Background - Mars Motel is a dream-rock band from Brooklyn, NY presenting an explosive and immersive sound which originates from melodic elements of 1990’s Brit-Pop as well as the raw, driving rhythms of the early 2000’s NYC rock scene.
Well before the official name and creation of Mars Motel, the music began as a series of psychedelic, Brit-Pop-inspired bedroom demos written by singer/guitarist Sarik Kumar during his last year of high school. For almost 10 years, the demos were left on an old computer and almost forgotten until the summer of 2016, when Kumar rediscovered them while visiting his childhood home on Long Island.
After a couple of successful singles being released in the last two years since Mars Motel was formed, including “Green” and “Living in the Moment”, The Eclipse Sessions live EP was released in late July of this year.
Recorded on August 21, 2017 at Mission Sound during the first solar eclipse the contiguous United States saw in 38 years, and released during yet another eclipse this year, the EP features three live tracks from Mars Motel’s first wave of singles, “The Enemy”, “Green”, and “It’s Here Tonight”, as well as two unreleased B -sides (“Hit The Floor” and “City Streets”). FACEBOOK.
The Eclipse Session live version of 'Green' exudes calmness, quality and charm. The bands dream rock is confidently delivered, the musicianship is totally engaging and the melodic hooks do the rest.
Background - Nashville-based, post-punk band Telefones share their new single, "Castle Factory," the A-Side off their forthcoming 7-inch. Telefones' Castle Factory/Vitamins 7" is due out 9/21 on Banana Tapes & Cold Lunch Recordings. The 7-inch release is an experiment on the wide spectrum of the punk genre. A-Side, "Castle Factory" adopts more conventional pop/rock ideas, inspired by The Stooges' early work. The track pays homage to the proto-punk era, subverting traditional blues rock sensibilities with distorted guitars, unhinged vocals and raw production. B-Side, "Vitamins," is a more bombastic, noise rock song, with Boredoms-eque repetitive, percussion, driving the song through the fuzzed out, screeching noise and wily vocal performance. Telefones consists of Wes Salton (Guitar, Vocals), Jason Chiarella (Bass, Synthesizer), Adam Reeve (Drums, Vocals) and Jack Faulkner (Guitar, Synthesizer). They are a post-punk outfit based out of Nashville. The band was formed by longtime grade school friends Wes and Jason when they were in high-school in Atlanta. Later, they relocated to Nashville, where they picked up Jack and Adam to join the group.
The band makes eclectic punk music, with inspirations ranging from Fugazi to The Modern Lovers and The Buzzcocks. Their heavy energetic set is short, sweet and to the point, with their recorded material attempting to recreate their live, raw sound. BANDCAMP.
'Castle Factory' opens with some chunky riffs in this cut to the chase rocker. The vocals are deep in the mix, occasionally powering up and demanding to be noticed, as the band just pile on the rock grooves with a sense of angst and urgency.
Background - Current Day is the follow-up release to Martin Van Ruin’s critically-acclaimed debut, Every Man a King. A collective project from some familiar Chicago faces (members of Derek Nelson & The Musicians, Jenny Dragon, Planetsexploder).
The seven-piece’s new album sees the group exploring increasingly modern sounds while building upon the ideas that led critic Jessica Hopper to write that their debut was “one of the best local albums of the year; a sprawling folk-rock work with vintage country and chamber elements … an album in a classic sense.”
Also for American Songwriter to say that “fans looking for Chicago’s next Wilco may want to check out Martin Van Ruin,” and for the Chicago Sun-Times to write that “The Bob Dylan and Neil Young comparisons are inescapable for this new folk rock supergroup.” Current Day was recorded over a series of sessions in 2017 at the Music Garage in Chicago and was engineered by Mike Lust (Tight Phantomz).
Martin Van Ruin is: Alex Winter: bass, Brian Sharpe: lead guitars, piano, Cathy Starr: violin, Derek Nelson: vocals, guitars, Sarah Jane Goldstein: vocals, percussion, melodica, Pete Falknor: drums, synth, guitars, Philip Vickers: lap steel, guitars, trumpet. WEBSITE.
The new album 'Current Day' from Chicago band Martin Van Ruin really does deserve to get noticed way beyond the bands home city. Although they have been described as a folk rock band, that for me is too narrow, it's perhaps a starting point, however they morph comfortably beyond that doing so with a consistently engaging sound. The musicianship is high calibre as are the vocals, which add so much feeling and personality to the songs. Others have described the band as a super group, I would rather leave the listener to form opinions around that particular label, that they are musically superb, is something I would comfortably concur with.
Background - The new Calvin Johnson album A Wonderful Beast [KLP269] is an experiment in sound. Calvin entered the Audio Eagle Studio in Nashville, TN. using the premise “Rock’n’roll Will Never Die” as a starting point. Working closely with Producer Patrick Carney and Chief Engineer Marc Whitmore, the team tested the resiliency of such time honored materials as the electric guitar, modular synthesizer and trap drum kit, combining them in various ratios with musical elements like chords A, C and Dm. The results are the Frankenstein’s monster of an album, A Wonderful Beast.
Following in the tradition of such Brill Building songwriting teams as Leiber-Stoller, Greenwich-Barry and Goffin-King, all the songs on A Wonderful Beast are a collaboration between Calvin Johnson and Patrick Carney. Carney, best known for his work as a member of the Akron, OH powerhouse The Black Keys, established Audio Eagle to further exactly this type of rock’n’roll workshopping, allowing the music and songwriting of Now to rocket launch into the Future.
Calvin first met Patrick in 2005 while touring the United States following the release of his second solo album Before the Dream Faded… [KLP170]. The two kept in touch over the years. Patrick suggesting some sort of collaboration; they got together with only the belief that music can ooze from the savage breast, and A Wonderful Beast emerged from the primal dross.
An important element of the sound success of A Wonderful Beast is the contribution of chanteuse Michelle Branch, who provides back-up harmony vocals on three songs. Ms. Branch, who score many hits in the early double-0 decade as a solo artist and as a member of the Wreckers, lives next door to Audio Eagle. Intrigued by the sounds ratcheting forth from the lonesome shack that houses the studio, she walked over to see for herself what all the hubbub was about. Before long she was singing like a bird, in three part harmony (Thanks, Michelle!).TWITTER.
There is something about the video that is strangely addictive, however it's the song that still stands out in a sizable way. 'Like You Do' is just a little "out there" with the vocals demanding your wholesale attention and the vibrant and energetic musical backdrop adding layers of gorgeous sounds. Just one track and the album is calling me for some serious attention.
Background - Prolific alternative rock artist Arthur Nasson shares "Books About It Pt. 2" off his forthcoming LP Whack Mythology, due out next Friday, August 31st. "The idea that mythology, whether personal or global and the social programming it instills in each of us, drives much about our actions and perception. In holding up this type of mirror both in personal and more broad ways, one can perhaps have a laugh and recognize some shared sense of what we go through in this life."
Whack Mythology will be the 10th full length release for the Arlington, Massachusettes alternative artist. Nasson's determination led him to build a critically acclaimed catalog of recordings starting out largely with one mic and an 8 track cassette deck. Following the release of the LP Nasson will release an additional bonus EP Basement Glitter, due out 9/14.
Speaking on Whack Mythology, Nasson says, "The idea that mythology, whether personal or global and the social programming it instills in each of us, drives much about our actions and perception. In holding up this type of mirror both in personal and more broad ways, one can perhaps have a laugh and recognize some shared sense of what we go through in this life."
Nasson recorded these tracks in his home studio, but the final product feels far from lofi. Nasson handles the songwriting, production, engineering, vocals, piano, guitar, bass, percussion and synthesizers largely on his own, and with assistance from his sons Graham Nasson (drums/rhythm guitar) and Colin Nasson (rhythm guitar/percussion). WEBSITE.
'Books About It Pt. 2' is a melodic alt rocker that has a relaxed swagger to it musically (the piano adding something of a bar room vibe). Arthur Nasson's vocals are a delight and as the song builds into a more strident rocker, he allows the music to carry the day.
Background - Schmieds Puls have released new single ‘Don’t Love Me Like That’ taken from upcoming album Manic Acid Love. Fronted by Mira Lu Kovacs, Christian Grobauer (drums) and Walter Singer (bass) – Schmieds Puls are an Austrian outfit who have been making waves in their home territory for some time. Spanning genres, refusing to be pigeonholed and being politically outspoken, particularly regarding Mira’s feminism has cemented them as one of the countries most interesting outputs, earning them prestigious accolades such as the Amadeus Austrian Music Award.
New album Manic Acid Love is a triptych leading us through the spectrum of human emotion, the eleven tracks taking us through unconditional devotion (Manic), the deep vulnerability and pain this dedication precipitates (Acid) and the human power to overcome these hurdles and find peace (Love).
Delicate guitars are paired with staccato vocals that cut right through to the listener, giving you no choice but to stop what you’re doing and take note. Jazz knowledge and influences run through the veins of Schmieds Puls, while the tracks remain instantly catchy and full of pop sensibilities.
Along with anger, subtler emotions are articulated, such as on ‘Don’t Love Me Like That’. Mira explains “with "Don't Love Me Like That", I wanted to try to explain the complexity with that I experience love and relationships. For me nothing; no feeling, no situation, no connection between me and any other person is linear. It is always at least two things. It gets especially difficult when these things are the exact opposite of each other. I can feel drawn to a person as much as I need to be away from them. That can be confusing and exhausting, but that's how I experience it. Oftentimes it enriches my world. Nevertheless it is a love song, a brutally honest and therefore kind one, I want to say.” WEBSITE.
Taken from the forthcoming 'Manic Acid Love' we have the new single 'Don't Love Me Like That'. The band have an intrinsic overall sound that anchors their music, however they do creatively explore differing musical directions and emotions, sometimes subtly, other times with great clarity, and always with beautifully crafted pop sensibilities.
Background - Harnessing a great catchphrase in to an excellent album title, London four-piece Fightmilk are due to release their debut album Not With That Attitude on 2 November 2018 via Reckless Yes. Fightmilk are Lily, Alex, Adam, and Nick – a four-piece from London who formed in the wake of broken relationships and an uncomfortable year spent living at home at the age of 25. They create sweaty, loud, shouty pop songs about crushing hard, acting out, and running away to solve crimes in Sweden. Blending acerbic lyrics with riffs galore and the urge to dance when you least expect it, Fightmilk revel in a certain inexplicable 90s nostalgia.
With “Four Star Hotel” Lily and Alex explore the ending of the relationships with their respective long-term partners (which was the catalyst to forming the band). Coincidentally both couples had booked vacations in Amsterdam towards the end and each realised that a holiday will never save a relationship. As Alex explains; “almost every line is based on one of our two true stories, from the shit-eating grins in the holiday photographs to having to push two twin beds together in a hotel room.”
Fightmilk formed in 2015 when lifelong friends Lily Rae and Alex Wisgard were both made romantically redundant at the same time. They realised there was too much angst, too much Kirsty MacColl, and too many drunk nights of making up fake band names for them not to be in a band together. They began writing songs, partly as a way to work out some of their issues and partly so that they could reference It’s Always Sunny In Philadelphia. Moving on from just the two of them and a drum machine called Elton that they couldn’t figure out how to operate, they were joined by Nick Kiddle on drums and Adam Wainwright on bass (who was also handy at piano, cooking dinner and making electronic music in his bedroom under the name of Future Wife).
They released two EPs, the self-releasedThe Curse Of Fightmilk in 2016 and Pity Party via Fierce Panda. As both EPs sold out, they released a compilation of the two, plus two bonus tracks, called Both Types of Hayfever in early 2018. They have shared the stage with Desperate Journalist, Worriers, Dream Nails, Spearmint and Skinny Girl Diet (amongst many others) and toured Germany. Securing radio support from Steve Lamacq on BBC 6Music and John Kennedy on Radio X they also received enthusiastic Twitter reactions from Helen Love and Eddie Argos. In a more unusual booking, they were recently the live support act for a screening of the film 10 Things I Hate About You. BANDCAMP.
'Four Star Hotel' is a dazzling indie pop/rock song that bursts into life firing musical hooks in all directions. Exciting and passionate if this is 90's nostalgia, then I'm ready for a bus load more of it!
Background - After the release of their celebrated sophomore LP Sports last year, enigmatic trio Fufanu have dropped the second instalment in The Dialogue Series – Dialogue ii. The band have been releasing a series of EPs throughout the year – each one an exercise in exploring their multiple sonic personalities, from motorik and post-punk to alt-techno, to woozy avant-garde electronica. A full album comes at the end of it - The Dialogue Series is out 19th October on One Little Indian Records.
Lead single taken from the Dialogue ii, Typical Critical, explores the concept of online love vs real life love. “How we not only want to be loved and adored, but we want to feel it as well” says lyricist Kaktus Einarsson. “You want something more than to see it only through social media likes and emoji’s that someone loves you – you want to actually feel it. Feel a more complex love from what the world feeds on. Handmade love vs. mass-produced love.”
Once the band returned to Iceland after a long stint touring, they had a bag of demoes written at different junctures on the road, purposefully created with no regard for a unified sound. They were eager to release the tracks into the world as and when they were written, looking to capture the sense of urgency with which the songs were formed. However, they asked MC, DJ and producer Alap Momin to listen to the demoes and before they knew it, he was on a flight from Harlem to Iceland to work with the band. The result of his input only served to highlight their desire for a distinctive exploration of genres between each record. Kaktus laughs: “Three Icelandic techno-rockers brought the Harlem club scene to their studio in Iceland – it was a life changing week.
“It is a dialogue between musicians with different backgrounds, different approaches and different live styles, but we all have the same excitement about going into a new field of sounds. For example, we did cosmiche / motorik but worked it like hip hop and did pop like it was techno and also the other way around. Musically, the outcome goes from being deep and drugged, to fast and harsh, with heartfelt ballads in the middle. WEBSITE.
With just three tracks 'Dialogue ii' seems to cover so much ground. Both the music and vocals experiment with ideas, no two pieces are the same, and with the imagination each one brings it's hard to even consider picking a favourite, but easy to love each song.
Background - Rude Audio are proud to announce their new 'Rude Redux' EP, slated for release on October 8 through Zirkus Records. Featuring five tracks, this new release sees the band refine their trademark sound, and fusing their love of woozy dub with throbbing electronics. Here, house music, flecked with Arab and Indian vibes, also shamelessly cavorts with dub.
Ahead of this release, Rude Audio present the lead track 'To The Sun', complete with a new virtual reality-inspired video, directed by Ali Ingle. This week, Andrew Weatherall also just premiered two tracks from the new EP on his radio show.
Rude Audio is a South London-based collective with a history of putting on fantastic underground parties, releasing the occasional dubby Balearic opus, engineering for the disparate likes of Paul Weller, Lemon Jelly and Royal Blood and generally mooching about anywhere that doesn’t have bouncers or operate a dress code.
The core of the collective are Mark Ratcliff (whose releases have been played by the likes of Andrew Weatherall, Laurent Garnier, Kris Needs, Don Letts, Graeme Park and Rob de Bank, as well as BBC Radio 6's Nemone and Gideon Coe), Owain Lloyd (mixing engineer for everyone from Oakenfold and Weller to Niall Horan) and Dave [The Rave] Brennan (ex The End recordings and key player at tech house dons' label, Bombis).
The EP represents a progression from Rude Audio's latest 'Rudest' EP. More hooks, more chug, and more Middle Eastern and Indian influences, while retaining an underlying commitment to the dubby end of the spectrum. Inspired by the more open-minded dancefloors proliferating in south and east London, where world music might brush up against techno, dub and indie dance, the 'Rude Redux' EP operates between 108 and 120 BPM – fast enough to dance to, slow enough to let the music breathe. WEBSITE.
The first of five tracks on the 'Rude Redux' E.P. is 'To The Sun' a piece that exemplifies this tastefully refined collection of music. If dub or electronic music in any shape or size is of interest to you, then dive head first into Rude Audio's music, your in for a very pleasant musical journey.
Background - Veteran singer-songwriter and multi-instrumentalist Greg Laswell will release his eighth album Next Time on September 21st. Like his previous release, the acclaimed Everyone Thinks I Dodged A Bullet, the new album was entirely written, performed, produced and mixed by Laswell, with mastering by Grammy-winner Gavin Lurssen (Tom Waits, Queens of the Stone Age, Leonard Cohen).
The eleven songs comprising Next Time represent the largest breadth in sound and sentiment of any of Greg’s albums to date. The album is both more revealing and more visionary, a move from emotional crisis to biographical examination. “I feel more in control than I did on my last record,” he says. “Life is the most difficult it has ever been circumstantially, but I'm also kind of okay, even if just for moments, which is all life is anyway. My hope is that’s what came across with these songs.”
In a career of dramatic arcs, Next Time – perhaps a result of the real difficulties of seeing it through – would seem to represent a musical and emotional pinnacle for Greg. Indeed, it’s the album he has surely always meant to make, while life’s little (and sometimes very big) vagaries were getting in the way.
The first single from Next Time is the stunning departure “Royal Empress” which was world premiered by legendary radio DJ Nic Harcourt during his August 14th broadcast on KCSN in Los Angeles. Harcourt praised the song as “Broody and anthemic, pretty great” and added that it “sounded sick on the airwaves”. “Royal Empress” is available now for purchase and streaming. WEBSITE.
Greg Laswell's vocals come in two parts on 'Royal Empress'. Gritty and personal on the verses, melodic, sweeping and powerful on the chorus's, it's a gorgeous combination, accompanied by a similar musical backdrop, the song is enticing on so many levels, leaving album number eight something to keenly anticipate.
Background - Glorietta was born out of a desire to collaborate with friends. Those friends; Noah Gundersen, Kelsey Wilson (Wild Child), David Ramirez, Grammy award winner Adrian Quesada (Brownout, Black Pumas), Jason Robert Blum and Matthew Logan Vasquez came together over the course of nine-day recording session in a rented house in Glorieta, NM - just outside of Santa Fe.
The days were long with the tape running constantly as the players brought ideas for songs in various stages of completion to their new family of collaborators. Mid way through the sessions the group was joined by a guest appearance from Nathaniel Rateliff who drove straight through the night to join the party.
“We chose Santa Fe because it was isolated enough to where it would feel like we were at camp” said Vasquez, “the only requirements were that the house had vaulted ceilings and a Jacuzzi.” The players were all connected in one-way or another to Matthew Logan Vasquez (Delta Spirit) some of them old friends, some of them meeting for the first time when they arrived.
The result is a their self-titled debut record; a beautiful mix of voices from six band leaders that fit perfectly together like a low-fidelity puzzle. Their self-titled album is now available digitally, and on CD / Vinyl in the UK via Bread & Butter Music, WEBSITE.
Musically 'Losers Lament' is a gutsy no nonsense rocker, add in the vocals and harmonies and it upgrades to impressive to say the least. This is one rather splendid collaboration by friends and musicians.
Background - Rising alt-rockers FEVA storm back into the limelight with gripping new single Uneasy, furthering their reputation as one of the North East’s biggest emerging indie talents.
With a seemingly endless production line of ready-made anthems, the Newcastle quartet continue to impress with their heaviest release to date, a relentless onslaught of noise that draws welcome comparisons to the likes of Sundara Karma and The Amazons.
“It’s not as much of a story but more of a statement”, the four-piece reiterated. “The expectations of life can often leave us well and truly out of our comfort zone, torn between yesterday and tomorrow. Uneasy is a punk song at heart, simple and very, very angry. Forget yesterday, forget tomorrow, you’ll get it right eventually”.
Having already clocked up impressive supports alongside Anteros, Baby Strange and The Pale White in recent months, demonstrating their fierce live reputation in the process, the band’s widespread tastemaker approval and radio airplay (BBC Radio 1) leaves them well-placed to make their mark ahead of a busy autumn. FACEBOOK.
Alt rock with plenty of fire and passion 'Uneasy' is a mixture of superb and imaginative vocals rubbing shoulders with some sharp and potent guitar lead rock and roll.
Background - Founding member of The Kinks Dave Davies has announced the upcoming release of Decade, a new collection of unreleased songs recorded in the 1970's. Davies has also shared the lead track from the record, "Cradle To The Grave," which was recorded in 1973. Decade will be released on October 12th via Red River Entertainment and Green Amp Records, and Davies will be on tour in early 2019.
In what may be considered the sequel to 2011’s Hidden Treasures, which chronicled Davies' solo recordings from the 1960's, Decade pulls back the curtain on the legendary guitarist and songwriter's unreleased works spanning 1971 to 1979. Davies writes, "I am so pleased that after all this time these tracks are being released to see the light of day. These songs have been silently nagging at me to be recognised all these years. At last I can proudly present this album Decade to the world. I do hope you all enjoy the music."
Years prior to the issue of his first “proper” solo album, 1980’s AFL1-3603, Davies was working on the fascinating tracks that make up Decade. The tapes were unearthed by his sons Simon and Martin from “under beds, in attics, in storage,” and properly mixed and mastered in a way that lets these songs shimmer and shine even brighter than they did at inception. Any album recorded over the span of 10 years runs the risk of ending up wildly erratic in tone and style, and yet, Dave’s Decade is surprisingly cohesive, the songs working together beautifully as songs on albums do.
The period 1973 to 1975 saw The Kinks make the move into their own recording studio, Konk, which Davies took a major role in setting up and developing. “I’m always really into the sound, and the mixes, and gadgets..." writes Davies. "I was able to go in, and make what I thought were demos—these recordings."
Listening to the contemporary, FM radio-friendly quality of these songs, it’s hard to fathom that these solo tracks remained under wraps, particularly as these were born in the aftermath of clear Dave Davies triumphs such as “Strangers” and “You Don’t Know My Name,” change-of-pace songs that added considerable value to the early ‘70s Kinks albums they appeared on. But with brother Ray deep into the creation of a series of high-concept albums on which Dave’s songs had no apparent place, these Dave Davies gems remained unissued on both the solo and band fronts. WEBSITE.
Yes that Dave Davis! That songs like 'Cradle to the Grave' have remained on the shelf for so long is explained above, that they are now getting a proper airing is very welcome.
Background - Singer-songwriter, Joy Autumn, explores this declaration in depth in her latest music video for her single, Go, a music video she created with an all female production team. “I’m fascinated with the idea that our past can be even more present than what’s happening in the current moment,” she explains.
Go brings you back to that desperate feeling, with haunting images of an ex lover being projected onto a blank canvas as well as Autumn’s own body throughout the video. She can’t seem to escape this person and the memories and presence of her past is palpable, oftentimes engulfing her.
“In that moment, I realized that I had to pick my own well-being, even though the distorted reality is that I perhaps loved this person even more than I did myself.” The song is a part of Joy Autumn’s upcoming EP, Midnight, which drops today Friday, August 24th, and is an atmospheric indie-pop record about the dark side of making it as an artist in Hollywood.
Joy Autumn, a singer-songwriter originally from the small town of Olympia, Washington shines light as bright as the Hollywood sign itself onto the dark side of making it as an artist in her new atmospheric pop E.P., Midnight. Finding herself broke, depressed and eating canned food in a 400 square foot apartment, the glitter of Hollywood quickly faded away.
While waiting for calls that never came, Autumn discovered an underbelly of the city that consists of late night and early morning partying, drinking, drugs, sleeping in until 4 p.m., and dating all of the wrong men. Joy describes it as a sort of after party culture in which trust-fund babies, the offspring of celebrities, and wealthy industry men would get together to prey upon female Hollywood hopefuls. Despite the fact that she was out with all of these gorgeous models and actors, Joy states in a matter-of-fact manner, “No one who is out at 4 a.m. on a Tuesday is happy” - herself included.
Midnight is the result of Autumn’s loneliness and the search for herself amidst what she calls the “Hollywood hypocrisy.” “I was so busy not making it in Hollywood that I forgot the reason why I created music in the first place,” Joy explains. She took her challenges and co-produced Midnight, a moody and cinematic pop record, with the support of producer, Bill Lefler (Ingrid Michaelson). There were days when she couldn’t get out of bed and that’s when she re-discovered her love of utilizing songwriting as a form of therapy. Music became her reason to stay in Los Angeles and continue to chase her dreams, despite incredible odds and obstacles. TWITTER. The brand new video for 'Go' coincides with today's 'Midnight' E.P. release. It's one of five songs on the new E.P. (six if you include the acoustic version of the opening track), and we featured another song from the collection 'Brave' earlier this month. What strikes me having listened to all the material, is the intense sincerity that Joy Autumn conveys in her vocals, a sense that it's important that you hear what she has to say. Add to that the melodic nature both vocally and musically of the material, accompanied with some exquisite musical arrangements and we arrive with an E.P. that is touching, passionate and highly desirable.
Background - From the front-lines at Standing Rock to the archaic streets of Jerusalem, the Sahel Desert to Carnegie Hall, music has been the source of strength for Billy Wylder. The band features Avi Salloway (Bombino/Hey Mama/Avi & Celia) joined by an inspired cast of singular artists who have performed across five continents including concerts at the Coachella Music & Arts Festival, Newport Folk Festival, New Orleans Jazz & Heritage Festival, Montreal Jazz Fest, Carnegie Hall, and Lincoln Center. From 2013-16, Salloway toured the globe with Bombino, the Tuareg guitar hero from Niger, Africa. While on the journey and since returning, Salloway wrote a collection of new material that will be released on the band’s forthcoming album, Strike the Match (Sand & Gold Records) on September 7, 2018.
Salloway has been bringing these songs to life with the Wylder Family, a group of dear friends and musical kindred spirits. In between shows, the band spent ten days recording at Eyeland Studio in the Columbus Theatre, home of The Low Anthem. The music weaves together American folk and rock with sensibilities from the Sahara Desert: think Andrew Bird meets Ali Farka Toure, Pete Seeger and Talking Heads. Strike the Match expands on American musical traditions, building a bridge to their African roots and coloring the songs with experimental art-rock textures: gilded string lines, synthesizers, and angular guitars. Mother Earth is at its center, surrounded by stories of love, conflict, change and dreams.
Salloway shares, “This album is a reflection of the world we’ve been born into, one filled with supernatural beauty and incomprehensible struggle. My social and environmental activism work has taken me to territories that have been colonized and occupied in the Middle East, North and West Africa, the South Pacific and Standing Rock, here at home. I have experienced the creative spirit rise up in the face of darkness and adversity and it is the most life-affirming feeling I have witnessed. This record has become the artifact at the intersection of these moving events in my life.”
On Strike the Match, Billy Wylder grapples with some of the most pressing questions of our time. How can we reorient ourselves to nature as a source of strength for resistance to the forces that seek to destroy and profit from it? How can we use music to move beyond capitalism and nationalism to a global society for the benefit of the earth and all living beings? How can we reconcile our painful history with hope and optimism for the future? The album calls the listener to engage with these questions and illuminates the path towards participating in the creation of a more just and sustainable world. WEBSITE.
'Roar of the Wild' is the first single from the forthcoming 'Strike The Match' album. I'd love to say that it's typical of the album, but that's pretty difficult considering the differing directions and ideas that this fine band explore and embark on. The melting pot of Americana, rock, and folk ensures every song is a new journey, perhaps the featured song is best used to demonstrate the overall quality and refinement that Billy Wylder create, one that's intriguing, fabulous and very creative.
Background - The chatter has begun. "The pressure is on." Stumps return this week with a punchy take on overheard interactions with 'Conversation, Conversations'. Inspired by throw-away conversations overheard in the current dating climate, the band has reflected on this accidental survey and transformed it into a lyrical stab at masculinity and the often pointless attempt people make at impressing others.
'Conversations, Conversations' kicks in with a distinct, deliberate and powerful drive that carries throughout, championed by singer Kyle Fisher's distinctive baritone vocal. It's an indie rock vs brit-pop mish-mash party tune and one that is sure to get arena dance floors moving when Stumps head out on tour nationally with Trophy Eyes, Maddy Jane and Dear Seattle this October.
Stumps work fast. This latest single is out just after their debut EP Just Another Stay at Home Son hit virtual shelves in March. It's an evolutionary step for the young band who only formed just over a year ago on Sydney's Northern Beaches. In their short lifespan they've already achieved triple j Unearthed rotation and airplay on 'Piggyback', 'This Home is Mine' and 'We'll Do it Anyway' - all from their debut EP. Last year Stumps went on tour with mates Dear Seattle and this year hit the road with Maddy Jane. A sold out Sydney headliner followed, solidifying their live presence further with packed out crowds at their Brisbane and Melbourne shows. TWITTER.
Feisty and driving indie rock track 'Conversation, Conversations' is given considerable edge by Kyle Fisher's delicious baritone vocals and there melodic capabilities. Understandably the band are keen not to left behind and deliver a ultra tight rock and roll backdrop, keeping the singer equally on his toes.
Background - London outfit The Swagger presents their bold new single 'Heart 'N' Soul', which is set for release on August 31. Ahead of this, the band are previewing their new video, which features a surprising story line and unexpected ending, cloaked in dark humour.
'Heart 'N' Soul' was produced by Mike Bennett (Ian Brown, The Specials, Doctor & The Medics) with Angus Wallace (Wishbone Ash, Spiritualized, The Fall) as sound engineer. It was recorded at Far Heath Studios in Northamptonshire, famed for recordings by The Specials, The Fall and The Prodigy, among others.
This single follows their eponymous debut EP (2016), produced by Graham Bonnar (Swervedriver / The Brian Jonestown Massacre), engineered by Josh Green (Madness, Robbie Williams, Franz Ferdinand), mixed and mastered by Pat Collier (The Vibrators). It was recorded at the renowned Konk Studios in North London, founded by The Kinks' Ray and Dave Davies.
The Swagger are an indie-alternative, acoustic-pop rock band from Hornsey, North London UK formed in 2011. The band consists of brothers Lee Stevens (lead vocals, rhythm guitar) and Paul Stevens (lead guitar, backing vocals), together with Will O’Connell (bass Originally playing small London pubs and clubs as The Mad Hatters UK, The Swagger was born in 2011 when the brothers were joined by their friend Will O’Connell.
'Heart 'N' Soul' is a confessional love song based on admiring one's beauty from a far. Here we find an easy-to-catch old school vibe in a melody fitting for the here and now. TWITTER.
'Heart 'N' Soul' is a quickly pleasing rocker where the vocals carry the melody and the music rocks along in a playful manner. Add the story telling video complete with dark humour and the combination makes for something just a little different...
