King Dude‘s latest offering is a 7″ recording of two new songs from his forth coming full length album entitled, “Songs of Flesh & Blood – In The Key of Light”.
The title track “Deal With The Devil” tells the tale of man who lost his love and how he must make a pact with the Devil to get her back, ultimately risking his life in the process… The b-side “You Know My Lord” is a spiritual ballad that showcases a whole new side of King Dude’s songwriting.
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Seluah embarks on 2015 with its second full-length, “Phase III.” Using longtime collaborator Kevin Ratterman’s new dream studio, the band conjured stark, foreboding imagery on perhaps its most lurid venture yet. As is especially true with “Nanon,” Phase III depicts a darkly hypnotic world you can’t help but feel drawn to visit more than once. Available from Karate Body Records.
J. Allen’s songs are folk songs written inside the whirlwind that is NewYork City… country hymns tuned in to the traffic hum and the subway rumble.
His forthcoming singles, “Bring Her Back Home” and “Fall Out of Love” mark a turn from the atmospheric, indie-folk aesthetic of his previous work to a more traditional American palette, as well as a renewed collaboration with Alan Weatherhead (A Camp, Sparklehorse) as mixer, arranger and multi-instrumentalist. “Bring Her Back Home” is available now as a limited edition 7inch.
The Chloes are an American rock band formed in 2010, started as a jam project between the lead singer and songwriter April Wenzel and bass player Brandie Dawson in Dallas, TX. They started playing live at the local act launch venue, LBG. Popularity for their live show grew and they’ve played to audiences across major clubs in Dallas, Austin, San Antonio, OKC and Tulsa including the Norman Music Festival, SXSW and with touring acts such as BRONCHO, The Screaming Females, Shannon and the Clams, and The Coathangers.
Their latest LP — No Filter — is available now!
Indie duo A House Safe for Tigers has released its self-titled debut album through Headless Actor Records.
Borrowing its name from an obscure Lee Hazlewood soundtrack, A House Safe for Tigers has garnered accolades for its reflective, haunting, yet melodious songcraft. In theory, the pairing of vocalist/songwriter Mark Costantino and multi-instrumentalist Brandon Delmont shouldn’t work. The two musicians come from seemingly disparate backgrounds. Costantino’s last group, The Exit Strategy, earned praise for its raw, post-hardcore recordings and sweat-soaked live performances. In its review, Pitchfork singled out Costantino’s vocals for “adding a youthful, spirited feel to the tracks.” Meanwhile, Delmont earned his stripes as the drummer for Mercury Rev side project Odiorne, a synth-heavy, symphonic-rock group that recorded with famed producer Dave Fridmann (Flaming Lips, Sparklehorse, MGMT).
While owing a debt to some past performers, A House Safe for Tigers has captured something original and compelling on its debut. Songs like “Ann Marie,” “Searchlights,” and the lead-off single “Evaporate,” are aural delights-memorable and contagious, while bearing fruit with each new listen.
Dick Diver managed to avoid the dreaded “sophomore slump” with their 2013 album Calendar Days (Chapter Music) & look to perfect a “three-peat” with their third album Melbourne, Florida.
This is their first domestic release & first for Trouble In Mind. Recorded in a former sheep-shearing shed in Apollo Bay, Victoria by Mikey Young, the album hums with a strident assurance, buoyed by the benefit of the band’s four talented songwriters whose singular voices sit comfortably beside each other in the albums twelve tracks. The crack of a snare starts off the lead-track, “Waste The Alphabet” an anthemic, jangling stomper full of bluster & swagger, while other tracks like “Leftovers”, “Year In Pictures” & “Percentage Points” yearn with a bookish intensity, complimenting the band’s dichotomy of erudite pop smarts and and idiosyncratic approach to composition (see Montfort’s charming & disarming “Beat Me Up (Talk to a Counsellor)”). If Dick Diver weren’t already leading the pack of new-school Australian pop, then Melbourne, Florida is sure to put them in the pole-position.
Austin based punk band Sober Daze have released a music video for their new song “Live To Shred”, the first single from their forthcoming split 7” with Knockin’ Chucks, coming in April from Dazed Records. “Live To Shred” is a fast paced skate anthem for the ages; an ode to the insatiable urge that pulses in the veins of skaters everywhere.
Sober Daze was born in Puerto Rico in 2002 by friends Peter Figueroa, Alex “Korn” Rivera, and Chris “Fatty” Bourcy. Fresh out of high school, the band set their sights to the proclaimed “Live Music Capitol of the World”, and relocated to Austin in 2003. Sober Daze garnered early support from other bands in the Austin punk scene, opening their first Austin show for the Lower Class Brats, and building friendships with Krum Bums and The Applicators. In the years since they have made their name in the Austin by throwing punk rock house parties with half pipe ramps, and playing shows across Texas and the US with bands like The Vandals, Reagan Youth, Angry Samoans, and The Freeze. Now a 4-piece, with the addition of Alex “Rager” Loughborough on guitar in 2013, “Live To Shred” is the testament of band that refuses to stop having fun.
You can catch Sober Daze in Austin during the SXSW music festival, playing the Punk Vs. Rockabilly and Eastside Throwdown showcases. Pre-order their new split 7 inch (with Knockin’ Chucks) now.
Sharing an infectious spirit of musical creativity, freedom and community, the cities of New Orleans and San Francisco are kindred. Whether in the Bay or the Bayou, music flows constantly and plentifully – a tragically uncommon phenomenon in this country. Resonating with the energy of both San Francisco and New Orleans, Jeremy Jones introduces Keep On Movin’, a full-length album of signature “Swampedelic Rock & Soul” sound: when the mud of the Louisiana swamps meets the grit of Southern roots and blends with the groove of San Francisco psychedelia.
DRKWAV is Skerik (saxophones), John Medeski (keyboards) and Adam Deitch (drums). The three master musicians have come together for The Purge, an entirely uncompromising album debut that delves deep into the psychedelic corners of the human psyche. The recording was co-produced and mixed by venerated studio wizard Randall Dunn.
DRKWAV conjure a wall of intricately detailed sound as each of The Purge‘s eight tracks surge and swell in a cinematic overture. True to its name, the trio revels in the pitch black, yet continually discover beauty and shed light through sonic exploration. The album will be released on February 24 by Royal Potato Family.
Barons Court is the debut full length album by Canadian electroacoustic composer Sarah Davachi, following short run releases on Important Records’ Cassauna imprint and Full Spectrum. Trained at Mills College, Davachi’s work marries an academic approach to synthesis and live instrumentation with a preternatural attunement to timbre, pacing, and atmosphere. While the record employs a number of vintage and legendary synthesizers, including Buchla’s 200 and Music Easel, an EMS Synthi, and Sequential Circuit’s Prophet 5, Davachi’s approach to her craft here is much more in line with the longform textural minimalism of Eliane Radigue than it is with the hyper-dense modular pyrotechnics of the majority of her synthesist contemporaries. Three of the album’s five compositions feature acoustic instrumentation (cello, flue, harmonium, oboe, and viola, played by Davachi and others) which is situated alongside a battery of keyboards and synths and emphasizes the composerly aspect of her work. “heliotrope” slowly billows into being with a low, keeling drone that is gradually married to an assortment of sympathetic, aurally complex sounds to yield a rich fantasia of beat frequencies and overtones. Later, “wood green” opens almost inaudibly, with lovely eddies of subtly modulating synth clouds evolving effortlessly into something much larger, as comforting and familiar as it is expansive. In an era in which the synthesizer inarguably dominates the topography of experimental music, Davachi’s work stands alone – distinctive, patient, and beautiful.
