement, disappointment, anxiety, loves and losses. The opening track “Magic Tricks” with its infectious guitar riffs gives an inside look at the record industry. The acoustic-driven “White Lie” is a raw, open song dealing with loneliness. These two songs along with the anthemic “Sheila,” “Bad Call” and “Talk Too Much,” give Blackmarket fans a glimpse of what to expect in 2008.

Want more Black Market? Check them out on Myspace

Fall From Grace

2009-06-19T15:04:00.001-07:00

Fall From Grace - "Burned"

What happens when you mix Iron Maiden and Snapcase? You get Seattle-based Fall From Grace. One of the coolest new bands to hit the scene, these guys are a safe blend of 80s Metal, Screamo, and Hardcore.

Bio:
After bursting onto the scene as winners of the 2007 edition of the nationwide Bodog Battle of the Bands, Seattle’s Fall From Grace are ready to unleash their label debut, “Sifting Through The Wreckage.”

Slated for an August 5th release, “Sifting Through The Wreckage” is a triumphant collection of rock anthems, hard luck tales, and silver linings. No strangers to adversity, each member of Fall From Grace is a walking testament to the old adage that “what doesn’t kill you makes you stronger,” and “Sifting Through The Wreckage” is an embodiment of that philosophy.

Featuring gritty, melodic vocals, intense punk riffs, driving beats and hook-loaded, sing-along choruses, Fall From Grace are primed to give audiences a reason to believe in the pure power of unadulterated rock.

Fun Facts About Fall From Grace:

* They beat out 7,000 bands to win Bodog Battle and claim the $1,000,000 recording contract.

* Bodog Battle Judge and PUNK originator, Johnny Rotten boasted Fall From Grace as the major contender and band to beat.

* Recorded “Sifting Through The Wreckage” with famed producer Terry Date (Soundgarden, Deftones, Pantera) at Seattle’s Studio X.

* Are slated to play Warped Tour 2008; their second time playing on the Warped Tour.

Fall From Grace - "Hated Youth"

ISM

2009-06-19T15:03:00.004-07:00

Ism - "Sacred Cows"

A lot of “isms” threaten to tear modern society apart at the seams: sexism, racism, extremism, radicalism, terrorism and more. In such an era of decay (moral, societal and otherwise), perhaps an apocalypse wouldn’t be such a bad idea – at least that’s how Andre Mistier sees it.

The charismatic lead singer and songwriter for the New York-based quartet ism describes his band’s potent blend of rock and electronica as “music for the party at the end of the world.”

After all, not all “isms” are bad: Altruism, activism and heroism could help make the next world a better place, and there’s no reason we can’t start practicing them right now.

Urgency, ism’s sophomore album on STM Records, poses unflinching questions about the human condition in songs equally as bold in construction. Smart, melodic and hypnotic, Urgency builds on the solid foundation of 2006’s critically acclaimed Monkey Underneath with 14 tracks produced by Joe Blaney (The Clash, Tom Waits, Prince).

Along with Mistier on guitar, ism’s other skilled members are the passionate Mike Higgins on drums, fret master Gerard Toriello on lead guitar, and effects wizard Leigh Battle on bass. Behind the scenes, legendary A&R guru Michael Caplan served as patriarch of the project, assembling an impressive production team that shaped the final recording.

On the road supporting Monkey Underneath, band members began to flip the script, taking their focus away from standard musical sensibilities. An industrial rumble and a resonant electronic soundscape gradually became the base of their live sets, with the more organic instruments (guitar, bass, drums) better integrated into the mix. That sensibility – and the many new songs that were honed on tour – became key as ism re-entered the studio for Urgency.

Mistier isn’t shy about kudos for his bandmates, who use his lyrics and basic song structures as jumping-off points for their own abilities. He credits Battle’s unique technique with much of Urgency’s atmosphere: “Leigh puts a bunch of different guitar-pedal effects on the bass, but then also does things where he can mute the bass signal itself, so you just hear the effects. They resonate differently on a bass than they do on guitars, so it ends up sounding like a lot of weird keyboard sounds.” Behind the drum kit, Higgins is the “heart” of ism, “a very powerful performer – the kind of drummer who stands up in the middle of things and sings along.” And Toriello, a not-so-secret ‘80s metalhead, proves time and again to be “a craftsman of the guitar – he has a great feel for taking an idea for a guitar line and making it go much further than it has before, to a place I never would have thought of.”

Put them together in the same studio, and Urgency practically crackles with energy. After the UFO-like takeoff “0:32” – one of the album’s three instrumental pieces – “Urgency” the title song has Toriello front and center, throwing out U2-like riffs. In a voice that mixes both dread and redemption, Mistier calls down the end of days: “If you wondered what you’re made of / Now’s the time to see / Bring on Apocalypse / And we will feel alive today / If we were standing on the edge / We just might find that we believe.”

“Give It Back” is a forceful, foot-stomping plea to reclaim the present, framed by a prisoner of the past and future who longs for escape. In “Animadversion,” club beats and eerie effects drive a fuzzed-out examination of how those without self-awareness (including a certain Oval Office occupant) are dragging us all down. ism dips into Radiohead territory with the simmering ballad “Fly,” which asks why society isn’t doing its job to uplift us. “Sacred Cows,” a call to arms for those stuck in autopilot, churns and roils over Higgins’s rock-steady drumming until it reaches a chaotic, all-in catharsis of noise. “The Only One,” its arrangement echoing Downward Spiral-era Nine Inch Nails, is about making connections when we are all truly alone inside our own heads. The album wraps up on a different note with “Resistance Lullaby”: A string section gives a quieter, lusher sound as it ponders the “real world” after college and urges young people to stay true to themselves.

Urgency’s themes of isolation, yearning and rising above ourselves are woven throughout the album– it’s a cohesive vision that you just can’t get from a single-song download on iTunes. That ism can wrap its philosophical musings around songs that can stick in your head and can make you dance … well, that’s versatility… dexterity. Not “isms” but in this case, we’ll make an exception.

Sepiatone

2009-06-19T15:03:00.003-07:00

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Sicily, 1999. Marta Collica and Hugo Race created Sepiatone to experiment with ‘solar’ sounds. Inspired by the mystique of old European films (Godard, Bertolucci, Antonioni, etc.) and using found materials like retro samples and major sevenths, they gradually discovered their own feel between dreams and desperation. Working with friends like DJ Stefano Ghittoni and Cesare Malfatti from acid-jazz-tinged Dining Rooms (Guidance Records in the U.S.), Riccardo Gerbino and Giovanni Arena from the folkloric Sicilian band Dounia, and Giovanni Ferrario, leader of the Italian avant-pop group Micevice, Hugo and Marta delivered two classic albums: "In Sepiatone" (2001) and "Dark Summer" (co-produced with the Bad Seed’s Mick Harvey). Now signed to Chicago label Minty Fresh Records, their US debut “Introduction to Sepiatone”, containing selected cuts from the first two albums.

SEPIATONE creates a timeless pop music that merges sonic textures of Euro-sounds of the 60s and 70s with a contemporary cutting-edge feel. In "Dark Summer", Sepiatone fused genres and time zones, bittersweet summer feelings and hallucinatory mood swings, juxtaposing nostalgia with the present in a fashion both totally unique and truly modern. The soulful, seductive Sepiatonic sound is the fruit of a collaboration between Italian singer and songwriter MARTA COLLICA and Australian artist HUGO RACE.

Sepiatone - "Green House"

Sepiatone’s live shows have blown away European audiences with the duo’s soulful minimalism and psychedelic undertow. Marta and Hugo’s vocals compliment the sonic mesh of layered guitar and piano. This style hints at the expanded arrangements of their recent studio recordings where gurus of orchestration such as Phil Spector and Billy Strange are subtly referred to in the context of the duo’s original combination of soul and songwriting.

Meanwhile, Hugo and Marta returned to the studio in Berlin to continue working on their third album, provisionally entitled “Echoes On”.

Marta began singing with the Australian-Italian group Micevice (1997), and along with playing with Hugo's ‘musical collective’ The True Spirit, is a key member of the new solo project of UK producer John Parish (PJ Harvey, Eels). The John Parish Band recently released the group's debut “Once Upon a Little Time” through Thrill Jockey (USA). Marta plays piano, rhodes, hammond, synth, and likes to explore a wide range of electronic and analogic sounds; her original style combines minimal arrangements and a unique kind of playing, stumbling unpredictably between delicacy and distortion.

Critics compare Francoise Hardy and Julie Cruise to describe the unmistakable character of Marta's voice with it's "Indifferent intensity", evoking the slightly disquieting atmosphere of a road movie in slow motion. She also appeared on recordings by The Dining Rooms, Pola, and Italian singer/songwriter Cesare Basile. Marta founded the European "Super Group" Songs With Other Strangers in 2004, a creative encounter between a diverse group of international songwriters and musicians. She finished her first solo album, "Pretty and Unsafe" which debuted in February 2007 and received a warm and enthusiastic feedback from audiences and press.
(More: www.sepiatone.netwww.myspace.com/martacollica

Hugo is a prolific and visionary performer, songwriter and producer. First introduced to the international stage as a teenage founding member of Nick Cave's Bad Seeds, he left that band and found the seminal Australian garage-blues cult band The Wreckery. Following that demise he moved to Europe in 1988 with his solo project Hugo Race + True Spirit. Hugo is perceived as a cult figure, unpredictable, brilliant and inspired. Within the last 3 years, he released a stream of albums: the elegant trip-hop of Sepiatone’s “Dark Summer”; the ambient abstraction of Transfargo’s “Mil Transit”; the psychedelic Italian montage of “Merola Matrix”; the raw cosmic blues of the True Spirit’s “Ambuscado” (2005) and “Taoist Priests” (2006). In April 2008, Hugo and True Spirit released their collective masterpiece, the double album “53rd State” (in Europe through Glitterhouse and Bang! Records, in Australia through Spooky Records). In late 2007, Hugo, together with Chris Brockaw (Thurston Moore, Come) and Chris Eckman (The Walkabouts, Chris & Carla), released the debut album of their ‘acoustic’ project Dirtmusic.

(More: www.myspace.com/hugoraceandthetruespirit www.myspace.com/dirtmusicband).

Baskervilles

2009-06-19T15:03:00.001-07:00

Website:

Myspace:

HERE'S WHAT YOU SHOULD KNOW:

* The Baskervilles are based in Harlem.

* The Baskervilles self-titled debut came out in 2004 and the Midnight EP came out in 2005 on NYC’s Secret Crush Records.

* In 2004, Baskerville Rob Keith organized a benefit for Dan Treacy and the Television Personalities. Dan used the money raised at the benefit to re-launch the TVPs. The Television Personalities recorded new tracks and got a deal with Domino Records as a result.

* The Baskervilles headlined the San Francisco Popfest in 2005 and the New York Popfest in 2007.

* In 2002, the Baskervilles were flown to Zurich, Switzerland by the Migros Museum to play a concert in connection with an exhibition called St. Petrischnee: 60s/70s psychedelic and transgender art. The exhibition included work by Yayoi Kusama, Theo Altenberg and a film show curated by Mark Webber of Pulp.

* The title of the Baskervilles album, "Twilight," is significant. Many songs are reflective, dealing with idealization of the past (It’s A Red Fade That Leaves In A Warm Way, Staying There For A While), being on the outside looking in (Have You Seen Them?), leaving innocence (Everybody Looks Not Everybody Finds) and facing potentially unhappy endings (A Little More Time, Where Did My Summer Go?). The relentless momentum of the music and melodies honey up the bitter pills.

* The Baskervilles once, accidentally, played a swingers party.

* The current Baskervilles album, "Twilight," was pre-released as a 14-song free download series of singles on Baskervilles.net. The site was designed as a musical and visual art exhibition, featuring a series of sleeves created by important contemporary visual artists, including Wilhelm Sasnal, Ellen Berkenblit, Lothar Hempel and Andrew Guenther.

* Baskervilles singer Rob Keith is related to actress Reese Witherspoon.

Baskervilles - "Where Did My Summer Go?"

Oppenheimer

2009-06-19T15:02:00.004-07:00

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Like the Postal Service? You'll LOVE this band. A duo of Irish persuasion, able to mix tall melodies with a single song, adding a dash of sweet, sweet Electronica.

Bio:

Oppenheimer
Take The Whole Midrange And Boost It
Bar-None (6.3.08)

Roll back nearly two years to a small room in a house in Belfast Northern Ireland. Toying with ideas and pushing all the buttons on their keyboards led duo Rocky O’Reilly and Shaun Robinson, otherwise known as Oppenheimer, to fall into a sound that the BBC called “all poetic and blip-tastic.” After looping, cutting and recording enough tracks, they soon started playing in local clubs. Encouraged, they started sending music to their favorite labels, Bar/None Records being the first. In the six months that it took an intern in the Hoboken office of Bar/None to dig their CD from a pile, the two had continued writing and recording two minute slices of pop, and were making friends at home. They played shows with acts like Ash, Architecture In Helsinki, Tilly & The Wall and The Bravery and were proclaimed to be “immensely watchable pop-peddlers‚” by the Belfast Telegraph.

By the start of 2006 Oppenheimer put the final synthesizer bleeps on their debut album. After completing a session with guest vocalist Tim Wheeler of Ash. A limited edition, hand printed 7” was released in the UK in April, selling out quickly. Bar/None released the album on June 6th, followed by releases in Australia, Japan and Thailand. What followed was hundreds of shows, sixteen weeks of touring in the states and another sixteen in Europe that helped Oppenheimer hone their lush electronic pop sound.

At the same time their tracks began finding their way into television shows like How I Met Your Mother and Ugly Betty and commercial campaigns for Fujifilm and Nike, switching even more people onto this Irish two piece.

Oppenheimer were then invited by They Might Be Giants to tour North America, before returning to Ireland to record again…

And now the dynamic duo are set to release their sophomore long player for Bar/None, brazenly titled Take the Whole Midrange and Boost It. We ask, is it a shot at the shallow pre-fab pop machine, a heady and complicated insight to their own sound engineering techniques or are Rocky and Shaun going macro, rendering a title that we’re supposed to take as a metaphor for Life on Earth?

The new record embraces some pretty esoteric themes: politics? fireworks in New Jersey and Cate Blanchett impersonators to name a few. But they’re certainly not all above the neck. The band’s soaring, visceral approach is pure pop for now people, winning the love of friends, fans and press alike-- Gary Lightbody of Snow Patrol proclaiming, “Oppenheimer are like the Irish Flaming Lips or Mates of State. It’s extremely rare for a band from Belfast to have that otherworldly sound. They’re an incredible new band.” Alternative Ulster Magazine voted the band #1 Most Likely To Succeed Amongst Irish Music Professionals and Ireland’s Hot Press has said, "Their warm electro pop make Oppenheimer stand apart in a city dominated by dreary guitar bands.”

And it hasn’t only been the obvious giving the duo their props, "I am stoked and thankful to have been a part of this record," says Matt Caughtran of thrash-punk godheads The Bronx who lent his voice to the appropriately heavy handed “The Never Never,”

The other 11 songs embody Oppenheimer’s trademark epic synth and guitar driven pop, but introduce a more obvious mandate to rock hard. While the album kick off “Major Television Events,” is reminiscent of “Breakfast In NYC” from their 2006 self-titled debut, the step up to a poignant grind is undeniable. Scribe Gordon Matthews even said, "Look Up may be Rocky and Shaun's 'Born to Run.'" The aforementioned “Cate Blanchett” is a vast pop soundscape, “Support Our Truths” harnesses a sweet, memorable melody in classic Oppenheimer form and “Only Goal And Winner” slides from a swirling haze of synths and chorale voices before locking into a beat that takes it to another level of pop ingenuity. And that’s just to describe a few. But why dance about architecture?

In a few short months, (June, to be exact), Oppenheimer’s Take the Whole Midrange and Boost It will be released on Bar/None Records. Hang tight till then.

Mikal Blue

2009-06-19T15:02:00.003-07:00

Myspace

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Mikal Blue is a more-focused Duncan Shiek, or a less-sappy Paul McCartney. Unabashedly singer/songwriter, this East Coast rocker throws his all into "Gold."

Mikal Blue's also a humanitarian, taking the time to donate a free song for Earth Day. Go Mikal!!

Biography:
After shaping the sound of many of today’s most compelling indie acts – artists like Five for Fighting, Augustana, Limousine, OneRepublic, The Daylights, Colbie Caillat, Drowning Pool and Gary Jules - producer Mikal Blue finally heeded their constant urging to put his talents to use on his own work. Last year, he took time off to write and record his debut album, Gold. Tackling themes of alienation, love, and redemption, Mikal stepped out of the shadows just long enough to reveal himself as a remarkable singer-songwriter, unafraid to have a little fun along the way.

While growing up in the UK, Blue’s love for the Beatles promptly turned into a full-fledged obsession with music. At seven years of age, he began attending the London Academy of Music and Dramatic Arts for 11 years, studying everything from classical composition to prose and Shakespearian acting, and even voice production. “At a very young age, I learned about breathing and how to get the notes out,” Mikal recalls. He also muses that the school’s elocution lessons softened his regional accent as well, drumming the “Newcastle out of him.”

By sixteen, he was already playing North London clubs and his band was the youngest ever to make the final four in the UK’s popular television show Band of the North. “Make no mistake,” he says, “the club circuit wasn’t quite as glamorous as you’d think.” It was certainly an eye-opening experience for an adolescent lad. “We were sharing bills with strippers in clubs on Sunday afternoons,” he laughs.

Fast forward to his move to the States in the early ‘90’s. Immersed in the American music scene, Blue found himself spending his nights with the indie acts that played the Hollywood clubs and was asked to do pre-production work with Orange County punk stars The Offspring. To his surprise, he quickly became a highly-sought after record producer and decided to shelve his own ambitions.

Mikal built a studio, Revolver Recordings, and began a production career. “I became a producer as kind of a by-product while on the road to developing my own career as an artist plus my love of music,” the enigmatic Mikal says. “I found myself working on other people’s recordings, helping them co-write, playing instruments and using my knowledge of engineering. Now I’ve come full circle taking ideas that even go back to when I was a teenager – even a couple of melodies – and pulled it all together into this album. I guess you could say it’s an album I’ve been preparing for my whole life.”

The result is Gold: A tapestry of resonating emotion and vivid musical textures built on atmospheric framing for surging songs imbued with often-subtle, yet lasting power pop hooks. Produced by Five For Fighting’s Curt Schneider and John Trickett, Mikal seized the opportunity step away from the studio boards as he spent six months writing songs and honing material.

The songs on Gold were sketched out on acoustic guitar or piano. “Melody is always the driving force,” Mikal says. “If is doesn’t have a strong melody the song won't get finished and the lyrics are usually what I’ll work on last. I’ll even start recording a song without having all the lyrics as long as that melody is there. And being so into the Beatles was and still is a great way for me to understand pop song arrangements and production; even in working with contemporary artists that’s in the back of my mind.”

People that have heard the record often make comparisons to some of the more notable Brit-pop artists and power pop bands including such luminaries as The Beatles, Crowded House, Split Enz, XTC, Matthew Sweet, Oasis, Keane, and Daniel Powter just to name a few.

Television audiences got a preview of the leadoff track Gold when it made its debut on the new ABC show October Road last year. It is now being heard on Triple A, Non-com, and Hot AC stations across America.

Like Mikal? You may also like: Pete Yorn, Duncan Shiek, Stone Temple Pilots, Paul McCartney

Midnight To Twelve

2009-06-19T15:02:00.001-07:00

Myspace:

“Luck is what happens when preparation meets opportunity.”

The quote is attributable to Seneca, a Roman Philosopher from the mid 1st Century AD. It holds a particular significance, however, for the members of Southern California rock band, MIDNIGHT TO TWELVE. Jon Hartman (vocals), Al Baca (bass), Steve Oliver (keyboards), Daniel Jordan (guitar) and Drew Molleur (drums) made their own luck with every step they took toward living their dreams.

From Southern California by way of Iowa (Hartman) and Oklahoma (Molleur) with a stop in Nashville for Al and Jon, the band took full shape in LA in 2000. After meeting Steve through a friend and Daniel through the classifieds, the band added Drew and the time was right to get things going. Finding the right name took a long time for the rockers – the idea for MIDNIGHT TO TWELVE came when discussing the shift Al was working in order to make time to write and rehearse with his cohorts.

Always willing to do the hard work involved in establishing themselves in a competitive market like Los Angeles, the band played all around town, slowly building their audience. “Our motto was, whether the audience was five people or 5,000, they got the same show,” says Hartman. Eventually the band was headlining Saturday nights and selling out storied clubs like the Roxy. MIDNIGHT TO TWELVE sold some 13,000 copies of their previous independently-made recording out of its tour bus. These sales figures are a testament to the band’s powerful live show – as both a solo touring act and as opener for such bands as Buckcherry, Jimmy Eat World, Evanescence, Joan Jett and Saliva.

Midnight to Twelve - "Slam"

Along the way, the band made fans and friends who were eager to spread the good word. One such fan worked at the show ONE TREE HILL. The producers of the show heard the single “Slam,” and put it on the show right away. Seeing a way to take the exposure one step further, the band made it known on the show’s message board that they would give away CD singles to anyone who signed up for their e-mail list. A barrage of ‘HILL fans obliged. “I was up all night collecting addresses, and sent out 600 singles the next day – I spent a whole paycheck on postage,” Baca shares with a laugh.

MIDNIGHT TO TWELVE’s self-titled JKH Entertainment (through Koch distribution) debut blends explosive riffage with a big, melodic chorus. The album, produced by Sylvia Massy Shivy (Tool, Deftones, Tom Petty, Johnny Cash) and Rich Veltrop, amply demonstrates the band’s sonic palette with fiery rockers (“How Bad,” “Burnin’,” “Contain It”), soaring, pop-savvy melodies (“Good Morning Again,” “Slam”) and everything in between (“Rhyme or Reason,” “Future”). Massy Shivy coaxed incendiary performances from the band, adding an array of sparkling sonic touches.

Hartman’s versatile voice swings effortlessly from fury to tenderness, while guitarist Jordan’s brutal riffs and incisive leads and keyboardist Oliver’s symphonic countermelodies put both edge and grandeur atop the grooving foundation of bassist Baca and drummer Molleur. The resulting recordings showcase MIDNIGHT TO TWELVE’s bruising rock onslaught, supple dynamics and songwriting smarts in equal measure.

With the ‘luck’ this band has made for itself, there are no limits to what they can accomplish. MIDNIGHT TO TWELVE is a collection of men with a purpose and a collection of songs that will be anthems of a life lived with passion (and preparation).

Tour Dates:
Apr 11 2008 10:00P - Bricktown Ballroom - Oklahoma City, Oklahoma
Apr 12 2008 8:00P - Korruption - Kansas City, Missouri
Apr 16 2008 4:00P - Pittsburg State University - Pittsburg, Kansas
Apr 18 2008 9:00P - 3rd St. Live w/Echovalve - Cedar Rapids, Iowa
Apr 19 2008 9:00P - Volume w/Echovalve - Cedar Rapids, Iowa
Apr 22 2008 9:00P - Spybar on 10th ENCORE! w/Echovalve - Marion, Iowa
Apr 24 2008 9:00P - Kathys Pub w/Echovalve - Rochester, Minnesota
Apr 25 2008 9:00P - Doubles Bar w/Echovalve - Green Bay, Wisconsin
Apr 26 2008 9:00P - The Rock - Minneapolis, Minnesota
Apr 30 2008 8:00P - Private Event - Indianapolis, Indiana
May 1 2008 8:00P - Motorheads w/Echovalve - Michagan Center, Michigan
May 2 2008 8:00P - The Token Lounge w/Echovalve - Westland, Michigan
May 3 2008 9:00P - The Underground w/Echovalve - Sandusky, Ohio
May 7 2008 8:00P - Don Hill’s - New York, New York
May 9 2008 9:00P - Aces w/Echovalve - Johnstown, Pennsylvania
May 10 2008 9:00P - Paradox Rift w/Echovalve - Huntington, West Virginia
May 11 2008 8:00P - Hooligans w/Echovalve - Jacksonville, North Carolina
May 15 2008 9:00P - The Rock Shop w/Echovalve - Fayetteville, North Carolina
May 17 2008 9:00P - Bourbon Street w/Echovalve - New Port Richey, Florida
May 23 2008 9:00P - The Metro w/Echovalve - Melbourne, Florida
May 24 2008 9:00P - The Local w/Echovalve - Atlanta, Georgia
Jun 6 2008 8:00P - Dropfest w/ Saliva - Appleton
Jun 25 2008 8:00P - Criket Pavilion - Phoenix, Arizona
Jun 26 2008 8:00P - N.M.S.U Practice Field - Las Cruces, New Mexico
Jun 28 2008 8:00P - Utah State Fairgrounds - Salt Lake City, Utah
Jun 29 2008 8:00P - Invesco Field - Denver, Colorado
Jul 1 2008 8:00P - Verizon Wireless Amphitheatre - St Louis, MO

Another Big Machine

2009-06-19T15:01:00.004-07:00

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Justin McCoy - Vocals
D-White - Guitar
Josh Lee - Drums
Dane Carmouche - Bass, Vocals

Myspace:

ANOTHER BIG MACHINE’s concoction of rock instrumentation, pop vocals, tightly constructed anthems and youthful exuberance has produced a gem of a self-titled debut album.

The seed of ANOTHER BIG MACHINE, a band called Addavoy that featured White and Carmouche, was formed in 2003 when several of the members were just out of high-school. Their sound was mature beyond their years - not deliberately crafted pop, what it became was a natural progression for the members - “We would just jam and jam, so our sound came off of what we did in rehearsals,” says Carmouche.

Another Big Machine - "Sedated"

Learning by getting out there and DOING IT was the only way to break out of their local music scene – a small, insular one at that. Their hometown, Gonzales, Louisiana, is about 20 miles from Baton Rouge. “Where we are from,” White explains, “you had to play cover music in order to play, period.” Soon they were peppering their covers of Tonic, Better Than Ezra and the like with songs of their own, and within a year they had self-released a CD and established themselves along the so-called Redneck Riviera, from Louisiana, Arkansas and Texas to Florida. In time, Addavoy popped up on the radar at a couple of major West Coast record labels and it was off to Los Angeles to showcase. The guys then headed back to Louisiana just in time for the mother of all storms to knock the wind out of their sails. Addavoy sadly became another of Hurricane Katrina’s casualties. In it's place came something new, invigorated by Carmouche's switch to bass, and the addition of Plaquemine and LA native / former GoodNight City drummer Josh Lee, the band truly became ANOTHER BIG MACHINE. Buoyed by a new name, a reconfigured lineup and renewed enthusiasm, ANOTHER BIG MACHINE retooled their sound. Near the end of 2005 the band began writing, and in May of 2006 recording began. McCoy, White, Carmouche and Lee crafted a sound that ranges from songs of ardent love like “Sedated” to the defiant stomp of “Do Me Like This.” The lyrical story of each track is perfectly punctuated by the instrumentation, which is why the album merges genres and styles with such ease.

ANOTHER BIG MACHINE had to, literally and figuratively, have things shaken up to get the right equation for their self titled debut. This equation adds up to some soul-stirring music that could serve as the soundtrack to many young lives.

Toy Gun Cowboy

2009-06-19T15:01:00.003-07:00

Website
Myspace

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Batman has his Batcave and Chuck Norris has Oklahoma, but Toy Gun Cowboy has his garage. With modest recording gear and an open garage, this indie/electro lone ranger from Lakewood, California, has created his own musical laboratory, the G-Hatch. Don’t be fooled by the sparse equipment, this cowboy makes a big bang with the smallest bullets.

Unlike Batman or Norris who fight crime, wear funky suits and beat up the bad guys, Toy Gun Cowboy (a.k.a. Matthew Erickson to the outside world) has his music to reach a greater awareness of the good, the bad, and the ugly in society. Using a little cynical social commentary as his ammunition, he spreads his music to his listeners factory fresh, straight from the G-Hatch.
“I do all the music and recording myself in order to make the finished product as personal as possible,” says Erickson. “The same way that only one painter paints a painting, or only one writer writes a book.”

Toy Gun Cowboy - "I've Got To Do Something"

Using his background in architecture as a guide to his composition, Erickson builds his music from one idea as a foundation for the rest of the piece to flourish, and the final product is of “layering, building, adding, subtracting, and rearranging, self doubting, and adding some more.”

Erickson’s process from start to finish becomes a story in itself, and he has a lot to say.
After his first two releases, Star?...Or No Star? EP (2006) and Reload EP (2007) on Gutter Groove Records, Toy Gun Cowboy brings the big guns with his newest full-length release, Big Blue, out May 13, 2008, on Gutter Groove Records.

Inspired by a Jet Blue flight that had malfunctioning landing gear, this concept album tells the story of humankind’s voyage from the Garden of Eden to the melding of souls on the semi-defunct plane.

“As I watched the plane flying past my house, it made me think about all the people on board of different races, faiths and backgrounds,” Erickson reveals. “They were probably reflecting on their lives and praying to their different deities. So I wrote these songs with that in mind, except that I thought about the life history of the human race.”

Toy Gun Cowboy might not have super powers or special crime-fighting gadgets, but his music speaks confidently, boldly and reflectively true. This lone-ranger will continue to roam freely and tell his story. “I just let what happens musically happen,” says Erickson. “My music tends to go in different directions, but that’s how I like it.” Charismatic and wild. Just how a cowboy should be.

Did You Know?:When played in reverse order (tracks 13 to 1) Big Blue is a musical journey that depicts mans banishment from the Garden of Eden and route to present day America.

Vayden

2009-06-19T15:01:00.001-07:00

Myspace

When asked what the Phoenix, Arizona based band Vayden sounds like, lead singer Curtis Casey answers, “Everything you've ever imagined yet nothing you’ve ever heard.” Influenced by Good and Evil (in no particular order), some of Vayden's songs come at the listener with an attitude of being confrontational and geared for destruction, while others build from a place you don’t expect until it’s too late.

“We started in the dark and dingy basement of an old music store where our drummer, Bruce, taught drum lessons.” Curtis explains, “I bought a half hour lesson so that I would have 30 minutes to convince Bruce to start a band with me. Luckily for me it only took 5. We started right away looking for the rest of Vayden and after some ups, some downs, and some lost band members we finally found ourselves with Jason and Armin.”

Vayden - "The One You Left Behind"

The next search was for a producer. They wanted a person that “got it”, and that’s when they crossed paths with Ryan Greene. Ryan has produced heavy hitters like NOFX, Authority Zero, Lag Wagon, Ten Foot Pole, and Dishwalla to name a few. “We chose Ryan because he understands the importance of melodies, and he’s got a great sense of song direction and arrangement. Infusing that knowledge with his ability to capture incredible drum sounds and raw tones makes him one of the best in the business,” remarks Casey.

Their debut record is entitled “Children of Our Mistakes”.

The name is a play on the fact that every mistake you make spawns a metaphorical child, and that “child” might just grow up to take the wrong path. So in a sense, it’s a reminder to be aware of your actions and whom they effect.

The Album is a combination of hard-hitting rock songs hell bent on destruction ("Karma is a Professional Wrestler”, “Elysium”, “Uniforms”), over the top anthems with gigantic choruses (“Anthem of the Used”, “The One You Left Behind”, “Painted Face”) and melodic introspective songs that will pierce strait to the heart (“Welcome”, “Zoé's Song”).

Casey explains, “We wanted the whole album to take the listener on a melodic journey, while bringing them home with huge hooks, meaningful lyrics and amazing musicianship. Our goal was to create a very deep record with so many layers that after listening to it 1000 times, you still discover new things that will make you love it even more.”

You don’t have to take our word for it. Listen and you’ll understand.

Clock Hands Strangle

2009-06-19T15:00:00.000-07:00

Album: Redshift/Blueshift
Label: Team Grizzly Records

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Remember when Bob Dylan shook up the folk music world by playing electric guitar at the Newport Folk Festival in 1965? Enter Clock Hands Strangle to shake it up one more time. The progressive folk quintet from Orlando, Florida, tears apart the genre and puts it back together in a wholly new way, adding classical instrumentation (trombone, timpani, glockenspiel) to modern electric guitar and keyboards.

Clock Hands Strangle - "White Blazes"

What is most striking about this group is not just the lyrics (scientifically detailed poems written by vocalist, Todd Portnowitz) and not just the musicianship of each of the five talented members, but the overall sound.

The unique combination of instruments, the deep, reverberating frequencies of the bass and drums, and the crispness of the acoustic guitar paired with the fullness of the electric guitar create an album that is both rooted within the folk tradition and simultaneously branching out into the unexplored. Think of their debut full-length, "Redshift/Blueshift" (Team Grizzly), as a revisiting of traditional folk without mere imitation, and an experiment of genre without complete departure from it. And the experiment has certainly been a success.

From 2004 to 2006, Clock Hands Strangle toured three consecutive summers, thoroughly covering the eastern half of the US before being picked up by Florida-based label, Team Grizzly. After the mid-2007 release of Redshift/Blueshift, the album has been reviewed by several magazines and indie blogs (Midwest Record, Amplifier, Indie Rock Reviews, For The Sound, Pastepunk.com, Music Emissions, and myriad more) and the band has been interviewed by several other sources (Big Smile Magazine, Skyline Press).

Check them out on Myspace

Like this Band? You may also like: The Postal Service, Deathcab For Cutie, Iron and Wine

Leopold And His Fiction

2009-06-19T14:59:00.004-07:00

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Making Music fit to drink several beers to, and hailed by the press as the new White Stripes, Bay Area-Rockers Leopold and His Fiction, hammer home that Midwest roadhouse sound.

For a two-piece, they’re highly innovative, and bend the genres of Rock, Blues, and Country like the White Stripes, The Stroke, and Hank III having a screaming match.

Leopold and His Fiction – “Go On Have My Way”

Bio:
Leopold and his Fiction is a drum/guitar duo, fronted by the Detroit-based Daniel Toccalino, who have an affinity for a combination of low-fi country, blues, jazz, and rock sounds. But the comparison doesn’t capture Leopold and his Fiction adequately for at least one immediately obvious reason: jazz-trained, Kentucky-born drummer Ben Cook can play. (Sorry, Meg.) And what’s more: Leopold mixes the country/blues/jazz/rock genres in a way that makes the band sound both distinctly larger than their drum/guitar/vocals combination and uniquely dynamic.

The album’s first track, the grungy, rock n’ roll “She Ain’t Got Time,” sets the tone for the rest of the album. It’s lyrically entertaining and instrumentally tight, as Toccalino sings “I’ll be your baby tonight” over Cook’s varied straight-ahead beats. “Gonna Be Your Boy” showcases the duo’s country know-how. A twangy slide guitar glides over a steady 12-bar blues progression.

Roles are reversed throughout this tune: the guitar acts as a rhythm section by pounding down the 12-bar blues and the drum functions as a bass guitar, which Toccalino describes in an interview with the San Francisco Bay Guardian. “[Cook] fills up a lot of the low end” by artfully subbing in where the bass is “supposed to go.” “Miss Manipulation” is the mark of the duo’s well-rounded capability. The song fades in to reverberating slide guitar lines which float on the chords of an acoustic guitar, while the drums diminish to only muted symbols, creating a song as pretty as anything My Morning Jacket ever wrote. Quite simply, Leopold and his Fiction have created an coherent, solid album as dynamic in genre as it is rigorous in musicianship.

Be sure to look into the band’s live shows:

Tour Dates ::
03.13 Maggie Mae’s Planetary Group SXSW BBQ (Austin, TX)
03.19 Red Devil Lounge (San Francisco, CA)

Website

Myspace
Label

Like this band? You may also like: The White Stripes, Kings of Leon, The Strokes, Jet

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The Iry

2009-06-19T14:59:00.003-07:00

Website:

Myspace:

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The Iry is the immensely talented four-piece hailing from Columbus, Ohio who have been friends and even family far longer than bandmates. Cousins Stefan Schwartz (lead vocals, keyboard) and Jordan Lothes (percussion), along with childhood friends Gregory Hewes (guitars) and Chris Williams (bass, backing vocals), create a unique sound based on eloquent lyrics, complex piano leads, intricate rock guitar and pop melodies. Drawing direct comparisons to such bands as Coldplay, Muse and the Cold War Kids, The Iry are impatiently waiting to exceed all expectations.

The Iry – “Whole Again”

As The Iry prepare to graduate from their respective universities they are transitioning from underground college favorites to chart topping artists. And by secluding themselves for two months in North Carolina with Jeff Juliano (Dave Matthews Band, O.A.R) and Ted Comerford (Zox, Army of Me, Red Wanting Blue) The Iry have laid the foundation for what is expected to be a groundbreaking album.

According to Jordan Loewen (Fresh Air radio, UK), "I have never encountered a band so young, so talented and so intelligent. The Iry are simply breaking every stereotype associated with talented musicians. In regards to the future success of The Iry, it is not a question of if, but rather a question of when."

Upon establishing a rabid following in the Midwest with their exceptional live performances The Iry is expanding their regional showcases into a nationwide tour. Why? According to Stefan Schwartz, "No gimmicks, no image and no abbreviated song titles… we are simply here to save popular rock music!"

Tour Dates :
04.07 The Verve (Terre Haute, IN)
04.08 University of Michigan (Flint, MI)
04.13 The Balcony (Oxford, OH)
04.15 Indiana University (Blomington, IN)
04.21 Spin (Indianapolis, IN)
04.22 Nate & Wally’s (Bowling Green, OH)
04.29 The Balcony (Oxford, OH)
04.11 Uptown Park (Oxford, OH)
04.12 The Nite Owl (Dayton, OH)
04.19 The Balcony (Oxford, OH)
04.25 Radio Radio (Indianapolis, IN)
04.26 The Verve (Terre Haute, IN)
05.09 The Balcony (Oxford, OH)
05.10 Indiana University (Bloomington, IN)
05.17 Butler University (Indianapolis, IN)
05.24 Eastern Michigan University (Ypsilnti, MI)
05.31 The Verve (Terre Haute, IN)
06.07 Columbus Arts Festival (Columbus, OH)
07.05 The Verve (Terre Haute, IN)

Head of Femur

2009-06-19T14:59:00.001-07:00

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Myspace
Wikipedia

The guys in Head of Femur are pretty cool. Indie Rock veterans, who aren't afraid to experiment. They make use of any and all instruments they can... they're even able to make the saxaphone cool.

The new album, "Great Plains," comes out pretty soon, and is worth checking out.

Head of Femur - "Jetway Junior"

HEAD OF FEMUR is the willfully weird orchestral pop brainchild of pop auteurs Mike Elsener and Matt Focht (former Bright Eyes drummer). GREAT PLAINS, Head of Femur's newest, is the band's third chapter in the journey that started on the brittle badlands of Nebraska, continuing in the urban jungle of Chicago, transforming the band from a wieldy pop collective into a tight-knit rock band.

As much as it represents a major leap forward, GREAT PLAINS is also a return home: to Portland's Greyday Records, home of Head of Femur's 2003 critically-acclaimed debut album RINGODOM OR PROCTOR, an album Billboard called "fresh, fun and original."

When that album became an immediate underground hit, receiving rave reviews by tastemaker's like Magnet, Chicago Tribune, New York Times, and Pitchfork, Head of Femur hit the ground running, launching U.S. tours with Wilco, Bright Eyes, Dr. Dog and others, as well as releasing their sophomore album on SpinART, 2005's HYSTERICAL STARS.

Rapid recording sessions in the spring of 2006 resulted in LEADER AND THE FALCON, a 6-song EP self-released in the fall of 2007. Pitchfork called it "a musical equivalent of what Dorothy might have felt like when first stepping out of her house into Oz." Rhythmically complex yet immediately catchy, GREAT PLAINS shows Head of Femur in a new year where change is good.

Haale

2009-06-19T14:58:00.004-07:00

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Haale performed at David Byrne's Nonesuch-sponsored series at Carnegie Hall, recorded with Sean Lennon (on ‘Before the Skies’), and has worked with producer Dougie Bowne (Cibo Matto, Chris Whitley, Cassandra Wilson). In 2007, she dazzled audiences at SXSW, the Bonnaroo Festival, the Mimi Festival in France, and shared the stage with such diverse artists as Hugh Masakela and Odetta. David Byrne calls her
"A mixture of experimental downtown stuff with the vocal intensity of U2, but more intimate," and Popmatters calls her last two releases "a panoramic blend of luscious rock, heady bass, and brilliantly produced rhythms."

Haale - No Ceiling

We live in a time of been there, done that cynicism, when nothing impresses us, and artists try too hard to be original, or at the very least come up with something everybody will like. Haale, whose new album is fresh and startlingly original, doesn’t have to buy into any of that. She doesn’t need to invent some esoteric hybrid or fashion a style. She simply plays the kind of music that reflects who she is. Haale (as in halle-lujah), is a downtown New Yorker of Iranian descent whose name means ‘the halo around the moon.’ On her breathtaking full-length debut, No Ceiling, she draws on that heritage freely, but filters it through a contemporary prism.

That is, she extracts the Persian influence of her bloodline and the Sufi trance tradition, while weaving in her fondness for Hendrix, Dylan, Radiohead, and psychedelia. No Ceiling synthesizes the diverse elements of Haale’s personality into a single, impressive approach. To a great degree, Haale credits the downtown New York scene for fostering her innovative spirit.

“The scene still has a kind of courage,” she says. “There’s an atmosphere of permissiveness to explore and push boundaries, which was helpful to me. So then it became a matter of authentically trying to express something. There are so many rock bands with a conventional sound, which I often love. But not everyone needs to communicate that way.”

In fact, Haale has learned to express herself in very different ways, which are apparent on No Ceiling.

“I have this beautiful music, history and mystical poetry to dig into,” she admits, describing her Persian descent. “I felt there was a connection between the psychedelic rock music I was listening to and the Sufi music and poetry I was getting into."

The synthesis is convincing. Songs on "No Ceiling," like the opening “Middle of Fire” and “Off Duty Fortune Teller” are intensely atmospheric. Haale delivers her vocals in both English and Persian with passion. You don’t have to understand Persian to feel the heartbreak in “Mast” or the fire in “Ay Dar Shekastah.”

Add to that her impressive guitar playing and her, well, striking image, and you have the complete package: artist, woman, entertainer, visionary. She released two mesmerizing EPs in 2007 — Morning and Paratrooper— and has been performing across the country and in Europe. In fact, she lives to hit the road, and really came into her own when called upon to gig frequently.
“I love to write or be out playing shows. That’s when I’m highest,” she says. “Either I’m working on stuff or I’m thinking. It’s much better for me to channel my energy into art. I’m an obsessive person. I don’t mind obsessing on art.”

Which she does. As a performer, guitarist, singer, and multi-national artist, she puts in countless hours refining her art, herself, and her sound.

“There’s no doubt that you become closer to who you really are as an artist the more time you put in. I’ve definitely become better at what I do over time. Some people will ask me why I’m always working, and I’m like, ‘Working? What do you mean?’ I just like to play music and try to bring out the beauty of both cultures, then find a way for them to meet harmoniously.”

"A New Yorker of Iranian descent whose exotic voice builds a bridge between Sufi music and psychedelic rock...trippy stuff." - PASTE

"Percussionists provided driving rhythms...over which Haale's warm, supple voice unfurled like a curlicue of smoke. Her band's amplified rumble served as a reminder of the extent to which rock bands like the Doors and the Velvet Underground turned to the East for their hypnotic efforts; here their borrowings were reclaimed with interest." - NEW YORK TIMES

“[Haale's] earnest blends of electric guitar, thoughtful lyrics, and vocal gymnastics borrow from both ancient song and the poetry of Persia. The surprise chestnut at the heart of the music is the dynamic, fiery delivery of Haale herself, whose voice is by turns deep and commanding, feather-light and breezy, and as rich and sensual as dark-chocolate fondue.” - FLAVORPILL

"A combination of Jim Morrison, Nico, Edith Piaf, and Selma Hayek...Haale's voice was playful, sultry, and nuanced; she could wail over the din as well ascoax a melody out of her breath... The 90-minute set seemed to pass in a blink." - METROLAND

Website
Myspace
Label: Channel A Music

Your Highness Electric

2009-06-19T14:58:00.003-07:00

Remember the band Christiansen? Well the Kentuckians are back and better than ever, with a new name (Your Highness Electric) and a new album, “The Grand Hooded Phantom” on Longhair Illuminati in May.

Louisville, KY’s Christiansen spent ten years overcoming adversity to remain a band. Original drummer, Terry Campbell moved to New York City and left Your Highness Electric to play with the group, Young Love.

Bassist, Brad Magers spent time earlier this year in NYC playing with The Exit and is currently splitting his time playing with The Bronx in Los Angeles and Your Highness Electric.

The band's core members, Brandon Bear Bondehagen, Brad Magers and Bob Scott decided to fly to California when Phil Pirrone of Longhair Illuminati called them and asked them to record an album for his label.

With a new label, a new album, and members scattered across the country spreading the word, these Kentuckians are back and better than ever.

Super 400

2009-06-19T14:58:00.001-07:00

Stoner Rock at it's best!

New York's Super 400, are this week's "Artist to Watch"

Super 400 takes the classic 'power trio' approach with their live show - three instruments taking up the sonic space of an airplane hangar, rocking to the heavens - but their vocal dynamics and undeniable spiritual synergy cause the sounds to swell to the bursting point. They've become one of the most loyally followed rock bands in the Northeast, with the mayor of their hometown giving them an official holiday, 'Super 400 Day,' to recognize the band's musical achievements.

And the fan base is growing; last year's national tours started a chain of bootleg recordings that have been traded and coveted around the world. Super 400 is gearing up for a new string of national dates this Spring, and will return to Europe in June. They welcome tapers at every show. No two performances are alike; this band loves the crowd and leaves them in a blistered frenzy, room after room.

Download "3 And The Beast"

Super 400's Website
Myspace.com/Super400

Jason Choi

2009-06-19T14:57:00.001-07:00

Jason Choi is penned to re-release 2006's "Leave The Night Behind" on Team Grizzly Records February 11, 2008.

Think Pavement meets Coldplay, with a twist of R.E.M.

Check him out at Myspace.com/JasonChoiandtheSea