"For a long time I always had to go off on my own,” says Nathaniel Rateliff of his creative process. “For the first Night Sweats record, I demo’ed everything up and created most of the parts. But for this new record, I felt like we’d all spent so much time on the road that we should all go off somewhere together. We should have that experience together. I wanted the guys to feel like they were giving something to the project beyond just playing.”
In other words, the Missouri-bred, Denver-based frontman wanted to make the band disappear along with him—out in the middle of the desert at first, and then deep in the woods. The result is the aptly titled Tearing at the Seams, a vivacious and inventive full-band record, with significant contributions from all eight members of The Night Sweats. These songs are grounded in old-school soul and r&b but are far too urgent for the retro or revivalist tag. There are familiar elements of soul and garage rock, but also jazz and folk and even country: the crackling energy on opener “Shoe Boot,” the cathartic sing-along of “Coolin’ Out,” the melancholy folk of the closing title track. “The future of this band is to take everything we’ve ever done in the past and just do it with our own little twist,” says Rateliff. “I hear that in my favorite bands. They just sucked everything up.”
Like his heroes, Rateliff has always been an omnivorous listener and player. Growing up in Hermann, Missouri, a small town with a booming tourism industry as well as a rampant meth epidemic, he started his music career playing in his family’s band at church, but that came to a tragic end when his father was killed in a car accident. Music became an obsession for him and his friends. “We would walk around these deserted country roads and talk about music all the time, how it can change the world and how it could change our world,” recalls Night Sweats bassist Joseph Pope III. “Music was what we thought would save us.”
In 1998 Pope and Rateliff moved to Denver where they worked nightshifts at a bottle factory and a trucking company while testing out their songs at open-mic nights. Their first band, Born in the Flood, attracted some major-label interest, but the pair had moved on by then, gravitating from heavy rock toward a folksier sound. Rateliff released an album on Rounder Records with a backing band called The Wheel, but despite the critical success of that and subsequent albums, he was still trying to find the right sound, the right outlet for what he needed to say.
A set of rough demos recorded in the early 2010s and based on old Stax and Motown records pointed Rateliff in a new direction. “That old soul stuff meant a lot to him when we were young,” says Pope. “Of all the projects we had done and all the different genres we had played, this was the most natural thing I’d heard him do. It sounded like it came from a really deep place in him, but it took this really meandering path to come through.”
Those demos eventually developed into the band’s 2015 self-titled debut, which became a massive hit and pushed them out on the road for two long years. Nathaniel Rateliff & The Night Sweats blasted their way through hundreds of shows in North America, England, Ireland, and Australia, and they played Coachella, Farm Aid, Newport Folk Festival, and the Monterey Pop Festival’s 50th Anniversary. The crowds grew larger with every show and The Night Sweats grew tighter and more vigorous.
In May 2017, they brought that same boundless energy to the opens plains and prickly cacti of Rodeo, New Mexico, where the entire band disappeared for a week to write songs for their follow-up. “We just did what we like to do best,” says Rateliff, “which is hang out and be a family.” They recorded a number of demos, some complete songs and others fragments or just ideas, but all were anchored by the preternaturally tight rhythm section of Pope and drummer Patrick Meese, then buoyed by the rambunctious keyboard runs from Mark Shusterman and the textural guitar riffs of Luke Mossman.
It was a sunny setting for emotionally overcast music. Together, The Night Sweats created a set of songs that comprise both an r&b party record and deeply personal confessional from Rateliff, who penned all the lyrics. The album recounts moments in the last few years of his life, some good and others not so much. “I remember finishing one song and just losing my shit and breaking down. These songs are so personal, but not everyone will get that. I get to leave little secrets in there for myself, so that everybody else gets to have their own individual interpretations of the songs.”
From New Mexico, The Night Sweats headed north to rural Oregon, specifically to the home studio of producer Richard Swift, who has helmed records for The Shins and Foxygen in addition to The Night Sweats’ debut. “He’s like a brother to me,” says Rateliff. “We hit it off during the last record. I feel like I get what Richard’s trying to do and he gets me. And his studio doesn’t really feel like a studio. It’s in this little building behind his house. That’s why I like it so much.”
In that tiny space The Night Sweats jammed hard, building off the demos they’d recorded in Rodeo. Often Swift would get dynamic takes without the band realizing he was even recording, which creates a loose, live sound on Tearing at the Seams. “Sometimes it just takes time for songs to reveal themselves to you,” says Rateliff. “You try not to get in the way of the songs and just let them be what they need to be or what everybody understands them to be.”
That’s how “Hey Mama” evolved from an acoustic guitar riff Rateliff devised in one of hundreds of green rooms the band has occupied pre-show into one of the catchiest songs on the album. He admits he wasn’t satisfied with his first stab at lyrics and melody, but “everybody in the band would walk around singing that melody and I’m like, Goddammit! I have to write a new melody! But if everybody’s singing it, it must be okay.”
The band took several cracks at “Intro,” a showstopper that opens the second side with a pretzel horn riff courtesy of tenor saxophonist Andreas Wild and trumpeter Scott Frock. A few measures later, Jeff Dazey unfurls a blazing alto sax solo. “We played that song live for a while,” says Rateliff. “It was a jam we came up with before we were really a band. We tried to record it so many different times in so many different places, but it never turned out the way we wanted it to sound. Finally, we just put it together at Richard’s one night. It was a drunken mess, but we got it.”
The album shows The Night Sweats tearing at their own seams, at their own sturdy sound, at their long-held definitions of friend and family and band. It’s an album that builds on the sound of their debut but dramatically redefines what they can do and where they can go next. Says Rateliff, “I want—and I need—everybody to feel like they’re a part of this band. I want them to feel like they’re contributing artistically and emotionally to the experience of writing and creating this music. We’ve all had to make sacrifices to be in The Night Sweats, and I want them all to know that it’s worth something.”
There is nothing quite like a Dinosaur Jr. album. The best ones are always
recognizable from the first notes. And even though J tries to trip us up by smearing “Don’t Pretend You Didn’t Know” with keyboards, it’s clear from the moment he starts his vocals that this is the one and only Dinosaur Jr., long reigning kings of Amherst, Massachusetts (and anywhere else they choose to hang their toques).
I Bet on Sky is the third Dinosaur Jr. album since the original trio – J Mascis, Lou Barlow and Murph – reformed in 2005. And, crazily, it marks the band’s 10th studio album since their debut on Homestead Records in 1985. Back in the ‘80s, if anyone has suggested that these guys would be performing and recording at such a high level 27 years later, they would have been laughed out of the tree fort. The trio’s early shows were so full of sonic chaos, such a weird blend of aggression and catatonia that we all assumed they would flame out fast. But the joke was on us.
The trio has taken everything they’ve learned from the various projects they
tackled over the years, and poured it directly into their current mix. J’s guitar approaches some of its most unhinged playing here, but there’s a sense of instrumental control that matches the sweet murk of his vocals (not that he always remembers to exercise control on stage, but that’s another milieu). This is headbobbing riff-romance at the apex. Lou’s basswork shows a lot more melodicism now as well, although his two songs on I Bet on Sky retain the jagged rhythmic edge that has so often marked his work. And Murph…well, he still pounds the drums as hard and as strong as a pro wrestler, with deceptively simple structures that manage to
interweave themselves perfectly with his bandmates’ melodic explosions.
After submerging myself in I Bet on Sky, it’s clear that the album is a true and worthy addition to the Dinosaur Jr. discography. It hews close enough to rock formalism to please the squares. Yet it is brilliantly imprinted with the trio’s magical equation, which is a gift to the rest of us. For a combo that began as anomalous fusion of hardcore punk and pop influences, Dinosaur Jr. have proven themselves to be unlikely masters of the long game. Their new album is a triumph of both form and function. And it augurs well for their future trajectory. If I were prone to wagering,
I’d say their best days are yet ahead of them. And yeah. I would bet the sky on it.
Founded in Colorado in 1986, Big Head Todd and the Monsters (BHTM) catapulted out of the mountain states and into the national spotlight. With chart-topping singles and engaging live shows, BHTM has sold over three million albums and packed major venues worldwide, including selling out their home state's historic Red Rocks Amphitheatre seven times, most recently in 2012. Most importantly, they've done it the old-fashioned way: with excellent songwriting, scorching guitar and fearless genre melding.
The band's last release was 2011's 100 Years Of Robert Johnson. Joined by special guests including B.B. King, Charlie Musselwhite, Hubert Sumlin, David "Honeyboy" Edwards and more, BHTM paid tribute to the blues legend both in the studio and on the road. The band recently recorded a new studio album in Chicago, set for release in 2014, with producer Steve Jordan (Bob Dylan, Cat Stevens) and engineer Niko Bolas (Neil Young, Warren Zevon).
On 2012's "Last Summer on Earth Tour," BHTM played some of the nation's biggest arenas alongside Barenaked Ladies and Blues Traveler. In August 2012, the band presented its inaugural Ride Festival in Telluride, CO. The lineup included Ben Harper, Lucinda Williams and The Lumineers, among others. At the 2nd Annual Ride Festival in July 2013, the lineup featured David Byrne and St. Vincent, Rodrigo y Gabriela, Cake and more.
BHTM are giving their fans exactly what they want in 2013: cross-country stops at intimate theaters, and two full sets every night. This summer BHTM is headlining the inaugural LP Tour which recently included a show at the baseball stadium Target Field, home of the Minnesota Twins. The longevity of BHTM's career is a testament to the quality of the music. More than a quarter of a century later, fans are still convinced that the best is yet to come.
The Things That We Are Made Of, the new full-length album by renowned and beloved singer, songwriter and performer Mary Chapin Carpenter, will be released May 6 on Lambent Light Records via Thirty Tigers (pre-order). Produced by 2016 Producer of the Year Grammy-nominee Dave Cobb (Jason Isbell, Chris Stapleton), the album features eleven new songs, including the lead track “Something Tamed Something Wild,” which premiered yesterday at Rolling Stone and can now be heard/shared via Soundcloud. Of the song, Rolling Stone praises, “...beautifully sums up where she’s been and sets the stage for what’s yet to come…’Something Tamed Something Wild’ and indeed the entire new album finds the songwriter at her most thoughtful and also at times sweetly whimsical, perfectly capturing the buoyant spirit of her early successes and also serving as a reminder that she remains one of the most grounded, sentient songwriters of her generation.”
In celebration of the release, Carpenter will return to D.C.’s legendary Wolf Trap for a special performance on July 2. Tickets will go on-sale on Saturday, March 19. Additional tour dates to be announced shortly.
The Things That We Are Made Of was recorded at Nashville’s Sound Emporium and Low Country Sound studios during the spring and summer of 2016. In addition to Carpenter (vocals, electric/acoustic guitar), the album features Cobb (electric/acoustic/gut string guitar, percussion, Moog, Mellotron), Annie Clements (bass), Brian Allen (bass), Chris Powell (drums, percussion), Mike Webb (piano, B3 organ, reed organ, Mellotron, Fender Rhodes) and Jimmy Wallace (piano, B3 organ).
Of the album, Carpenter comments, “Working with Dave felt great from the first day of our sessions. He is always willing to try something new, believes that ‘yes’ is the only answer, and surrounds himself with wonderfully talented and generous musicians; by the end of the project, I felt as if I was a part of a new family.”
Cobb adds, “I wanted to work with Mary Chapin because very few people can cut with words like she can. She’s an absolute poet and legend. I was so happy to collaborate on this album together.”
Over the course of her acclaimed career, Carpenter has recorded 14 albums and sold over 14 million records. With hits like ”Passionate Kisses” and “He Thinks He’ll Keep Her,” she has won five Grammy Awards (with 15 nominations), two CMA awards, two Academy of Country Music awards for her vocals and is a member of the Nashville Songwriters Hall of Fame. Most recently, in 2014, Carpenter released her acclaimed debut orchestral album, Songs From The Movie. Arranged and co-produced by six-time Grammy winner Vince Mendoza, the record is comprised of ten previously recorded compositions including “Between Here and Gone” and “Come On Come On.” Since it’s release, Carpenter has performed alongside the New York Philharmonic, the BBC Scottish Symphony Orchestra, the London Concert Orchestra, the L.A. Philharmonic and the National Symphony Orchestra among many others.
One of the world’s best-known and best-loved performers, John Denver earned international acclaim as a songwriter, performer, actor, environmentalist and humanitarian. Denver’s career spanned four decades and his music has outlasted countless musical trends and garnered numerous awards and honors.
The son of a U.S. Air Force officer, Denver’s artistic journey began at age eleven when he was given his grandmother’s guitar. Denver eventually took guitar lessons and joined a boys’ choir, which led him at age twenty to pursue his dream of a career in music.
In 1963 he struck out on his own, moving to Los Angeles to be in the heart of the burgeoning music scene. It was during this time that Henry John Deutschendorf, Jr. was urged by friends to change his name if a recording career was to be in his future. He took his stage name from the beautiful capital city of his favorite state, Colorado. Later in life, Denver and his family settled in Aspen, Colorado and his love for the Rocky Mountains inspired many of his songs.
John Denver experienced his first major break in the music industry when he was chosen from 250 other hopefuls as lead singer for the popular Mitchell Trio. Two years and three albums later, Denver had honed his considerable vocal talent and developed his own songwriting style. He gained recognition when his song “Leaving On A Jet Plane” was recorded by Peter, Paul and Mary, becoming their first and only number one hit. As the Mitchell Trio disbanded, Denver was climbing up the pop charts as a solo act with songs like “Take Me Home, Country Roads,” “Rocky Mountain High,” “Sunshine On My Shoulders,” “Annie’s Song,” “Back Home Again,” “Thank God I’m A Country Boy,” and “Calypso,” solidifying his position as one of the top stars of the 1970s.
By his third album in 1970, Denver’s social and political leanings were defined more clearly. Denver was one of the first artists to share an environmental message through his music, beginning with the song “Whose Garden Was This?” This was the first in a long line of songs that he wrote about the environment.
Denver contributed his talents to the benefit of many charitable and environmental causes and received numerous civic and humanitarian awards over the years. Fans responded to his heartfelt urgings about ecology, peace, and compassion that were consistently delivered in a gentle manner on his records and at live performances.
His passion to help create a global community paved the way for ventures into new musical and geographic territories. In 1985 he was invited by the Soviet Union of Composers to perform in the USSR, inspiring the internationally acclaimed song “Let Us Begin (What Are We Making Weapons For?).” The powerful video for “Let Us Begin” moved viewers around the world.
“I thought that I might be able to do something to further the cause of East/West understanding… The Russians say that the first swallow of spring won’t make the weather for the whole season, but it can mark the turn toward a warmer climate. I tried to be that swallow.”
The success of his visit lead to a concert tour of the USSR in 1986. These were the first performances by an American artist since the Cold War began – an unprecedented cultural exchange between the United States and the Soviet Union. He returned to the USSR in 1987 to do a benefit concert for the victims of Chernobyl.
Denver was also the first artist from the West to do a multi-city tour of mainland China, in October 1992. He was somewhat astonished to discover how popular and well known his songs were in China. “‘Country Roads,’” he was told, “is the most famous song written in the West.”
Denver was a true adventurer, exploring all that the world had to offer. Throughout his life’s journey he challenged himself on every level, which is an integral part of what made him an extraordinary man, an uncommon friend and a rare human being.
While the frontiers of the American West satisfied his spirit, less-traveled frontiers appealed to his imagination. Denver was an experienced airplane pilot and collected vintage biplanes. His interest in outer space was so great that he took and passed NASA’s examination to determine mental and physical fitness needed for space travel. He then became a leading candidate to be the “first civilian in space” on the Space Shuttle Challenger. Denver planned to write a song in space, but circumstances kept him from joining the ill-fated expedition, which saddened the world when it exploded during take-off in 1986.
Among his many gifts, Denver was also a talented photographer. He photographed images of the people and places he experienced in his travels and showed his work professionally, often in connection with speeches made at colleges and universities as well as government and business facilities across the country.
Many of Denver’s songs reflected his relationship with nature and indeed, one of his greatest pleasures was spending time outdoors. He spent as much time as possible backpacking, hiking, climbing and fishing. He was an avid golfer and skier, regularly participating in celebrity charity events for both sports.
John Denver died tragically in a plane crash on October 12, 1997. He was survived by his brother Ron, mother Erma and three children, Zak, Anna Kate and Jesse Belle.
On March 12, 2007, Colorado’s Senate passed a resolution to make Denver’s trademark 1972 hit “Rocky Mountain High” one of the state’s two official state songs, sharing duties with its predecessor, “Where the Columbines Grow.”
Today, millions of fans old and new enjoy the work of this extraordinary performer. Thirty albums and four decades after he began, John Denver’s music is as relevant as ever. His humanitarian work continues to strengthen our global village, and his dynamic celebration of life, spirit and nature is a powerful inspiration to us all.
Since releasing their debut album Oh, What a Life in 2014, New York-based pop-rock outfit American Authors have experienced milestones most bands only dream about. They’ve watched their music climb to the top of the charts, and seen singles go multi-platinum. They’ve played awards shows, hit the stages of legendary venues all over the world, and toured with One Republic. They’ve heard their anthemic hit single “Best Day of My Life” in movie trailers, on TV shows, and as a theme song for the Stanley Cup Playoffs. Despite these accolades, however, lead singer Zac Barnett asserts that the best day of their lives is still yet to come. “We just want to keep going,” he says. “We can’t wait to continue this adventure.”
Adventure is an understatement. After meeting at the prestigious Berklee College of Music, Barnett and bandmates guitarist James Adam Shelley, bassist Dave Rublin and drummer Matt Sanchez began to develop an entirely unique, collaborative sound; one that radiates style, without sacrificing substance. This eclectic brand of energetic pop rock attracted iconic label Island Records, to which the band is now signed. “Signing with Island was so exciting,” remembers Barnett. “We literally signed the papers and then hit the road on our first legit tour.”
Regardless of time constraints, it’s clear that American Authors take their name seriously – their tracks are infused with tribal rhythms, country twang, Latin riffs and EDM-style drops, making their music as diverse as the city they live in. “New York opened us up to this whole new world and community of musicians,” says Barnett of the band’s adopted home. But worldliness doesn’t take away from the relatable nature of their authorship. They create fun and truthful pop rock, drawing on personal experience for inspiration. “Our songs are about daily life. We’re constantly learning and failing and succeeding and that’s what influences us more than anything.” They’re not afraid to take risks, a trait that’s only intensified since the release of Oh, What a Life. In fact, says Barnett, their new songs take elements from their beloved sound to the next level: “We’re pushing everything. Bigger harmonies, bigger melodies – it’s American Authors 2.0.”
This transition is exemplified in “What We Live For,” a song about moving forward and dreaming big. It’s fitting as the title track of the upcoming album - it’s hopeful and upbeat, utilizing road trip imagery the band has become so familiar with to call for artistic exploration. “The first album is all about reflection and the memories that led us to becoming American Authors,” says Barnett. “What We Live For is about the adventures we’re having and where we want to go.” “Right Here Right Now” echoes this sentiment, employing an infectious backbeat handclap, choral vocals and catchy lyrics that illustrate the carefree excitement of being in love. “We can have all these goals,” he notes of the song’s meaning, “but if you’re not doing the things you love with the people you love, they don’t matter.”
It’s entirely apparent that this statement represents the ethos behind American Authors. Their songwriting process is uniquely collaborative, with band members able and willing to play every instrument. Each song, including first single “Pride,” is the result of a dynamic mix of experimentation and experience. The track features tribal vocals, unique percussive sounds and banjo to underscore its emotional, but uplifting message. “We’re always open and excited to try new things and new sounds,” says Barnett. “That’s what sets us apart.”
Transparent lyricism and a sense of genuine enthusiasm have set American Authors even further apart, rendering them one of the most exciting bands of the last few years. They’re humble and earnest, eager to continue their adventure by writing, playing and traveling to new places. More than anything, though, the band is excited to continue connecting with fans. “Our music is our hearts and our souls and our entire lives,” says Barnett. “We hope that people can put their own stories into it and find a sense of unity with the music, but also with important moments in our lives. That’s what we really live for.”
There’s a great scene in The Last Waltz – the documentary about The Band’s final concert – where director Martin Scorsese is discussing music with drummer/singer/mandolin player Levon Helm. Helm says, “If it mixes with rhythm, and if it dances, then you’ve got a great combination of all those different kinds of music: country, bluegrass, blues music, show music…”
To which Scorsese, the inquisitive interviewer, asks, “What’s it called, then?”
“Rock & roll!”
Clearly looking for a more specific answer, but realizing that he isn’t going to get one, Marty laughs. “Rock & roll…”
Well, that’s the way it is sometimes: musicians play music, and don’t necessarily worry about where it gets filed. It’s the writers, record labels, managers, etc., who tend to fret about what “kind” of music it is.
And like The Band, the members of Railroad Earth aren’t losing sleep about what “kind” of music they play – they just play it. When they started out in 2001, they were a bunch of guys interested in playing acoustic instruments together. As Railroad Earth violin/vocalist Tim Carbone recalls, “All of us had been playing in various projects for years, and many of us had played together in different projects. But this time, we found ourselves all available at the same time.”
Songwriter/lead vocalist Todd Sheaffer continues, “When we started, we only loosely had the idea of getting together and playing some music. It started that informally; just getting together and doing some picking and playing. Over a couple of month period, we started working on some original songs, as well as playing some covers that we thought would be fun to play.”
Shortly thereafter, they took five songs from their budding repertoire into a studio and knocked out a demo in just two days. Their soon-to-be manager sent that demo to a few festivals, and – to the band’s surprise – they were booked at the prestigious Telluride Bluegrass Festival before they’d even played their first gig. This prompted them to quickly go in and record five more songs; the ten combined tracks of which made up their debut album, “The Black Bear Sessions.”
That was the beginning of Railroad Earth’s journey: since those early days, they’ve gone on to release five more critically acclaimed studio albums and one hugely popular live one called, “Elko.” They’ve also amassed a huge and loyal fanbase who turn up to support them in every corner of the country, and often take advantage of the band’s liberal taping and photo policy. But Railroad Earth bristle at the notion of being lumped into any one “scene.” Not out of animosity for any other artists: it’s just that they don’t find the labels very useful. As Carbone points out, “We use unique acoustic instrumentation, but we’re definitely not a bluegrass or country band, which sometimes leaves music writers confused as to how to categorize us. We’re essentially playing rock on acoustic instruments.”
Ultimately, Railroad Earth’s music is driven by the remarkable songs of front-man, Todd Sheaffer, and is delivered with seamless arrangements and superb musicianship courtesy of all six band members. As mandolin/bouzouki player John Skehan points out, “Our M.O. has always been that we can improvise all day long, but we only do it in service to the song. There are a lot of songs that, when we play them live, we adhere to the arrangement from the record. And other songs, in the nature and the spirit of the song, everyone knows we can kind of take flight on them.” Sheaffer continues: “The songs are our focus, our focal point; it all starts right there. Anything else just comments on the songs and gives them color. Some songs are more open than others. They ‘want’ to be approached that way – where we can explore and trade musical ideas and open them up to different territories. But sometimes it is what the song is about.”
So: they can jam with the best of them and they have some bluegrass influences, but they use drums and amplifiers (somewhat taboo in the bluegrass world). What kind of music is it then? Mandolin/vocalist John Skehan offers this semi-descriptive term: “I always describe it as a string band, but an amplified string band with drums.” Tim Carbone takes a swing: “We’re a Country & Eastern band! ” Todd Sheaffer offers “A souped-up string band? I don’t know. I’m not good at this.” Or, as a great drummer/singer/mandolin player with an appreciation for Americana once said: “Rock & roll!”
It's incredible that Galactic has never made a carnival album yet, but now it’s here.
To make Carnivale Electricos, the members of Galactic (Ben Ellman, harps and horns; Robert Mercurio, bass; Stanton Moore, drums and percussion; Jeff Raines, guitar; Rich Vogel, keyboards) draw on the skills, stamina, and funk they deploy in the all-night party of their annual Lundi Gras show that goes till sunrise and leads sleeplessly into Mardi Gras day.
Galactic was formed eighteen years ago in New Orleans, and they cut their teeth playing the biggest party in America: Mardi Gras, when the town shuts down entirely to celebrate. Carnivale Electricos is beyond a party record. It’s a carnival record that evokes the electric atmosphere of a whole city – make that, whole cities – vibrating together all on the same day, from New Orleans all down the hemisphere to the mighty megacarnivals of Brazil. Armed with a slew of carnival-ready guests—including Cyril and Ivan Neville, Mystikal, Mannie Fresh, Moyseis Marques, Casa Samba, the KIPP Renaissance High School Marching Band, and Al "Carnival Time" Johnson (who remakes his all-time hit)—Galactic whisks the listener around the neighborhoods to feel the Mardi Gras moment in all its variety of flavors.
Carnivale Electricos begins on a spiritual note, the way Mardi Gras does in the black community of New Orleans. On that morning, the most exciting experience you can have is to be present when the small groups of black men called Mardi Gras Indians perform their sacred street theater. Nobody embodies the spiritual side of Mardi Gras better than the Indians, whose tambourines and chants provide the fundament of New Orleans carnival music. These “gangs,” as they call them, organize around and protect the figure of their chief. The album’s keynote singer, Big Chief Juan Pardo, is, says Robert Mercurio, “one of the younger Chiefs out there, and he’s become one of the best voices of the new Chiefs. Pardo grew up listening to the singing of the older generation of Big Chiefs, points out Ben Ellman, and “he’s got a little Monk [Boudreaux], a little Bo Dollis, he’s neither uptown nor downtown.”
On “Karate,” says Ellman, the band was aiming to “capture the power” of one of the fundamental musical experiences of Mardi Gras: “a marching band passing by you.” The 40-piece KIPP Renaissance High School Marching Band’s director, Lionel "karate" Williams, arranged up Galactic's demo, then the band rehearsed it until they had it all memorized. The kids poured their hearts into a solid performance, and, says Mercurio, “I think they were surprised” to hear how good they sounded on the playback.
Musical energy is everywhere at carnival time. “You hear the marching bands go by,” says Mercurio, moving us through a Mardi Gras day, “and then you hear a lot of hiphop.” There hasn’t been a Mardi Gras for twenty years that hasn’t had a banging track by beatmaker / rapper Mannie Fresh sounding wherever you go. “You can’t talk about New Orleans hip-hop without talking about Mannie Fresh,” says Ellman. His beats have powered literally tens of millions of records, and he and Galactic have been talking for years about doing something together. On “Move Fast,” he’s together with multiplatinum gravel-voiced rapper Mystikal, who is, says Ellman, “somebody we’ve wanted to collaborate with forever. It was a coup for us.”
Out in the streets of New Orleans, you might well hear a funky kind of samba, reaching southward toward the other end of the hemispheric carnival zone. There has for the last twenty-five years been a smoking Brazilian drum troupe in town: Casa Samba formed at Mardi Gras in 1986. They’re old friends of Galactic's from their early days at Frenchmen Street’s Café Brasil, and the two groups joined forces for a new version of Carlinhos Brown’s “Magalenha,” previously a hit for Sérgio Mendes.
But the Brazilian influence on Carnivale Electricos goes beyond one song. “When we started this album, we all immersed ourselves in Brazilian music and let it get into our souls,” says Mercurio. The group contributed three Brazilian-flavored instrumentals, including “JuLou,” which riffs on an old Brazilian tune, though the name refers to the brass-funk Krewe of Julu, the “walking krewe” that Galactic members participate in on Mardi Gras morning. After creating the hard-driving track that became “O Côco da Galinha,” they decided it would be right for Moyséis Márquez, from the São Paulo underground samba scene, who collaborated with them and composed the lyric.
If you were Galactic and you were making a carnival album, wouldn’t you want to play “Carnival Time,” the irrepressibly happy 1960 perennial from the legendary Cosimo Matassa studio? Nobody in New Orleans doesn’t know this song. The remake features a new performance in the unmistakable voice of the original singer, Al "Carnival Time" Johnson, who’s still active around town more than fifty years after he first gained Mardi Gras immortality.
The closing instrumental, “Ash Wednesday Sunrise,” evokes the edginess of the post-party feeling. The group writes, “There is the tension you feel on that morning -- one of being worn out from all of the festivities and one of elation that you made it through another year.”
But, as New Orleanians know, there’s always another carnival to look forward to, and Galactic will be there, playing till dawn and then going to breakfast before parading.
Galactic is a collaborative band with a unique format. It’s a stable quintet that plays together with high musicianship. They’ve been together so long they’re telepathic. But though the band hasn’t had a lead singer for years, neither is it purely an instrumental group. Galactic is part of a diverse community of musicians, and in their own studio, with Mercurio and Ellman producing, they have the luxury of experimenting. So on their albums, they do something that’s unusual in rock but not so controversial an idea in, say, hiphop: they create something that’s a little like a revue, a virtual show featuring different vocalists (mostly from New Orleans) and instrumental soloists each taking their turn on stage in the Galactic sound universe.
Mostly the band creates new material in collaboration with its many guests, though they occasionally rework a classic. Despite the appearance of various platinum names on Galactic albums, they especially like to work with artists who are still underground. If you listen to Carnivale Electricos together with the two previous studio albums (Ya-Ka-May and From The Corner To The Block, you’ll hear the most complete cross-section of what’s happening in contemporary New Orleans anywhere – all of it tight and radio-ready.
Despite the electronics and studio technology, Galactic's albums are very much band records. Mercurio explained the Galactic process, which starts out with the beat: “The way we write music,” he says, “we come up with a demo, or a basic track, and then we collectively decide how we’re gonna finish it.” The result is a hard-grooving sequence of tight beats across a range of styles that glides from one surprise to the next.
What pulls all the diverse artists on Carnivale Electricos together into a coherent album is that one way or another, it’s all funk. Galactic is, always was, and always will be a funk band. Whatever genre of music anyone in New Orleans is doing, from Mardi Gras Indians to rock bands to hardcore rappers, it’s all funk at the bottom, because funk is the common musical language, the lingua franca of New Orleans music. Even zydeco can be funky -- and if you don’t believe it, check out “Voyage Ton Flag,” the album’s evocation of Cajun Mardi Gras, in which Mamou Playboy Steve Riley meets up with a sampled Clifton Chenier inside the Galactic funk machine.
Galactic is: Robert Mercurio [Bass], Stanton Moore [Drums], Jeff Raines [Guitar], Ben Ellman [Saxophone/Harmonica], Rich Vogel [Keyboards] Touring with: Erica Falls [Vocals], Corey Henry [Trombone/Vocals], Shamarr Allen [Trumpet]
Music and escapism go hand-in-hand.
A concert or an album can unlock another world, if you let it. The Motet respect and revere this time-honored phenomenon. Fusing fiery funk, simmering soul, and improvisational inventiveness, the Denver, CO seven-piece—Lyle Divinsky [vocals], Dave Watts [drums], Joey Porter [keyboards], Garrett Sayers [bass], Ryan Jalbert [guitar], Parris Fleming [trumpet], and Drew Sayers [saxophone]—have continually provided an escape for listeners over the course of seven full-length albums since 1998, including their latest release Totem and with an upcoming 2018 release. That extends to countless sold out shows and festivals everywhere from Bonnaroo, Electric Forest, and Summer Camp to All Good Music Festival and High Sierra Music Festival as well as 16 consecutive years of themed Halloween concerts.
“When you’re listening to us, I want your mind to be taken away from wherever you are during the day and into some other place,” states Dave. “It’s all about that.”
After quietly building a diehard and devoted following, 2016 represented a watershed year for the musicians. They welcomed Lyle and Drew into the fold and released Totem, which drew acclaim from Relix, AXS, 303 Magazine, and many others. For the first time, The Motet sold out the legendary Red Rocks Amphitheater—the holy grail venue of their hometown—cataloged on Live at Red Rocks. Sell-outs followed everywhere from The Fillmore (San Francisco) and Tipitina’s (New Orleans) to Brooklyn Bowl (Brooklyn), Park West (Chicago), and Crystal Ballroom (Portland). The group locked into an unbreakable groove.
“We’ve never been a band that just blew up overnight,” Dave goes on. “We’ve been very tenacious about our movement forward. We’ve been through many different iterations throughout the years. Right now, it feels like we’ve got the lineup that’s making an impression on our scene. Lyle is the perfect match for us. He’s got musicality and this raw energy we all resonate with. He ignited this spark to put work in and write inspiring music.”
That spark lit again in 2017. Following Jam Cruise and a second Red Rocks gig, the band fired up the new single “Supernova.” Strutting between hypnotic horns and swaggering guitars, the track sees The Motet blast off to another galaxy. Quickly racking up over 150k Spotify streams in a month’s time, it instantly excited fans.
“‘Supernova’ is the first song that I was involved with from start to finish,” explains Lyle. “Joey brought in the initial musical idea. We expanded upon it and worked everything out. The word ‘Supernova’ kept jumping out to me. We decided to roll with that and give it an interstellar romantic dance theme.”
“Supernova” kicks off a series of upcoming singles that leads back to a third Red Rocks gig set for summer 2018. However, everything comes back to the escape that The Motet deliver.
“We want to take people on a journey,” Lyle leaves off. “In order to go on a journey, you have to participate. You can’t just simply let it happen around you. You have to give yourself into that journey. Everything is open. You’re free to be yourself. You’re free to go on that adventure and journey. We want to be the catalyst for listeners to understand themselves and the world around them.”
“This is a family,” concludes Dave. “We’ve got each other’s backs. We’re doing this, because we love to be around each other and create together. We’re committed to working together because we appreciate and respect what we have to say and provide the music world and our community.”
Look to your left. A young couple is passionately making out. To your right, two grizzled bearded gentlemen are getting drunk and rowdy, and singing loud as hell. And don’t forget to look up, because an old punk rocker has just launched himself from the stage. Welcome, you are at a Lucero show.
Over their 16 years together, the Memphis band has built up a fanbase that’s as diverse as it is rabid. Ask 50 Lucero fans what their favorite song is and you’ll get 50 different answers. Among the band’s 100-plus songs across nine albums and multiple EPs, there’s no universal fan favorite. “Each person makes Lucero their own thing,” says frontman Ben Nichols. “Everyone identifies with us for completely different reasons. For one reason or another, Lucero becomes a very personal band.” But the one thing that seems to unify Lucero fans of all kinds is the band’s all-or-nothing live show, and Live from Atlanta, the band’s latest live record, thoroughly captures that.
Live from Atlanta is a massive, career-spanning collection of songs recorded over three nights in Atlanta’s Terminal West. It’s a four-LP greatest hits collection of 32 tunes played the way they were meant to be heard, with all the distinguishing elements you’d hear at Lucero’s live show—horns, pianos, and the trademark instrument of the band’s live sound: whiskey-fueled audience sing-alongs. “When you listen to ‘Freebird,’ you’re not listening to the studio version. You’re wanting that 17-minute crazy one. That’s the one you think to go to,” says guitarist Brian Venable. “So we’re hoping with this record, you’ll finally get a version of ‘Tears Don’t Matter Much’ that you know.”
Lucero’s entire catalog, from 2000’s The Attic Tapes to 2013’s Texas & Tennessee EP, is represented on Live from Atlanta, which clocks in at over two impressive hours. “You should’ve seen us turn that record in,” laughs Venable. “They wanted an 88-minute live record. But we were like, ‘That’s just not a live Lucero show!”
“This was a nice chance to document what we’ve been doing recently,” says Nichols. “It’s very representative of what we’ve been doing live for the last couple of years. It’s a pretty good snapshot of where the band is right now.”
The album’s extensive assortment of songs proves that Lucero is a band for everyone. Parts country and parts folk with an added heaping of punk rock, the six-piece cover the musical gamut. Even the band members have varying opinions on how to define their sound. “We’re each playing in a completely different band. We’re on stage and each playing in our own Lucero. I’m not sure that’s how it works for other bands,” laughs Nichols.
However you see Lucero, Live from Atlanta will satisfy your needs, whether you’re in the drunk couple, one of the drunk and rowdy beardos, or the stagediving punk rocker. Whether you look towards slower Lucero songs to get you through tough times like “Nights Like These” or party jams like “All Sewn Up,” Live from Atlanta has got you covered. It might even make fans out of non-believers (especially if they like whiskey). Because like bassist John C. Stubblefield always says, “Lucero loves you.”
Unlike rock 'n' roll, bluegrass music's boundaries are often defined in very narrow terms and that has caused some bands to carefully consider their place within the genre. But, in order to survive, everything must evolve... even bluegrass. Enter the Infamous Stringdusters, the very model of a major modern bluegrass band.
“At a certain point in our career, there was hesitation in calling us a bluegrass band,” guitarist Andy Falco admits. “These days, we’re much more comfortable with that label.” Banjo man Chris Pandolfi echoes the point: “We love bluegrass, but we have been influenced by other genres as much, if not more. When it comes to making music, we always try to be a blank slate and give new songs whatever they need to come to life. We just try to make something good, something that is true to who we are.”
On Laws of Gravity, that's exactly what the Infamous Stringdusters — Andy Hall (dobro), Jeremy Garrett (fiddle), and Travis Book (double bass), in addition to Falco and Pandolfi — have done. Their seventh studio set further proves that the band's collective whole is far greater than the sum of its individual parts, as the song selection and pitch-perfect performances weighs the Stringdusters' appeal to traditional fans against their musical quest to attract new listeners. It's a balance that comes naturally to the band.
Here, trad-leaning tunes like “Freedom,” “A Hard Life Makes a Good Song,” “Maxwell,” and “1901: A Canyon Odyssey” pick hard and soar high, letting trade-off solos and layered vocal harmonies work their magic. As it continues on, Gravity reaches its roots deep and wide, but never sacrifices the wings of the band, as exemplified in tracks like “Back Home” and “This Ol' Building” which pull from the blues and R&B strands of the Stringdusters' musical DNA.
“The specific feelings in those songs lend themselves to a soulful sound,” Hall explains. “The longing of 'Back Home,' the passion of 'This Ol' Building.' Slowing things down a bit, but still having a real edge and passion is the essence of that. And probably a bit of maturity on our part brings out a more authentic soulful sound.”
Indeed, the Stringdusters have worked hard to become the band they are or, perhaps, the band they wanted and knew themselves to be — a self-discovery process to which Laws of Gravity bears witness. “Once you start to move out of that, a lot of good things happen,” Pandolfi says. “You know who you are, and how to do your thing with confidence and experience. This colors the songwriting process as much as anything. We work so hard on the music, but it's not hard work. It's really the payoff, and it comes more naturally with time.”
Letting the past inform and the present propel, the Stringdusters' style and substance are uniquely Infamous. Since 2007, the band's ever-evolving artistry and boldly creative collaborations — including Ryan Adams, Joss Stone, Bruce Hornsby, Joan Osborne, and Lee Ann Womack — have pushed them past the edges of traditional acoustic music and carved out a musical niche all their own in the hearts of fans and critics, alike. Over the past couple of years, they released 2015's Undercover, a covers EP, followed by 2016's Ladies & Gentlemen, an album featuring multiple female guest vocalists. Those projects may have seemed like artistic tangents, but they actually proved to be a pretty direct route from there to Gravity.
“Being singers and songwriters, we were really ready to put some of our own songs out with us singing them,” Falco says. “In the same way solo projects can take you away to be able to come back and feel refreshed, the last two records have done that and we were ready to hit the studio with our songs sung by us.”
“We had much more of a vision for how we wanted this album to come together than we did with past projects,” Pandolfi adds. “We got the music, including all our individual parts, to a place where we knew we could go into the studio and just let it happen live. We are a band. We play live together and, more than any one song or achievement, this is what we do. Now we have an album that captures that.”
Part of Gravity's vision involved not road-testing and adapting the songs before taking them into the studio. That's a new step in the Stringdusters' process which starts with filtering through and whittling down a wealth of material to the best of the batch. “We take those 20 or so songs and take them to the next level as a band,” Pandolfi explains. “So much gets accomplished in this writing/arranging stage. It's where songs become Stringduster songs. In the end, we share the songwriting credit because of all the collective work that goes into this (and every other) aspect of being in a band.”
“We may try the song in a number of different feels before landing on something that works for the sound of the band. If a song is good, it usually comes together fairly quickly,” Halls says, adding, “But we’re writing more diverse stuff these days, so some experimentation is always welcome.”
While the new record boasts a single instrumental track, “Sirens,” where the five fellas really cut loose on their respective strings, the vocals across the other dozen tracks tie this music to the bluegrass tradition in an even more profound way. “Singing is a big part of bluegrass music,” Falco says. “It’s an important part of the sound and I think that part of music gets overlooked a lot. The singing should convey the emotion of the song. That's what we aim to do. One could argue that it's more important than the playing.”
Out beyond Laws of Gravity, the Infamous Stringdusters have an even broader vision. “We just want to keep making original music, keep evolving as people and musicians, and continue to help our amazing community of fans grow and enjoy this experience together,” Pandolfi says. “When we hear from people that our music or the community around our music has helped them find joy in life, it makes everything seem very worthwhile.”
Falco adds, “We love playing together and that’s the reason we’ve been doing it for as long as we have. We want to able to do this until we’re old and grey. That’s really it — making music together and continuing to evolve our brand of bluegrass music.”
Over the last few years Belgian artist Milow has emerged as one of Europe’s most exciting young talents: a plugged-in singer-songwriter with the ability to touch a crowd and the pop know-how required to make great records. He’s an old-school soul with a new-fashioned sensibility. Milow’s music gleams with the inherited song craft of his heroes but it also reflects a point of view all his own. For many artists, success means stop; for Milow, who has sold more than a million albums in Europe, it’s a reason to go. After five years of non-stop touring and having released several well-received albums, Milow moved to Southern California in 2012. Not to start conquering the US, but to recharge his batteries in a sun-drenched region where he had lived before. With the same humble spirit that originally inspired him to start writing songs as a teenager, he patiently worked on his next move in seclusion in a city where no one knew him.
The result of this two-year journey is reflected on the folky new album "Silver Linings”. Milow reveals himself as a mature artistic personality and shows a much more melancholic side. The ten songs on "Silver Linings" captivate the listener with the irresistible hooks that the charismatic musician was so loved for on his earlier albums, and draw the listener in. The album was recorded live in Los Angeles at Fairfax Recordings, the studio known in music history as Sound City Studios; great albums by Fleetwood Mac, Tom Petty, Neil Young and Nirvana were created here. Together with his producer of many years Jo Francken (who was at the helm for both Milow’s European debut “Milow" and "North and South") and Kevin Augunas (known for his work for Edward Sharpe & the Magnetic Zeros, The Lumineers, Cold War Kids and Valerie June), Milow surrounded himself with an illustrious team: Clif Norrell (Bruce Springsteen, R.E.M., Tom Petty) was at the mixing desk, Larry Goldings (James Taylor, Norah Jones, Maceo Parker) was on keyboards and Matt Chamberlain (Fiona Apple, David Bowie, Kanye West) on drums. Guitars were provided by Val McCullum (Jackson Browne, Bonnie Raitt, Willie Nelson) and Tom Vanstiphout (a member of Milow's band since 2007). The album features a 13-piece live string section, as well as additional guests like Roger Manning Jr. (Beck), Greg Leisz (Ray LaMontagne, Eric Clapton) and introduces Courtney Marie Andrews, a 23-year-old singer-songwriter from Seattle who has already released four solo albums, providing backing vocals.
The combination of the intimate and the widescreen has won Milow a devoted fanbase across Europe, not to mention a list of achievements that includes hit singles, platinum albums, sold-out tours, performances at some of the world’s most prestigious festivals and millions upon millions of YouTube hits. What’s more, he’s accomplished all this as his own boss, releasing music through Homerun Records, a label he founded in 2005 in his bedroom. “I just never wanted to have to answer to anyone else,” he says of the DIY operation. “It’s always been my call.” A sophisticated music-scene veteran with the bottomless energy of a beginner, Milow’s ready for what’s next.
Contact: Alex@7smgmt.com / Simonne@7smgmt.com
Alternative electro band 888 is made up of Denver music vets Danny Stillman (vox) and Danny Cooper (drums). Their self-released 2015 debut “Critical Mistakes EP” features radio charting single “Critical Mistakes” and has quickly earned them awards and acclaim. The trio won KTCL’s 2015 “Hometown For The Holidays” competition in both fan voting and live performance categories, cementing their place in Denver’s burgeoning music scene. With mounting radio air play, unforgettable shows, and a sound all their own, 888 are poised for a massive 2018.
“Spacedust & Ocean Views”
The depth of one’s life is evident through their music. The more sorrow, laughter and adventure experienced, the more interesting curves and crevices are carved into an artist’s songs. The miles traveled leave rich lines in the verses that only time, misadventure, and hard-won wisdom can produce. Anders Osborne is a map of intensely felt, passionately engaged living, a fractured but healing topography of heartbreak and hope for fellow travelers to explore.
Osborne’s music is redolent of the blues bathed in West Coast sunshine and brotherly compassion, a torchbearer for rock ‘n’ roll with blood in it’s veins and a heart in it’s hands. His long awaited new full length, Spacedust & Ocean Views, offers up graceful songwriting and signature guitar work on one of the strongest releases in his storied career. A strong sense of place runs through the album. From an evocation of geography to a questioning of one’s place in the universe, big ideas are condensed in thoughtful, smoothly swinging ways. It’s the album his fans have been waiting for- one that only he can deliver.
“These twelve songs speak about places dear to me, places I feel something profound about, but there’s also the presence of the universe,” explains Osborne. “I think one of the main struggles we all face is the separation from unity. I want to understand how I can feel unified with the world and others, with the universe writ large. I can arrange the ideas intellectually but the feeling of longing remains. The whole thing is a mystery, sometimes a sad, baffling mystery and sometimes very enchanting, but overall I just don’t understand and want to desperately. That’s what this music is, an attempt to understand it all.”
And what an attempt it is.
Producer Mark Howard (Bob Dylan, Daniel Lanois, Iggy Pop) uses Osborne’s seasoned, searching voice like a river running through the song cycle. It’s a distinctly human element that continually tenderizes the listener as his sinewy, emotionally charged guitar dances with longtime bassist Carl Dufrene, guitar foil Scott Metzger (Joe Russo’s Almost Dead), and the shared drumming of Brady Blade and Tony Leone. New Orleans percussion master Johnny Vidacovich, bassist James Singleton, and pop-jazz legend Rickie Lee Jones join Osborne for the cosmically charged album closer “From Space.” On the other hand, Spacedust’s lead single “Lafayette” is a roots-fueled rocker- a track that finds Osborne simultaneously sticking to his guns and exploring new territory as an artist.
This special collection of compositions is the culmination of years of writing and touring. “This is the last chapter before something new emerges. I’m wrapping some stuff up and figuring some fresh stuff out,” says Osborne, who’s been moving beyond his complicated past for close to a decade. “Now my life is about a human experience in a larger sense. Now, I feel I’m standing on my own two feet, trying to be a grown man doing the right thing.” In an ever changing musical landscape, Spacedust & Ocean Views firmly plants Anders Osborne as one of American music’s elite guitarists and songwriters.
It felt like time to switch gears.
In 2017, Andy Frasco reached a fork in the road. Renowned for a jubilant jambalaya of rule-breaking rock n roll his career kept rolling ahead at full steam. To date, he had released three independent albums, chronicled a German gig in front of 15,000 screaming fans on the recent live opus Songs from the Road, made jaws drop at festivals such as Grandoozy, Firefly, Mountain Jam, Summer Camp, Rock am Ring, Rock im Park and Electric Forest, generated millions of streams, launched Andy Frasco’s World Saving Podcast, and performed at festivals alongside icons such as Peter Frampton, Gary Clark Jr., The Revivalists, Snoop Dog, Dr. Dog, Joe Walsh and Kendrick Lamar, to name a few.
After a string of wild shows (and wilder nights) on tour somewhere in the heart of America, one morning sounded a very loud wakeup call for the singer, songwriter, performer, and namesake of Andy Frasco & The U.N.
“I woke up after a five-day bender on cocaine,” he recalls. “This relationship I was in didn’t work out. I bought a house in the Midwest to be close to a girl, but she didn’t trust me. I wouldn’t trust me either, because I was fucking chicks and doing drugs every night on the road. I would take ecstasy just to get out of bed. I was sleep deprived, losing all of my friendships, and fucking overworked. I decided to make a change in my life. I realized that I’m getting older; I couldn’t only be the party guy. I wanted to chronicle my life. I wanted to capture my feelings. I wanted substance in my life and music. I decided to take a step back from this wild life for a second and reevaluate, so I could genuinely enjoy the ride I’m on for the long haul.”
The ride ramps up on his third full-length album, the aptly titled Change of Pace. Andy approached recording from a new vantage point encouraged by iconic Widespread Panic bassist and producer Dave Schools.
At sessions in a remote Sonoma County mountain studio in a converted chicken coop of all places, Schools challenged him as a songwriter and lyricist.
“Dave sat me down and asked, ‘Who do you want to be? What do you want to be remembered by?’,” recalls Andy. “I never really thought of it that way. He dialed things back for me. He’s become a huge inspiration to me as a musician and a friend. The album began there.”
Cutting six songs with Dave, he embarked on something of a “studio tour” to finish Change of Pace. He tapped the talents of Ben Ellman in New Orleans, Charles Goodan in Los Angeles, and Caleb Hawley in New York at Lady Gaga’s Atomic Studios.
As a result, the songs reflect the respective regions.
“There’s a grungy Bourbon street feel, hard-working and moody New York energy, and that indie California vibe,” he goes on. “I’m a traveler at the end of the day. I became a musician to travel and give people therapy through music. As part of this revelation, I realized I don’t need to stay at home when I’m off tour. I decided since I’m most comfortable on the road, so I might as well make this record on the road.”
The first single “Up/Down” slips from a simmering beat and bass line into a horn-driven swoon. Produced by Goodan, its undeniable refrain proves immediately irresistible as he sings, “Your love is up and down.”
“I was just getting through my relationship with that girl from Arkansas,” Andy goes on. “One day, she was happy. The next day, she wasn’t. I speak on the bipolar nature of a relationship. This was the first time I felt that. Normally, I’d be in the next town before things got any further. The song came from an outside point-of-a-view by a guy who never had a real relationship before this in his life!”
Meanwhile, the boisterous “Waiting Game” features Schools’ touch and thrives on delightful proclamations such as “I wanna be the man you can tell your momma about!” The theatrical piano chords, cinematic accordion, and barroom chant delivery on “Don’t Let the Haters Get You Down” takes dead aim at “online trolls talking shit from their parents basements.”
The title track “Change of Pace” gallops ahead on tambourine and organ as Andy’s voice stretches to the heavens and back on the admission, “I’m looking for change of pace. Then, I’ll be on my way.”
“Everyone has an idea of how you should live your life,” he states. “If you’re dealing with something that you’re not into, try something the complete opposite. Instead of always pondering what you could do tomorrow, do it today.”
In the end, this change elevates Andy to a new level.
“I’d love for people to connect to the songs in addition to the live show,” he leaves off. “I’m a philosopher and a musician at the end of the day. I want to emulate those aspects in my work. I’m also just a guy trying to find happiness like everyone else is. It’s about being okay with the lows, not getting too high with the highs, and being comfortable in your own skin.”
Beau Young Prince is a quintessential product of his environment. While being so heavily influenced by your surroundings could hamper one’s sound as an artist,Prince uses it to his advantage. From his earliest work to his studio debut Until Then, Beau has personified versatility. You are as likely to hear BYP rap about falling in and out of love, as you are to hear him croon about getting a Half & Half from the carry-out joint down the street.
Beau’s versatility is his greatest strength, as evidenced on genre-blending tracks like “What We Do,” recorded with hit U.K. artist TroyBoi, and released under Diplo’s Mad Decent label. The track has gained almost 3 million streams across multiple platforms. His collaboration with New York’s DJ YMNO — comprising the duo Young Futura — brilliantly mixes lyrical gusto and swagger that exemplifies the best of hip-hop, with the percussive heartbeat that makes house music thrive. The group's debut project "Patience" has been streamed over 2 million streams since it's release in early 2017. Prince is also capable of turning it loose and showcasing his masterful flow on tracks like Hounded’s “Crazy Love.” BYP is able to switch flows, cadences, and tonalities to suit any given melody, reminiscent of musical juggernauts like Kid Cudi.
Above everything else, BYP’s music is a reflection of his upbringing in DC. The southeast native clearly studied his city’s musical roots and implemented them into his music. Traces of jazz, hip-hop, and perhaps most notably, go-go music are all present in Beau’s work. Prince, a true DC native, blends elements of the city’s most iconic beats and sounds—everything from Chuck Brown flair to Fat Trel grit to Oddisee lyricism bubbles to the surface in BYP’s music. As a classically trained bassist, there is no sonic terrain too foreign for Beau to explore. Fortunately for listeners, unknown terrain is precisely where Beau Young Prince makes his most innovative, moving creations.
"We were toying with the idea of calling the album Our Strongest Material To Date” laughs Jeremy Schmidt. The Vancouver outfit’s keyboardist can afford to joke about what they describe as “the dog-eared ace of spades of all rock band platitudes." It was during a solo show under his Sinoia Caves alias that he performed a revelatory electronic prototype for Mothers Of The Sun. This quintessentially Black Mountain tour de force kicks off the renamed but still accurately titled IV. “It’s actually an older song which we couldn’t get quite right before,” explains Schmidt. “It has all the elements that we gravitate towards, built into one miniature epic.”
Chief among these elements is the distinctive voice and breathtaking range of Amber Webber, whether she’s powering through interstellar boogie on Florian Saucer Attack, setting the celestial tone for her beautifully orchestrated ballad Line Them All Up, or constructing the choral midsection for Space To Bakersfield, a psychedelic soul finale inspired by Funkadelic’s deathless Maggot Brain. “We'd meant to have an actual choir, but I ended up singing all the parts. It’s a choir of me! I’d never written an arrangement like that before.”
The group’s sense of rediscovery as a creative whole is tangible throughout. They were joined in the studio by spiritually attuned bassist and veteran purveyor of the riff, Arjan Miranda (formerly of S.T.R.E.E.T.S, Children, and The Family Band) whose roots, heart and soul are connected to the same soil and cement that Black Mountain were borne from. Recording was primarily done in close collaboration with Sunn O))), Wolves In The Throne Room and Marissa Nadler producer Randall Dunn, at his trusted Avast! facility in Seattle. “It’s got some grit,” enthuses guitarist and co-vocalist Stephen McBean. “And there’s a history there: Northwest punk, grunge and general weirdo outsider stuff, plus it houses the same Trident mixing board used for Alice Cooper’s Billion Dollar Babies.”
A heightened mystique and dramatic yearning can be heard on such perfectly formed earworms as Cemetery Breeding, described by drummer, engineer and occasional pianist Joshua Wells as “a dark pop song with an emotive urgency to it that taps into my teenaged eyeliner-and-trenchcoat wearing sensibilities.” Wells’ eclectic tastes and multitasking flair – his supple percussion also provides the backbone for Dan Bejar’s world-conquering Destroyer ensemble – inform Black Mountain’s wider palette as well as their rhythmic choices. “It’s like painting. All sound colour. And space is really important. People think of us as this heavy rock band – and we are sometimes – but it has to be tempered with space. There has to be these emotional cues. It’s not just about rocking out.”
Check out the way Amber and Stephen’s harmonies telepathically entwine on cosmic standout Defector, or Constellations’ unforced confluence of synthesizer pulse and double denim riff. In addition to being blessed with a melodic facility that eludes most rock groups, Black Mountain effortlessly echo the limitless possibilities of the internet age. Sonic tributaries that never met in the real world – AC/DC and Amon Düül, Heart and Hawkwind, King Crimson and Kraftwerk – flow together on IV as they do online. It fits with McBean’s unifying theory of the modern YouTube stoner, wherein “kids discover their own alternate universes online, from Cologne to Melbourne… Detroit to Laurel Canyon.. the ice age to annihilation. There’s a new scene with a different set of headphones creating a postmodern futuristic Fantasy Island. All those fledgling heads in waiting escaping within their computer screens!”
This impulse to connect is reflected by the band members’ activities and journeys outside the mothership. Josh and Amber have their self-run Balloon Factory studio and pop-noir Lightning Dust project. Stephen relocated to Los Angeles six years ago. Traveling and creating via his Southern Lord released hardcore unit Obliterations and ongoing post-punk rock ’n’ roll combo Pink Mountaintops (whose heady sometimes electronic throb led to the majestic, mantra-like You Can Dream). “There’s something very West Coast about us all.” he says. “That rambling restlessness of keepin’ on guides us and keeps the music alive. Whether it’s the gravitational pull of the Pacific Ocean that draws us back together or simply a good taco… The turning up, turning on and getting down is Black Mountain. It’s home, and it always feels good to come back to. ”
Back in Canada, meanwhile, Jeremy, channelled his analogue synth mastery and youthful John Carpenter worship into the hugely acclaimed cult science fiction film score Beyond The Black Rainbow. He’s been busy of late conceptualizing Black Mountain’s “mystic Concorde” art direction. Referencing the hallowed aircraft’s future/past iconography, his designs are emblematic of IV’s spatial diversity and maximalist astral-rock vision. You know, it really is their strongest material to date.
A little house, a little blues, a little funk, a little rock, and a whole lot of soul blast through BoomBox.
Since first emerging in 2004, founder, songwriter, producer, and multi-instrumentalist Zion Rock Godchaux has been quietly seasoning this simmering recipe to perfection. However, it reaches a boiling point on his forthcoming 2018 fifth album, Western Voodoo [Heart of Gold Records].
At the same time, the Muscle Shoals, AL native stays true to what attracted countless fans in the first place.
“I remain open to anything you would hear coming out of a boombox,” he explains. “There are a lot of different vibes and angles, but it still adheres to a universal rhythm. This new record is the most musical and varied, yet it’s tightly wound in respect to that syncopation. There are only a few rules. It should be heavy groove. It should make you want to move. Overall, I’ve further developed the sound people are used to.”
Following up 2016’s fan favorite Bits & Pieces, the artist found himself at something of a crossroads. Longtime collaborator Russ Randolph amicably parted ways with the band at the end of the year. For the first time, Godchaux would solely produce the bulk of a BoomBox record by himself inside of his new studio, while DJ Harry joined on tour in January 2017. Another first, he even performed live bass on the album, opening up the creative palette dramatically.
“I’ve learned more about engineering and the technical aspects of recording. It’s been a time of soul searching. I can follow any Ideas that I want to. So there’s a lot more organic instrumentation. I’m just trying to develop more sonic real.” Appropriately, he dubs the sound of Western Voodoo, “Dirty Disco Blues.” Within that realm, Godchaux fuses a funky strut with electronic energy and danceable swagger powerful enough to cast a spell of its own.
“You hear about different forms of magic around the world,” he goes on. “The West, in general, has its own voodoo influenced by the blues. That’s what shaped me as a musician growing up in this country. It’s hard to put in the words, but you know it when you hear it.”
You hear it in everything that BoomBox has done thus far. Over the course of four albums, the group has become a streaming favorite with numerous tracks cracking a million plays on Spotify. Moreover, they’ve made audiences groove everywhere from Electric Forest and Hangout Music Festival to High Sierra Music Festival. To welcome DJ Harry into the fold, they performed 75 shows in 2017, with that number expected to grow in 2018.
“Harry picked up everything in a really short amount of time,” he explains. “The parties are just as hot, if not hotter. The music is getting tighter. He stepped in and kept the plane in the air.”
In the end, the new music kicks off the brightest and boldest chapter yet for Godchaux. “Our best side is somewhat medicinal,” he leaves off. “All of the rhythms, melodies, and frequencies add up to these healing properties. I hope people feel rejuvenated and re-focused on some level when they hear us. That’s Western Voodoo.”
Brent Cowles began playing the guitar at the age of 13. Within a year, he was writing his own music and playing in bands. At 17, Cowles began a solo career under the moniker You, Me and Apollo and played mostly in the southwest and west coast.
In 2011, You, Me and Apollo transitioned from a solo act to a full band. The band released a well-received debut EP titled Cards with Cheats and later a full length album, Sweet Honey. After a great ride and three years of touring the United States, and much to their fans dismay, the band called it quits.
After a short break from music, Cowles returned to his roots; standing on a stage, just him and his guitar, belting out his poetry that, according to the Denver Post, would be the envy of songwriters twice his age. Cowles writes from a deep, raw, authentic place and marries it to a sound that has been likened to the soul of Sam Cooke and Otis Redding.
Cowles is currently working on new music and releasing a new solo EP.
Patrick, Tiffany, and Nathan Meese began performing as The Centennial in the Spring of 2010. Joined by Joseph Pope III (Born in The Flood, Miss America) and Adam Blake (The Films) the band celebrated the release of their first full-length album, Nervous System, in January 2013.
The Denver based group has a deep rooted love for the Colorado music scene. Patrick and Nathan founded the pop-rock band "Meese" in 2004 and went on to release an album under Atlantic Records. After deciding to end the project due to lack of good times, Patrick's wife Tiffany joined the brothers in the studio and the trio adopted a new sound and aesthetic.
"It was time for a fresh start," says Patrick. "...and after we started The Centennial, Nate and I were lucky enough to tour with some other great bands and see how they did things."
In the past two years the brothers have performed with other Colorado based acts such as Nathaniel Rateliff, Tennis, Gregory Alan Isakov, Churchill and The Epilougues. "I think each tour has helped shape our band into something closer to how I always imagined it."
The Centennial draw their musical style from a mixture of styles and sounds. Patrick and Tiffany front the band and share the lead vocal responsibities. Their soaring harmonies, joined by spacious synths and driving guitars, create a sound similar to the heavens opening up and angels spitting in your ears.
But growing up as children of the 90's means having to rock a bit as well.
"The new record is intentionally not as mellow as the first EP we put out. In a lot of ways this project is figuring itself out. The new record is a big step."
Damian is a normal dude with average to below average musical ability that through a series of fortunate events has found himself fronting a Polaris winning, critically lauded punk band called Fucked Up and hosting the acclaimed (albeit sparsely viewed) The Wedge on Much Music. Despite this success, he remains firmly planted in the knowledge that it can be fleeting and thus finds stability from his growing family and growing record collection.
Dave Schools is a critically acclaimed bass player and founding member of American rock band Widespread Panic. He is also an accomplished producer, songwriter and journalist with articles published in a wide variety of music magazines. Schools lives in Sonoma County, California with his wife and two dogs; when not on tour he likes to garden.
Schools is an innovator on the bass with a non-traditional approach that has given him a unique voice on the instrument. With his primary band, Widespread Panic, he plays a six-string Modulus Quantum 6 bass that affords him a wide range of sounds that are further enhanced by an array of effects pedals. Influenced by an early desire to play drums and childhood piano lessons, Schools has deviated from, though not abandoned, the established rhythm role of the bass and created a more melodic, improvisational style that has been referred to as “lead bass.”
The Fantasy Footballers podcast is an award-winning independent fantasy football podcast that records and produces fantasy football content all year long. The show is focused on producing and developing content that is highly accurate, highly entertaining, and of a high production quality.
The show debuted in 2014 and is hosted by Andy Holloway, Jason Moore, and Mike “The Fantasy Hitman” Wright. As three longtime friends and former tech/gaming professionals, they saw a need for a fresh take in the fantasy football universe, so they hiked up their trousers, combed their beards, and went to work.
The Fantasy Footballers make it a priority to focus on a holistic approach to fantasy football expertise and advice. Fantasy football is more than stat sheets and excel docs. It’s about strategy, it’s about league formation and communication, it’s about trading strategies and draft day. It’s about winning the mental game, reading between the lines, finding the diamonds in the rough, and mocking your friends while you succeed.
The podcast itself is distributed across a wide range of podcast distributors, including but not limited to iTunes, Google Play, Spotify, Stitcher, Tunein, and Soundcloud.
The video version of the show is broadcast on the FNTSY Sports Network, and each episode can be watched on YouTube. You can also connect with the show on a variety of social media destinations like Twitter, Facebook, Instagram, Periscope, Snapchat,
In 2016, The Fantasy Footballers Podcast was nominated for the “Best Sports Podcast” and “People’s Choice” awards from PodcastAwards.com as well as the “Best Sports Podcast” from the Academy of Podcasters. It is the highest rated fantasy sports podcast in iTunes and has tens of millions of downloads from dedicated fantasy football fans each and every year.
Just outside the jazz mecca of Kansas City springs liberal oasis Lawrence, Kansas—separated only by the waves of wheat from the epicenter of the electronic music revolution in Colorado. From Lawrence, it would logically follow that an act could rise to prominence fueled by the swing of Basie, the birth of Charlie Parker’s bebop, and the wild frontier of electronica. Born in funk and bred in the digital age, live electronic duo The Floozies have burst onto the scene at a time when the industry needed them the most.
Brothers Matt and Mark Hill share the stage just as easily as they share a musical brain. Without a setlist, and without a word between them, Matt’s guitar is in lockstep with the thud of Mark’s kick. Endless looping and production builds the raw scenery upon which palm muted chugs, searing solos, and wobbling bass paint their dazzling array of colors.
Well versed in everything from Chris Cornell to Kavinsky, the sonic vision shared by the brothers eschews contemporary electronic influences in favor of broader, deeper tastes including Zapp & Roger, Lettuce, and Amon Tobin. That wide-angle view of a century of popular music allows the Hills to remix Toto and The Dead—in the music you can hear reverence for the giants of the past, all the while producing wildly futuristic tunes for the masses to dig now.
When the pendulum swung as far as it could away from live instrumentation to laptops, The Floozies rose up to the challenge, swinging as hard as they could in the other direction with neck-snapping, knee-breaking funk so dirty that the gatekeepers stood up, wiped themselves off, and took notice. A bold live show full of sonic exploration and unbreakably deep pocket grooves has landed the brothers on stage with luminaries of the jam world Umphrey’s McGee as readily as electronic elites STS9 and Big Gigantic. Sold out shows across the Country, huge festival appearances at Bonnaroo, Electric Forest, High Sierra, Summercamp, Wakarusa, Camp Bisco, Summerset, Bumbershoot, and a headlining Red Rocks show have continued to cement the duo’s ascent.
The Floozies are bringing the funk back, and they’re right on time.
We all struggle with tough times now and then. Battling through a challenging period in his life, Josh Benus penned 10 original compositions under the musical aegis Glass Dove. Half-Life Wilderness speaks with daring candor and unbridled inventiveness, a cathartic path to enlightenment for the Nashville-based artist.
Illumination came to Benus on dark wings: Love shrouded by weary ennui on “Cigarette Sunset.” Bitterness conjured in a tale of “watching your friends get rich” from a sinkhole of “pills and cigarettes” on “Hollywood Goldmine.” The pointlessness of talking when there’s nothing left to say on “Just a Conversation.” The futility of seeking meaning with “Patterns of My Mind” …
Half-Life Wilderness is about process, not terminus. The music that conveys this message straddles both sides of a vital line. On the one hand, it’s a masterwork of instrumental arrangement, shaded with vintage synthesizers, laced with eerie guitars, driven by insistent rhythms and dazzled by spinning sonic sparklers. On the other hand, the songs are planted on a firm musical foundation and then splashed with exuberant experimentation.
Five of Benus’s 10 songs were written on one acoustic guitar, with Liz Cooper on “Cigarette Sunset,” and “Patterns of My Mind” with Cooper and Tyler Osmond, whose credits include Rayland Baxter and Cage The Elephant. Half-Life Wilderness is produced by Grammy-winning producer and writer, Owen Biddle, former bassist of The Roots.
Over the course of a few days, Josh and Owen rented a cabin in the Smokey Mountains and worked feverishly demoing six or seven songs. “Within a month we had a full-length record. The rate at which we worked felt like a pivotal moment for me,” Josh explains.
Myriad details reflect the meticulousness of this production. To better convey the feel of the lyrics and frame Benus’s baritone range, guitars are tuned-down from E to C. “I wanted to have a contrast of organic and synthetic textures to create the anxiety I was feeling, accompanied by vocals that weren’t too aggressive but had a quiet intensity.”
In the end, Half-Life Wilderness is just a first step down a longer path toward new personal and musical adventures. As a meditation on life’s shadows, as an example of rock-solid craftsmanship and freewheeling imagination, Glass Dove speaks at multiple levels to multiple audiences with no plan of stopping in sight.
“Going in, we said ‘lets make a bad ass indie rock record with a sound as big and dynamic as we can, without compromising one single heartfelt lyric."
Singer-songwriter Heather Maloney did just that on her newest LP, Making Me Break. Working with Grammy-nominated producer Bill Reynolds (Band of Horses, Avett Brothers), the two crafted and delivered on an artistic vision to merge Maloney’s folk roots with indie rock.
“The sounds I love in indie rock are so lush, and textured, and intricate, like someone spent a lot of time on this, so they must really care,” Maloney explains, citing influences such as Ben Howard, The Shins, and Io Echo. “And as a singer-songwriter raised on folk, I am drawn to lyrics that that are meaningful, intelligent, tell a story, paint pictures… that care. So I just wanted to make an album that cared musically and lyrically. Some sort of a bleeding heart meeting a distant, unaffected, sparkly rock band. That was the goal.”
Maloney’s new music has a definite edge, but it also has a classically trained voice that delivers well-crafted lyrics over a technical arrangement—a combination we’ve recently seen getting mainstream appreciation once more. Suddenly, the term “singer-songwriter” carries serious weight again. Chalk it up to a revival of everything 90s and Maloney’s influence from “those bleeding hearts,” as she calls them, referring to artists’ like Fiona Apple, Tori Amos and Aimee Mann.
“We wanted to make something more relevant, in a new zone.” Maloney wasn’t kidding – she teamed up with producer Bill Reynolds (who moonlights as the bassist for Band of Horses) and an all-star group of players with extraordinary talent, including engineer Jason Kingsland (Iron & Wine, Delta Spirit), guitarist Tyler Ramsey (Band of Horses), and guitarist and sax player Carl Broemel (My Morning Jacket).
Throughout the new musical heights and depths on this record, Maloney’s voice and lyrics remain center stage, truthfully articulating the insights and emotions of growing up, without clichés nor quirks for their own sake.
Maloney’s journey to finding herself as a singer-songwriter took some unexpected routes. She studied classical operatic, improvisational jazz vocals, and music theory for several years in New Jersey, in addition to a brief stint studying classical Indian vocals with a tutor. “My first shows were jazz, in New York City. I love jazz, but it didn’t feel like where I belonged. Neither did opera. I was grasping to find what felt like home,” she says. “I needed to do something kind of radical.”
Maloney found herself at a silent meditation retreat center in Central Massachusetts. She lived and worked there for nearly 3 years, taking vows of silence from seven to ten days at a time. The silence, oddly enough, became conducive to finding one’s true voice. "The biggest motivating factor in writing was probably the experiences I was having in my meditation practice… There was the difficulty of it, the suffering of it, and wanting to channel that into something creative, and on the positive side, the insights that came out of my experiences. In my cottage away from the designated silent area, I just sang, and wrote, and cried. And for the first time, I felt I was using my voice in an authentic way.”
This was the breakthrough Maloney had been waiting for, the first moment she had a reason to get up on stage. Armed with guitar and her fresh sense of purpose, Maloney traversed across the northeast – playing coffeehouses, libraries, and even meditation centers – before eventually getting signing with celebrated independent record label Signature Sounds (Lake Street Dive, Josh Ritter). Maloney’s self-titled label debut followed in 2013, launching her from the small stages of New England to nationwide audiences, sharing stages with renowned musicians like Rodrigo Y Gabriela, Shakey Graves, Mary Chapin Carpenter, Anais Mitchell, among others.
In 2014, Maloney released a collaborative EP with Boston quartet Darlingside called Woodstock, on which she covers Joni Mitchell’s anthemic “Woodstock” - and absolutely nails it. A video of the session ended up on the New York Times website and gained momentum with praise from Graham Nash, who was among the first to cover Mitchell’s “Woodstock” in 1970. The ensuing nation-wide collaborative tour with Darlingiside gave birth to new experiences, emotions, and perspectives. Maloney began to find moments in the van, in hotel rooms and on days off at home to write the songs that would eventually become Making Me Break.
Maloney feels this record is the closest she’s ever been to the sound that’s truly herself. “As an artist I’m constantly changing. But I think we cracked the code on blending the two worlds here,” says Maloney. For now, her distinctive voice has soared a long way from the silent confines of hushed meditation, and into a natural equilibrium of progressive Indie-Folk. Mission Accomplished.
Contact: Alex@7smgmt.com / Simonne@7smgmt.com
Sometimes inspiration strikes from the immersion of living in a far away place. Sometimes, inspiration
stems from a place that everyone can relate to, but maybe no one’s actually been. This is the music of
The Hip Abduction, the vibrant St. Petersburg, FL-based collective that formed over a mutual appreciation
for West African and early Jamaican reggae/dub music.
The Hip Abduction began through informal jam sessions and quickly coalesced into a sound that attracted
national attention. For Gold Under the Glow, the band’s 2016 third full album release, THA engage an
indie pop acumen alongside a highly emotive and roots driven sound.
The Hip Abduction featuring David New (lead vocals, guitar), Chris Powers (bass), Dave Johnson
(baritone and tenor sax), Sean Fote (keyboards), Matt Poynter (drums, vocals) and John Holt III (kamale
ngoni, guitar, vocals) have shared stages with the likes of Grace Potter, Ziggy Marley, Umphrey’s McGee,
Matisyahu, Thievery Corporation, 311, Moon Taxi and more. Watch out for more festival plays in 2017
including Jam Cruise, Sweetwater 420 Fest, Summercamp, Electric Forest, FloydFest, Deep Roots
Mountain Revival, Peach Fest and more as well as coast to coast dates.
Contact: Alex@7smgmt.com / Simonne@7smgmt.com
HØØNCH, the new indie-electronic group from Los Angeles-based musicians/producers Jonathan Kim and Gabriel Rodriguez, has arrived. Having played together in past projects, the duo pull from a wide variety of musical influences. The electronic undertones of ZHU, the synth-tinged rock of Phoenix, and Hoonch's own unique hooks come together to create a sound that is truly their own. Kim (lead vocalist/songwriter/multi-instrumentalist) and Rodriquez (keyboards/vocals) were recently featured in Billboard, MTV, and USA Today. Their song “101” currently has over 10 million plays on Spotify. For Hoonch, it’s about creating chemistry through music, and sharing it. Enjoy…
After seven years, three albums, innumerable sold out shows, and countless beers, bluegrass mavericks Horseshoes & Hand Grenades appropriately consider themselves a “family” on a wild, wonderful, and often whacky roller coaster. The bond between the quintet—David C. Lynch [harmonica, accordion, spoons, vocals], Collin Mettelka [fiddle, mandolin, vocals], Russell Pedersen [banjo, fiddle, vocals], Adam Greuel [guitar, dobro, vocals], and Samual Odin [bass]—fuels their creativity and chemistry on stage and in the studio.
“Sometimes, it feels like we’re modern day cowboys on some kind of strange journey,” Adam affirms with a laugh. “We’re five friends who set out to do something we enjoy doing, meet interesting people, see old friends, and make some new buddies along the way. Because of that, everything happens organically.”
That’s been the case since these five musicians first met in Stevens Point, WI at college, joined forces, and hit the road post-graduation in 2013. They have ignited stages alongside everyone from Greensky Bluegrass, Yonder Mountain String Band, The Infamous Stringdusters, and Trampled By Turtles to Railroad Earth, Merle Haggard, and Marty Stuart in addition to appearances at festivals such as Delfest, High Sierra Music Festival, Blue Ox Music Festival, Northwest String Summit, John Hartford Memorial Festival, and many more. Their three albums—Another Round , This Old Town , and Middle Western —have spawned fan favorite hits, including “Get Down To It,” “Stuck On Your Mind,” and “Whiskey.”
In many ways, everything set the stage for the 2018 offering, The Ode.
“It marks a point of growth,” explains Adam. “We’ve got the bluegrass burner type tunes we’re known for on there, but we’re experimenting with other elements. Little pieces of everybody are encapsulated in this record. For the first time, we were really conscious of allowing our respective musical curiosities into the fold. Sam drops in a jazz and classical feel. Dave brings that Zydeco, Cajun, and old school blues vibe. Collin turns up with this kinda pop folk energy, and Russell gives us the old-timey banjo feel. For me, I’m trying to play out my singer-songwriter curiosities. There are five songwriters in the band, and we’ve gotten better at harnessing our individual creativity and bringing it to the collective.”
The boys found the perfect place to bottle those signature spirits. They retreated to Cannon Falls, MN in order to live and record at Pachyderm Studios — where Nirvana recorded In Utero — for just a week. Joined by Trampled By Turtles frontman Dave Simonett in the producer’s chair, they tracked the eleven numbers that would comprise The Ode over the course of a marathon session.
“Pachyderm is in the middle of nowhere,” he elaborates. “We’re all outdoorsy people, so the setting was super comfortable. It contributed to the laidback approach. We had this awesome chemistry with Dave. It was by far the easiest recording project we’ve done. The whole experience was super positive and uplifting.”
That feeling courses through the upbeat bluegrass gallop of the first single and title track, “The Ode.” The ebullient and enigmatic anthem serves as something of a mantra for the group, “Sing the ode my friend!”
Elsewhere on the record, bluesy piano resounds through “Eat the Cake,” while rustic banjo reverberates during the anthemic “Foggy Halo.” A clever outlier, “Millennial Girl” veers towards self-aware pop with its sharp lyrics. Meanwhile, “Stay Awhile” redefines the breakup song.
“I was thinking about how you can split up with somebody for various reasons, but still be in love,” he elaborates. “You split up for each other—not because of each other. It’s about the impermanence of relationships and the permanence of love.”
Ultimately, the Horseshoes & Hand Grenades family grows stronger by the day. The Ode is proof.
“The best part of this has been building a community,” Adam leaves off. “In this day and age, it’s wise to look for things that bring people together rather than separate them. We’re creating an extended family to get through these times together. That’s the ‘Horseshoe Crew.’ Everything happens because of that bond.”
Texas’ genre-bending rock ‘n’ roller Israel Nash presents his latest long play, Lifted. It is a modern day hippie-spiritual, a tonic for those needing to put aside the mess of the daily grind. With luscious beds of strings, horns and well adorned towering walls of sound, Lifted finds Nash continuing his tradition of creating a sonic experience of feeling that is at once both vast and intimate - soaring and untamed at times, placid and sincerely personal at others.
Originally from the Ozarks of Missouri, Israel Nash has made his home in Dripping Springs, Texas for the greater part of a decade. There, on his ranch with sweeping views of the Texas Hill Country, the tall, hirsute mountain man built his own studio; a Quonset hut structure he’s dubbed Plum Creek Sound. The studio became a sanctuary, a creative outlet where Nash reached a meditative state of escapism, which ultimately became the inspiration behind Lifted. The creative process of writing, recording and producing Lifted allowed Nash to leave his own downhearted feelings about the political landscape of the recent elections and the deeper queries of purpose and life that supersede the material world. Nash wrote and recorded Lifted with the intention of achieving a sonic experience that will elevate the listener - that the feeling of peace, love and happiness which saturates the words and music can provide the same escape he achieved while creating the LP.
Being able to finally use Plum Creek Sound to its utmost, Nash incorporated found sounds and field recordings from his Texas ranch to create a setting of the sounds that represent his Hill Country life. Drums played in rain collection tanks, water rushing against the limestone, frogs and crickets in their habitats, and even a curious, yet guarded rattlesnake, all appear throughout the record. Inspired by methods pioneered by John Cage, Nash also randomized sounds and music and rearranged them according to the I Ching (The Book of Changes). Utilizing these recording and tracking techniques help create a sonic and very present picture of Nash’s home and his life. Accompanied by his longtime band, with arrangements by Jesse Chandler (Mercury Rev, Midlake), horns by members of Austin’s cumbia/funk compadre’s Grupo Fantasma, and strings from Kelsey Wilson and Sadie Wolf of indie pop’s Wild Child, Nash, alongside co-producer and engineer Ted Young (Kurt Vile, The Rolling Stones), presents an album that soars as a masterwork of American roots songs, meticulously crafted and gently sprinkled with life meaning and multi-hued rock and psychedelia.
“It’s all about finding, searching for little sparks of inspiration. It may be a sound, a groove, a color, or even an object. Old things are inspiring. Whatever it is, when you find it, it spreads like a conflagration that is out of your control. It doesn’t matter if you’re making a record or living your life, find these inspirations with a vigil eye and watch them change both you and your world.”
Lifted opens with an extended instrumental introduction, preparing the listener to get comfortable and settle in for the journey ahead, before blossoming into “Rolling On.” It’s a manifesto, a hearty breath of rock goodness, clean air for all that follows. A sing-along anthem
It’s all but inconceivable that J Mascis requires an introduction. In the quarter-century since he founded Dinosaur Jr., Mascis has created some of the era’s signature songs, albums and styles. As a skier, golfer, songwriter, skateboarder, record producer, and musician, J has few peers. The laconically-based roar of his guitar, drums and vocals have driven a long string of bands – Deep Wound, Dinosaur Jr., Gobblehoof, Velvet Monkeys, the Fog, Witch, Sweet Apple – and he has guested on innumerable sessions. But Several Shades of Why is J’s first solo studio record, and it is an album of incredible beauty, performed with a delicacy not always associated with his work.
Recorded at Amherst Massachusetts’ Bisquiteen Studios, Several Shades is nearly all acoustic and was created with the help of a few friends. Notable amongst them are Kurt Vile, Sophie Trudeau (A Silver Mount Zion), Kurt Fedora (long-time collusionist), Kevin Drew (Broken Social Scene), Ben Bridwell (Band of Horses), Pall Jenkins (Black Heart Procession), Matt Valentine (The Golden Road), and Suzanne Thorpe (Wounded Knees). Together in small mutable groupings, they conjure up classic sounds ranging from English-tinged folk to drifty, West Coast-style singer/songwriterism. But every track, every note even, bears that distinct Mascis watermark, both in the shape of the tunes and the glorious rasp of the vocals.
“Megan from Sub Pop has wanted me to do this record for a long time,” J says. “She was very into it when I was playing solo a lot in the early 2000s, around the time of the Fog album [2002's Free So Free]. She always wanted to know when I’d do a solo record. [Several Shades of Why] came out of that. There are a couple of songs that are older, but the rest is new this year. And it’s basically all acoustic. There’s some fuzz, but it’s acoustic through fuzz. There’re no drums on it, either. Just one tambourine song, that’s it. It was a specific decision to not have drums. Usually I like to have them, but going drum-less pushes everything in a new direction, and makes it easier to keep things sounding different.”
There is little evidence of stress on Several Shades of Why. The title track is a duet with Sophie Trudeau’s violin recalling Nick Drake’s work at its most elegant. "Not Enough" feels like a lost hippie-harmony classic from David Crosby’s If I Could Only Remember My Name. "Is It Done" rolls like one of the Grisman/Garcia tunes on American Beauty. "Very Nervous and Love" has the same rich vibe as the amazing rural side of Terry Reid’s The River. And on and on it goes. Ten brilliant tunes that quietly grow and expand until they fill your brain with the purest pleasure. What a goddamn great album.
by Byron Coley
There’s always a party happening somewhere, and Jakubi provide the perfect soundtrack. That’s why the Melbourne, Australia quintet—brothers Jerome [vocals, keys, talkbox] & Jacob Farah [bass, moog], cousins Jesse Rehaut [drums, guitar] & Adam Kane [guitar, keys], and longtime friend Rob Amoruso [guitar, keys, drums]—immediately attracted a growing audience with their swinging, slick, and sizzling sonic buffet of pop, R&B, hip-hop, rock, and soul since first emerging in 2012. It all started as a good time…
Jacob began hanging out at the Melbourne house Jesse and Adam shared. Soon, he invited his brother, while Adam reached out to Rob. Unassumingly coming together, they would rock all night in an upstairs jam room, inviting patrons of the bar below to experience the burgeoning magic. In 2013, they uploaded “Can’t Afford It All” to Soundcloud, and it swept the internet with 500,000-plus plays in a month. A Kygo remix would swiftly cross the 5-million mark as the boys received an invite to tour with Fishbone in the United States during early 2014. And they have been lighting up stages across America & Australia ever since. “I believe our live shows are our strongest point,” exclaims Jerome. “That’s where we’re really at home.”
“…the lovechild of John Prine and Mitch Hedberg with a vagabond troubadour edge.” – The Stranger
“The record opens with the shanty-like Dylan-meets-Prine number “Virgin Guitar,” which displays Craigie’s talent for understated singing coupled with poetic lyrics.” – The Portland Tribune
“Craigie’s latest, “I Am California,” is haunting, poetic, and just how a longing for California should sound. Draped in nostalgia and covered in memories, Craigie paints a beautiful homage to the Golden State, with the assistance of singer Gregory Alan Isakov.” – Impose Magazine
“You can be sure I’ll be on the lookout for anything he does from now on.” - No Depression
Renowned for his eloquent Americana style, engaging live shows, and off-the-cuff clever observations, John Craigie carries on the legacy of classic singer-songwriters, while blazing a trail of his own.
Recently, that trail twisted and turned into new territory for the Portland, OR performer who The Stranger appropriately dubbed, “the lovechild of John Prine and Mitch Hedberg.” His music speaks loud to both audiences and fellow artists. Todd Snider notably hand-delivered a gift on-stage, and Chuck Norris has sent fan mail. His fifth full-length album, No Rain, No Rose boasted two collaborations with Gregory Alan Isakov, namely “Highway Blood” and “I Am California.” The latter quickly cracked 200K Spotify streams and counting, as his knack for a captivating narrative and rustic aural palettes powered the 13-track offering together.
“It’s about transparency,” he explains. “The storytelling enables listeners to relate. Really good music doesn’t make you feel good; it makes you feel like you’re not alone.”
As No Rain, No Rose landed, he caught the attention of none other than Jack Johnson. Through a serendipitous series of events, Craigie’s 2016 live effort Capricorn in Retrograde… Just Kidding… Live in Portland landed in Johnson’s car stereo during a California coastal road trip.
Shortly after, Jack reached out and Craigie soon found himself onstage for 12 shows during Johnson’s 2017 summer tour including performances at The Greek Theatre in Berkeley, California and The Gorge in Washington state. Along the way, he earned acclaim from SF Weekly, Seattle Times, AXS, and more. Festival appearances also include Oregon Country Fair, Kate Wolf Music Festival, High Sierra Music Festival, Burning Man, and many others.
When Craigie plays, it’s one of those special shows that can make you laugh and cry in the same song. It’s a musical journey that can’t be denied.
Hustling to make his mark in Denver, Colorado's electronic music melting pot, Late Night Radio is earning the respect of fans and peers alike through prolific production, innovative experimentation, and a dogged dedication to the craft. Alex Medellin has put in his time in the industry, coming up in Texas and California, but his ascension in the Colorado scene speaks to his ability to not only create a stunning array of original tracks, but bring them to life onstage, practicing what he preaches - guided by the mantra "emotion over energy."
Medellin's background in hip-hop is crucial to his development as a producer. Unlike some of his contemporaries who came up in the dance music scene, Late Night Radio keeps his cuts funky and inventive with an unshakable commitment to soulful grooves. Even when LNR breaks into high-energy, cabinet-rattling climaxes, the emotional depth remains. His wildly popular Vinyl Restoration series of old-school mixes has rooted his sound in deep, expressive sampling that keeps him firmly grounded in the lessons of the past, while reaching forward to craft his own signature sound.
A slew of collaborations, remixes and tour dates with notable acts are propelling Medellin's vision into new territories. Late Night Radio is poised to break out of the Centennial state, spreading the love to cities coast-to-cast and beyond as the LNR vision spreads.
Every underdog gets his day...
In a small working class Boston borough, the most common reaction to Layto’s musical ambition would be, “What the fuck is this kid doing?” However, doubt, struggle, and adversity only fueled the artist/pianist/vocalist/producer to push harder. As a result, his handcrafted catchy and confessional style packs percussive punchiness, pop expanse, alternative spirit, and a touch of hip-hop bravado. A quiet four-year grind yielded millions of streams, critical buzz, rotation on Alt Nation, and a growing fan base following the arrival of his 2018 independent EP, The Low Boy.
“It’s an origin story,” explains Layto. “It’s everything I went through—being subjugated by people around me, subverted by a girl, and coming from nothing, not just financially, but entirely outside of the scene. I always felt like an outsider. On top of that, I was love sick and discarded. The EP tells how I became Layto.” With more music on the way and touring planned, Layto is an underdog worth rooting for.
Just announced on the bill for Coachella this spring, with Billboard singling them out as one of “10 Awesome Bands” playing the massive fest this year, LA-based MAGIC GIANT has been thrilling growing crowds at every stop along its 70-city North American and European tour, celebrating the release of its debut album In The Wind (Washington Square/Concord).
With appearances on the Today Show and in Rolling Stone as one of "10 Artists You Need to Know,” the group has toured with acts ranging from The Revivalists to Mike Posner; played shows with bands such as The Lumineers, Mumford & Sons, X Ambassadors, Vance Joy, and Foster the People; performed to thousands at festivals ranging from Firefly in Delaware to Electric Forest in Michigan; and was recently tapped as one of the bands to join headliner Bruno Mars at Bottlerock in Napa this spring.
DuJour has proclaimed Magic Giant “the most festive band in the festival circuit, quickly becoming a must-see.” Its style has been described by NPR as "upbeat, passionate indie-folk” and by Billboard as inspiring “mass dance-alongs." Its initial single "Set on Fire" broke the top 25 on the US Alternative chart and its current single “Window” recently leaped into the Top 40 on Billboard's Hot AC and Adult Pop charts.
The trio, comprised of Austin (lead vocals), Zambricki (viola, banjo, harmonica), and Zang (acoustic guitar, cello) weaves together a musical quilt of alternative, pop, and folk on its LP, uniquely recorded from their solar-powered mobile recording studio while traveling throughout the US.
The the trio that makes up Made Violent – Joseph White (bass/vocals), Rob Romano (guitar) and Justin Acee (drums) - started out with no five-year plan, secluding themselves in a cabin near their hometown of Buffalo, NY to make music with no aspirations. The band casually released “Wasted Days” online, a song Acee says is "about losing everything.” To their surprise, the song would catch the attention of UK heavyweight NME Magazine. Not long after, the band would find a home at Columbia Records’ tastemaker imprint, Startime International.
Through Startime, the trio released their debut EP; a short-and-sweet self-titled EP full of subtle nods to their rock and roll forefathers from America and across the pond, and recorded with the infamous Dennis Herring (The Hives, Modest Mouse, Elvis Costello). The songs go from sweet to salty on a dime. White abandons the drawl he delivers in “Wasted Days” for a snotty tone on “Inside Out,” a seemingly Adderall-laced song about “being tired of someone’s shit.” Minutes later, the band picks up where “Wasted Days” leaves off with the bright and shiny “On My Own,” in which White’s vocals are nearly reminiscent of a hip-hop verse.
Since then Made Violent has made their debut appearance at SXSW, toured with the likes of Frank Turner, Wolf Alice, From Indian Lakes, and The Struts, and are now looking forward to releasing their first full length album. “We can’t wait to hop in our van and drive across the country to play for anyone and everyone,” Romano quips. “Two things really matter to us – making as much good music as we can, and touring as much as we can. We never want to stop doing this.”
The Moth and the Flame have been creating earnest and heady alternative indie-rock since 2011. They have been heralded as one of the top emerging artists in the western United States, and as a “band to watch” coming out of their new home in Los Angeles.
Formed in the high desert of Provo Utah, TM&TF is singer/guitarist Brandon Robbins, keyboardist/vocalist Mark Garbett, drummer Andrew Tolman, and bassist Michael Goldman. Their songs feature weaving layers of Robbins’ haunting baritone, dense instrumentation, and fresh moments of simplicity. The band extends this layered philosophy to their audience by integrating installation art with their live performances; filling cities with twenty-foot-tall anthropomorphic giants, and transforming venues into lunar visions, starry nights, and floating-lantern dreamscapes.
TM&TF’s latest release, &, is a collection of five complex and thematic songs produced by celebrated drummer Joey Waronker (Beck, Atoms for Peace). Released in late 2013 as the band joined Imagine Dragons on their European Night Visions tour, & begins with their first major single, Sorry. It follows the success of their 2011 debut, a self-titled album, and their signing to REDDistribution/Hidden Records.
The success of & has anticipation already buzzing for the band’s next full-length album, produced by Peter Katis (Interpol, The National, Jonsi) and featuring string arrangements by Rob Moose (Bon Iver, Sufjan Stevens). It was tracked while living isolated in Katis’ Connecticut studio for several weeks, and is set for release early 2016. -C.R. Holgate
Nate is a magician, writer, traveler, and host of the Discovery Channel’s international hit TV series Breaking Magic, but don’t think of this as a magic show. Nate abandons the ubiquitous style-without-substance bravado so often associated with magic and appeals instead to the imagination and intellect of his audience.
“Just caught a Nate Staniforth show,” one reporter tweeted after opening night, “and now I have no idea what to believe about anything ever again.” No rabbits. No top hats. No smoke machines. Nate’s shows feel more like jumping out of an airplane than a night at a comedy club. The journey is wild, visceral and immediate, and like all great art, encourages us to open our minds and hearts, and see the world in new ways.
“When you’re young, it’s easy to be amazed,” says Nate Staniforth. “As you get older, that experience of astonishment gets harder and harder to find. Good magic isn’t about deception. It’s about trying to see things the way you saw them before they became ordinary.
For over a decade, Nate has toured the US college circuit as one of the busiest working magicians in the country. He’s given a TED Talk, lectured at the world-famous Oxford Union, and in 2018 the Harry Potter-famed Bloomsbury Publishing will release Nate’s memoir in bookstores worldwide. Here is Real Magic follows Nate's evolution from obsessed wunderkind to disillusioned wanderer, and tells the story of his rediscovery of astonishment—and the importance of wonder in everyday life—during his trip to the slums of India, where he infiltrated a 3,000-year-old clan of street magicians.
Contact: Alex@7smgmt.com / Simonne@7smgmt.com
It’s like this: New Beat Fund is more than just a band.
Yeah, the four sun-bleached, good time boys from LA with the colorful hair and the funky clothes play music, travel the country, have a new album called Sponge Fingerz, and are best friends and brothers as well (half of them by blood), but this thing they ride with is way deeper than any of that. It’s who they are, what they think, how they dress; it’s where they come from, and how they live their lives. And, even if you didn’t already know it, New Beat Fund is who you are, and how you live your life, too. But we’ll get to that part.
New Beat Fund birthed when a piggy bank with the words "New Beat Fund" encrypted on it was catapulted into the facade of a corporate building. No joke. Jeff Laliberte, his brother Paul, Shelby and Michael have been at it for a couple years now, releasing an EP Coinz, and touring with the likes of blink-182 and 3OH!3, but they go way deeper than that. They trust each other on a supreme level, and even though their business is that of getting you hyped up, helping you chill, setting the mood to lay back with your girl or guy, or just letting you be you, they take that business seriously. “That’s the whole point and the reason that we’re in this,” says Paul, “to grow with a culture. And to also influence that culture rather than just hit at a surface level.”
“When people meet us, they say, ‘You guys are weird, but it’s fun!’” says Michael. “We want people to be cool with being weird, and thinking about things differently. The name of our record is Sponge Fingerz. What the fuck is that? It’s what we are as a band, there’s no definition—we’re able to be free. We wrote the record in Topanga Canyon—the freest place ever—we live in Southern California...that’s the whole vibe of our band. Just being weird and free.”
That freedom is the first thing you notice when listening to Sponge Fingerz, which was co-produced by Matt Wallace (Faith No More, Maroon 5) at LA’s legendary Sound City Studios and mixed by Tony Hoffer (Foster the People, Beck.) The band finds inspiration across the musical spectrum, shoving it all in a blender to cook up a colorful mash-up they call “G-Punk.” The vibe jumps from track to track—sometimes within the same song, or even the same verse—covering all the band’s favorite bases, like if you drew a huge baseball diamond over SoCal and swung for the fences. First base might be the surf-rock and dub-heavy vibes of the coastline, while rounding second brings up the hip-hop beats of South Central. Sprint over to third and pick up on the arty, indie hip and punk stuff from the city’s downtown heart. Finally, slide headfirst into the garage pop and heartfelt jams of Ventura County and the Valley, the band’s true home. “It’s not just punk rock, or indie, or weird ass psychedelic art. We were all exposed to different things growing up, so we didn’t choose to only go in one direction,” says Shelby.
“We don’t claim any certain scene,” adds Michael, “and that’s kind of what we represent as a band, especially for kids who are figuring out who they are and where they fit in this weird ass world. We can hang with all of it and show people that’s OK to do. Let’s play how we play as individual musicians, and let’s write about our lives and go in that direction and not think about it too much. And this is what came out.”
The album blasts off with “Any Day,” a funky breakup anthem about finding your footing. The song itself was an early demo that was cast aside, but finally found its own groove at the last minute during pre-production when the band bought some dancehall albums for 50 cents at a nearby head shop. “The dancehall groove just laid the song out in front of us,” says Jeff. “It’s about when you’re right at that post-breakup thick of it, that moment where you look back and you finally see what it is. That switch when you’re done, you’re not lingering.”
In contrast, “It’s Cool” came together quickly. The song’s creation serves as a blueprint for how the band works best. “At the time, we were in a bedroom so we didn’t have the opportunity to jam it out, and we were fucking around with sampling and just had this mood and started writing to it,” says Jeff. “We all usually come together and build tracks like that. We start pretty simple, lyrics or melodies or beat, and we all color in the picture. If you had a sketch or a pencil drawing, we all come in with colors or additives and finish the painting, and then there’s the song.”
“Sikka Taking the Hard Way” shines, too, with its with its funky dub breakdown and noodling electric guitars, and its celebration of overcoming whatever obstacles life can throw at you: “I tell myself that it’s alright/it’s OK/there’s no way/I’m stumbling back now/I’ll figure it out.”
Then there’s “Halloween Birthdaze,” with its Red Hot Chili Peppers-worthy chorus, and the catchy, stoner shrugs of “Friends in High Places,” which showcases the band’s love of hip-hop. “It paints a picture of someone who is less fortunate but has the support system that they can find happiness in,” says Paul, before his brother finishes his thought: “When you got nothing but you have everything.”
Jeff sums it up like this: “We want everyone to be into our music. The word ‘pretentious’ is the worst fucking word I have ever heard. We want people to feel at home when they come to our shows, like they can do whatever they want at a New Beat Fund show. We want to be an unpretentious band that makes people feel honest emotions. Come to our show and join an experience and let you just be you. Have a good time and relate to our music.”
Yeah, it’s like that.
theNEWDEAL have released Mercury Switch, the band’s first studio album in over a decade. The seven-song affair will be followed by a series of remix releases, beginning with Avenue’s indie electronic remix of “Quattro”.
With over 1400 legendary late nights, sold-out clubs and triumphant festivals under their belts, theNEWDEAL returns with a passion in 2016. Recently released tracks “Quattro, “Mercury Switch” and “Sabotage the System,” offer a preview of the studio release which bassist Dan Kurtz describes as their “most creative” endeavor to date. “In the last few months we've been pushing ourselves to work with new sounds, new styles, new ways of arranging jams, and the stuff we've come up with has felt great and exciting to us as a result. We're listening back to the board tapes of all the shows and finding the parts, even if they're just a couple of seconds long, that sound the most inspiring and then building studio recordings around them. In some cases we'll glue a bit from one show in one city to another completely unrelated piece from another town, and create something we'd never have come up with in either just a live or just a studio setting.”
Keyboardist Jamie Shields agrees: “I think we've come up with a way to take the best from both the live and studio worlds and make something that's going to have the energy of a live show, but shaped in a way we could only do in the studio. theNEWDEAL has always been about development. When we’re performing on stage our goal is always to create a fresh musical idea and see in real-time how we can develop it - melodically, harmonically and structurally. Because we approach every show with an improvisational mindset, we know that every night brings a different concert, a different vibe and a different audience experience. Even with all those variables, it always ends up sounding like a New Deal show; exciting, driving and incredibly danceable!”
theNEWDEAL first began in Toronto in 1999, quickly gaining support from Toronto’s underground club scene as pioneers in electronica, recreating the DJ experience with live, improvised music. Soon the band brought their interpretation of Electro House, Trance, Breakbeat and Drum & Bass to the US, where they were embraced by the crowds at NYC’s Wetlands Preserve and cultivated a loyal following in the American jam scene.
After twelve years of touring, theNEWDEAL took a hiatus in 2011; Dan spent much of the next few years touring the world with Electropop band Dragonette. When theNEWDEAL returned to stages in 2014 they brought on board a new drummer in Dragonette’s Joel Stouffer.
Contact: Alex@7smgmt.com / Simonne@7smgmt.com
Although his musical talents make it easy to believe he’s always been a full-time musician, Rob Drabkin attended Trinity University in San Antonio, TX, where he graduated with a degree in Biochemistry and Molecular Biology with the intention of becoming a doctor. His focus quickly changed after a family trip to New York. “My Dad played Jazz full time for 30 years before he got into medicine. On that trip, we re-connected with his old musician friends, and it was inspiring to see them giving their lives to music night after night for so many years. That was the night I dropped science and dedicated myself to music. After that moment, I spent every possible minute singing and honing all of the songwriting skills that I could.” He adds, “It's kind of embarrassing to admit, but I had an epiphany while watching the Broadway musical “Chicago.” I decided right then and there that I didn't want to work in a research lab for the rest of my life and that I wanted to pursue music full time even though I had never sung a note up to that point.” He took to Denver’s music scene quickly, and set his career into motion.
Drabkin’s newly released single, “Someday,” has earned a spot on major international Spotify playlists such as Spring Acoustic on Spotify UK and Discover Weekly, and in just one month, the single accumulated half a million plays from listeners around the world. "We too often forget that love is ever-present. We share it with each other through laughter, smiles, and sympathy. We can find it in everything and we can also create it in the smallest, most unassuming moments of our lives. I wrote this song for those moments. All we can do is keep being kind and have the courage to choose love in every decision we make.” In “Someday” His lyrical talents show his listeners that you can take whatever you might endure, and turn it into a way to express yourself. Although the Colorado native has an impressive list of musical achievements, this song serves as an opportunity to start his career from scratch. A new plateau with new possibilities
“With earnestness and originality, Drabkin thrives within stylistic excursions that range from driving folk rock to understated experiments with classical musicians.- ““Denver Westword
There are precisely two moments when The Shacks will stop you dead in your tracks. The first comes when you hear their music, a seductively dreamy blend of early rock, vintage soul, and intimately hushed vocals that seem to float out weightlessly from the ether. The second comes when you see the band and realize that the artists behind these captivating sounds are, in fact, barely out of high school.
Fronted by 20-year-old singer/bassist Shannon Wise and 21-year-old guitarist/producer Max Shrager, The Shacks are already well on their way to becoming one of the year’s big breakouts, and their remarkable debut album, ‘Haze,’ solidifies their status as a band with ability to deliver on the well-deserved buzz. With a sound that’s somehow both retro and modern at once, their cinematic songs play out like the soundtrack to some long lost 16mm film, beckoning you into their grainy, saturated world of analog beauty. It’s as unique as it sounds, and in the short time that they’ve been together, The Shacks have already made an impressive mark. Their hypnotic cover of Ray Davies’ “This Strange Effect” soundtracked a new iPhone commercial, one which actually stars Wise herself, and their self-titled EP earned the band dates with St. Paul & The Broken Bones, Chicano Batman, and their Big Crown Records labelmates Lee Fields & The Expressions. Critics have been quick to notice the group, too, with NPR’s World Café calling their music “the early work of a force to be reckoned with” and Vice i-D raving that they “bring a fresh sensibility to classic American sounds.”
Young as they may be, The Shacks are already veterans in their own right. Shrager began his career at the age of fourteen, when he sent an ambitious email to Daptone producer Gabriel Roth and landed himself an unexpected gig.
“I was really interested in tape and analog recording,” explains Shrager, who, along with Shacks drummer Ben Borchers, spent hours in his New Jersey basement each day after school experimenting with a four-track cassette machine. “I sent Gabe an email with a demo we’d done, and he called me the next day and asked if I wanted to come intern at the Daptone studio.”
Within a few years, Shrager was on the road playing with Charles Bradley and Lee Fields, and by the time he was 17, he’d penned singles for the likes of Naomi Shelton & the Gospel Queens.
Wise, meanwhile, grew up surrounded by music in New York City. With a songwriter for a mother and a producer for a father, she developed a voracious appetite and thoroughly eclectic tastes, and like Shrager, channeled her love of music into an encyclopedic knowledge of classic soul and vintage vocal groups. When the two finally met, their bond was immediate.
“I’d only hung out with Shannon four or five times before I asked her to sing on our first track together,” explains Shrager. “When we listened back, it was just magical.”
That chemistry lies at the heart of ‘Haze,’ a record so hypnotic and seductive that it feels more like a whispered late-night secret than a young band’s debut. Produced together by Shrager and Big Crown co-founder Leon Michels (who’s played with Bradley, Sharon Jones, and Fields in addition to working with The Arcs, Lana Del Rey, Lady Gaga, and countless others), the album was recorded in bits and pieces between Shrager’s basement and Michels’ Diamond Mine studio, which the Observer dubbed “the Shangri La of Soul.” It was Michels who helped the band first get on their feet and shepherded some of their earliest recordings.
“Leon is a producer in the very traditional sense of the word,” says Shrager. “He’s the kind of producer who develops an artist and helps them realize their potential. He invested a lot of time in us and got us going so that we can really run on our own engine now.”
“We’d definitely consider him a mentor,” adds Wise. “He’s helped us with so much.”
‘Haze’ opens with the title track, which is, appropriately enough, the first song Shrager and Wise ever wrote together. It’s a spare, smoky tune that shimmers and sparkles as it shifts in and out of focus, and it’s an ideal gateway into the immersive world of The Shacks. On the breezy “Follow Me,” they channel the infectious charm of a 60’s girl group, while the soulful “My Name Is” grooves its way through a mesmerizing take on 70’s funk. Much like a dream, the songs often merge the familiar and the unfamiliar, constructing their own psychedelic reality full of beauty and yearning, all fueled by Wise’s breathy vocals and the unmistakable electricity of a wildly creative band truly inhabiting their music.
“In the studio, we like to cut the rhythm tracks live,” explains Wise. “It’s all about performing together and getting that right take where everyone’s on point and in the moment.”
The seeds of tracks often begin with Shrager or Wise, but they frequently come from Borcher and Michels, too. Ultimately, each song has elements of each member in its DNA, which helps explain how the band is able to cohesively bring together such disparate genres and eras of music. “Birds” makes brilliant use of Daptone drum hero Homer Steinwess’s impeccable feel behind the kit, while the 50’s ballad-meets-baroque pop of “Cryin’” tips its cap to Roy Orbison and John Lennon as Shrager takes over lead vocals, and the soulful shuffle of “Texas” belies a dark and violent undercurrent ripped from the headlines. Through it all permeates an unshakable sense that this is a group performing just for you.
“There’s a certain way we think about our music that allows it to be really intimate, and that’s an important part of who we are as a band,” reflects Shrager. “We try to think of our music as an extension of our lives, and maybe that’s a cliché, but I think it’s something that’s actually lost in the world these days.”
It’s not lost on The Shacks, and by the time they stop you in your tracks, it certainly won’t be lost on you, either.
“I love the harmonies of the Shook Twins, the dreamlike songs that seem somehow permeated by the American Folk tradition, without actually being part of it. They make music that twines through your soul the way vines cover an abandoned shack in the woods.” – Neil Gaiman, New York Times – Best-Selling Author
“The Portland, Ore., folk group is ready to rattle the music world with its ‘What We Do’ album.” – USA Today
“The Shooks will Shake you. These ladies have been keepin’ it real since the day they were born and that was only seconds apart from one another I think. Do yourself a favor and check ’em out. I do declare, ya won’t be sorry.” – Langhorne Slim
“The Shook Twins put on a heck of a show. Keep your eyes on these folks. I’m excited to hear what they do next.” – Tucker Martine
“A unique, personal music that lights up the stage with its joy and enthusiasm.” – Mason Jennings
Born and raised in Sandpoint Idaho, Shook Twins are an Indie folk-pop band hailing from Portland, Oregon. Identical twins, Katelyn and Laurie are the main songwriters, but they also back up their band member Niko Slice (electric guitar, mandolin and vocals) adding his uniquely compelling songs to the mix. Barra Brown is on Drums, vocals and Drum Pad, and Josh Simon is on Bass, vocals, Electric guitar, and synth. Central to Shook Twins’ sound is their wide range of instrumentation: banjo, acoustic and electric guitars, electric bass, mandolin, electronic drums, face drum (beat-box), glockenspiel, ukulele, banjo-head drumming and their signature Golden Egg. Beautiful twin harmonies, layered upon acoustic and electric instrumentation, coupled with Laurie’s inventive use of percussive and ambient vocal loops, and Katelyn’s re-purposed telephone microphone, set their sound apart, creating a unique and eccentric blend of folk, roots, groove and soul.
Their eclectic style fluctuates from song to song; drawing from their life experience they write about being potters’ daughters, the sway of the subconscious, imagined superpowers and a chicken friend named ‘Rose.’ Shook Twins also pull out unexpected covers on classic hits as well as their friends’ songs. After releasing their first album You Can Have the Rest, the twin sisters moved to Portland where they released Window (featuring Bonnie Paine and Bridget Law of Elephant Revival). Both albums were recorded and produced in Santa Cruz, California, at InDigital Studios with Brody Bergholz and Mason Rothchild. Shook Twins recorded their third album, What We Do, with Grammy nominated producer Ryan Hadlock at Bear Creek Studios. They are currently recording new music at Hallowed Halls in Portland, OR with Justin Phelps.
After releasing their first album You Can Have the Rest, the twin sisters moved to Portland where they released Window (featuring Bonnie Paine and Bridget Law of Elephant Revival). Both albums were recorded and produced in Santa Cruz, California, at InDigital Studios with Brody Bergholz and Mason Rothchild. Shook Twins recorded their third album, What We Do, with Grammy nominated producer Ryan Hadlock at Bear Creek Studios. They are currently recording new music at Hallowed Halls in Portland, OR with Justin Phelps.
Shook Twins have shared the stage with artists including: Ryan Adams, Gregory Alan Isakov, Greensky Bluegrass, Mason Jennings, Blitzen Trapper, Railroad Earth, Keller Williams, David Grisman, Carolina Chocolate Drops, Sarah Jarosz, Laura Veirs, The Fruit Bats, Jonathan Brooke, JJ Grey and MoFro, The Indigo Girls, Crooked Still, Jason Webley, The BoDeans, Elephant Revival and more.
Spanning the spectrum from distinctive and genuine to amusing and whimsical, Shook Twins’ laid-back and fun stage presence draws the listener in, allowing them to take the audience on an adventure. 2016 saw the band opening up for Greensky Bluegrass on a 13 show tour, supporting Keller Williams for several shows in Northern California, and playing Red Rocks Amphitheater with Gregory Alan Isakov and Ani Difranco. The band also embarked on a Spring tour to Europe where they played two festivals in Germany and six shows in the UK. Festivals for this year included WinterWonderGrass Tahoe (CA), Huckleberry Jam (ID), Safety Harbor Fest (FL), Apple Jam Music Festival (OR), Beaverstock (CA), Summer Camp Music Festival (IL), Revival Fest (MN), Northwest String Summit (OR), Fayetteville Roots Festival (AR), Summer Meltdown (WA), Oregon Country Fair (OR), Suwannee Roots Revival (FL) and more!
Shook Twins have never been sonically confined to the indie-folk world in which they’ve become well-known artists. Always harnessing an adventurous spirit, Shook Twins are never shy to incorporate beat boxing, banjo-head drumming, vocals using a re-purposed telephone microphone, and other ambient sources within their arrangements. On their latest single, “Call Me Out” (Release Date: August 19, 2016), Shook Twins once again take another leap from the acoustic music scene with a vibey, pop-infused soundscape with a poignant message ready to be embraced by the masses. Lush harmonies, delayed banjo pickin’, deep drums, and multi-layered lead vocals draw the listener into this intimate breakout summer 2016 single.
Growing gently from the haunting landscapes and enchanting seas of the islands, Richard Macintyre slowly emerged from the darkness of winter on the Isle of Skye. Beginning alone, recording through the night in a cupboard full of old coats, as the snow melted, Siiga remained, its roots bursting into life through his captivating, atmosphere song-writing, delicate artwork and transcendental videos.
Innovatively crafted piece by piece, song by song over the seasons of the year, each step intimately documented through an engaging and personal online diary, his only communication to the outside world from the remote Scottish Herbrides. Joined in time by fellow West-Coaster and musician Seamus O'Donnell, whose natural melody soon found its way flowing through the rich harmony of Siiga, they found a new home together breathing life into each song in the shimmering analogue studio of friend, engineer and musician Iain Hutchinson.
From his painstakingly handmade, ethereal silhouette animation "Hollow Bones", through dreamy home-made reels of sailing trips amongst layers of weaving porpoises, beyond vignettes of hazy forest woodlands, Macintyre's transportive world of Siiga comes to life through - The Sea and The Mirror.
Over the course of his 20-year career, drummer Stanton Moore has become known as one of the premier funk musicians of his generation. On his latest album, Conversations, he moves in a slightly different direction, returning to his roots while reinventing his trademark sound. The result is a lively and combustible jazz piano trio outing that reveals unexpected new dimensions to Moore's always-engaging virtuosity.
Anyone who's ever heard the interplay between the drummer and his band-mates in the Stanton Moore Trio, Galactic, Garage a Trois or Dragon Smoke is no doubt aware of his intense improvisational chops. But with Conversations, Moore unveils his profound sense of swing and the fluency of his jazz vocabulary in its purest form for the first time. "I've played a lot of jazz in New Orleans through the years, but it's not something that the general public has ever seen me do or is even aware of," Moore says.
Having delved deep into the styles of pioneering drummers like Jabo Starks, Clyde Stubblefield, and Zigaboo Modeliste for his multimedia 2010 project Groove Alchemy, Moore decided to explore his straight-ahead jazz influences with a similar focus. "Jazz has been part of my development and a deep love of mine for a long time. Everything I do funk and groove-wise is informed by what I've learned playing and studying jazz. I had put myself through what was basically a doctoral program on funk drumming, and I wanted to do the same thing with my jazz playing."
Moore sent himself back to the jazz woodshed, taking lessons with veteran drummer Kenny Washington and spending time with Clayton-Hamilton Jazz Orchestra co-leader Jeff Hamilton, Moore's partner in the Crescent Cymbal Company. He refined his brush playing by studying the work of Philly Joe Jones—evidenced by his brushwork on "Tchefunkta," a slinkier transformation of the tune that opens his 1998 solo debut, All Kooked Out!
The New Orleans native called on a pair of veterans from that city's vibrant, deeply rooted jazz scene to form his new trio. Pianist David Torkanowksy and bassist James Singleton have both played with saxophonist Tony Dagradi's long-running band Astral Project alongside Moore's mentor, drummer Johnny Vidacovich. Singleton has also worked with the likes of James Booker, Professor Longhair, Aaron Neville, Joe Henderson, Milt Jackson, Harry Connick Jr. and Lightnin' Hopkins. Torkanowsky's credits include work with The Meters, Maceo Parker, Dianne Reeves, Dr. John, Boz Scaggs, George Duke, Kirk Whalum, James Moody and Chuck Berry.
Moore chose Torkanowsky and Singleton for their unparalleled musicianship, versatility, compatibility, and long history together. What he realized only after the fact is that his newly-assembled trio was already a Grammy Award-winning group: they had worked together as the rhythm section for Irma Thomas' After the Rain, which was named the Best Contemporary Blues Album of 2007. "I always love playing with Stanton," Singleton says, "and when he got me back together with Tork it became pure inspiration. We all share such deep bonds within very specific musical languages, and the energy keeps growing."
The connection shared by the three New Orleanians, Moore says, "brings a deep sense of groove and pocket and a whole batch of ideas and cultural influences that I can reference and these guys know exactly what I'm talking about. There's the Mardi Gras Indian thing, the brass band thing, the James Black thing. It's hard to find a group of guys who are not only aware of all those influences, but are equally happy playing in any of those genres."
The NOLA bond becomes even stronger through Moore's choice of material. All but one of the album's eleven tracks were written by a New Orleans composer, including the legendary drummer James Black, Tony Dagradi, Steve Masakowski, Evan Christopher, and all three members of the trio. The sole exception is Herbie Hancock, whose "Driftin'" is given a stride piano intro by Torkanowsky that makes it feel right at home in this company.
"Some of these tunes are New Orleans standards or tunes that David and Jim have played a lot together over the years. I wanted to create an outlet for the jazz side of my playing, but I didn't want to do jazz standards that everyone else has done. So we developed a repertoire of tunes that were more in our wheelhouse."
That material was honed over more than a year and a half of Tuesday-night performances at Snug Harbor, the renowned New Orleans’ jazz venue on Frenchman Street. The deep chemistry forged over the course of that residency is in ample evidence throughout the aptly-named Conversations, from the graceful but roiling opener "Lauren Z" to the wistful ballad "Waltz for All Souls," from the Bill Evans-inspired elegance of Steve Masakowski's "The Chase" to the deceptively complex celebration of the New Orleans standard "Paul Barbarin's Second Line."
"Improvised music should be conversational," Moore says. "If one guy's holding the floor, you don't want to start speaking over him; you want to listen, you want to interject, you might want to convey another idea related to what he's saying, but the same rules for good conversation apply to making good music. The music on this album is conversational, and all the tunes are coming from friends who we've had musical conversations with over the years."
Anna Morsett spent most of her life on the coasts, but it wasn’t until she moved to landlocked Colorado in 2013 that the guitar-wielding songwriter discovered The Still Tide: Both her band, and the calm current she had long been seeking in her own life.
“I came here from the coast, noise and city tangled in my hair,” she sings on the first single from The Still Tide’s fourth EP. “Found you like forgiveness, swept clean by years of mountain air.”
Morsett is now firmly entrenched in the Colorado music community, having played with Ark Life, Porlolo, Brent Cowles, Natalie Tate and These United States. But she very much remains the undulating current of The Still Tide, a seductive, shoegazey collective that marks a shifting tide with Each, After. The new EP is essentially Morsett’s solo debut, while still fully supported by guitarist and co-founder Jacob Miller and a rotating ensemble that currently consists of drummer Joe Richmond (Churchill, Tennis) and bassist Nate Meese (Meese, The Centennial). “I always wanted the full band sound, Morsett said. “But I also wanted the freedom and the anonymity to kind of cruise around on my own.”
Morsett is as enigmatic as her sound is alluring. She describes herself as both a shredder guitar chick and a nerdy loner. A frontwoman and an anonymous face in the crowd. She is seemingly always in transition, like a wave shapeshifting between low and high tide.
Morsett grew up in Olympia, Wash., under a sister-infused musical foundation that included Pearl Jam, Nirvana, Jimi Hendrix and Andy Aledort guitar lesson books. She dove head-first into the headwaters of New York and came up for air five years later, almost by accident, in Denver. That’s where she and her collaborator Miller were able to develop The Still Tide, which was soon named 303 Magazine’s best up-and-coming local artist.
But with Each, After, Morsett is stepping up to the mic and fully claiming it, and The Still Tide, as her own. “I think I was hiding behind the band, for whatever reason,” she said. “But now, I’m ready.”
She calls Each, After, with its carefully placed comma and chill vibe, as “a sweet landing spot for these beautiful open guitar riffs that didn’t really fit the vibe of the last record,” she said. “I love the power of having that full band experience, but I also love the immediacy and intimacy of these tender little things. I’m trying to figure out how both of those vibes can fit in the same world.”
Morsett tantalizingly describes the E.P.’s four tracks as four very personal and true ruminations on past breakups. Tantalizing, because the fourth song is a reflection on a woman she hasn’t met yet.
“That last one, I guess, is kind of for the next person,” she said. “It's the hope for someone, I guess.”
When the time comes for The Still Tide to rise again.
Tennis’ husband-and-wife team Patrick Riley and Alaina Moore began writing music together as a way to document the history of their time voyaging and living aboard a sailboat. The result was their first release, Cape Dory. Moore and Riley followed Cape Dory with Young and Old, which The New Yorker described as “winsome as it is ebullient” and debuted #1 on Billboard’s Heatseeker Chart and #1 on CMJ Top 200, where it remained for three straight weeks. The album also debuted on Soundscan’s “New Artist Chart” at #1, remaining there for nine consecutive weeks. Their third record, 2014’s Ritual in Repeat, received rave reviews from The New York Times, NPR’s “All Things Considered” and “Fresh Air,” TIME, Vogue, Pitchfork, The FADER, Entertainment Weekly and many more. Yours Conditionally is Tennis’ greatest commercial success, selling over 24,000 copies of vinyl alone, placing them at #9 on Billboard’s mid-year vinyl chart. The album’s lead single My Emotions Are Blinding peaked at #1 on Friday Morning Quarterback Submodern charts. The album has received praise from NPR’s “Weekend Edition”, Vice/Noisey, and was chosen as the Vinyl Me Please record of the month. The band has performed on “The Late Show with David Letterman,” “The Tonight Show with Jay Leno,” “Conan” and “Last Call with Carson Daly.”
Contact: Alex@7smgmt.com / Simonne@7smgmt.com
Ume is a band that shatters expectations – balancing elegance and brutality, strength and fragility, ferocious metal and sweet melody. These forces resound through the Austin trio’s new album, Monuments, a collection of songs that reimagines heavy music and is as beautiful as it is massive. When the musicians began writing for the album, after touring over 200 dates in support of their acclaimed debut Phantoms, the emphasis was on translating the impassioned force of Ume’s momentous live show onto a recording.
Recorded with Grammy-winning producer Adam Kasper (Queens of the Stone Age, Cat Power, Foo Fighters, Nirvana) at Robert Lang Studios and Studio X in Seattle, WA, Monuments is Ume’s most colossal sounding recording yet. From the first blast of the opening track “Black Stone,” there is no doubt this is a record driven by one of today’s most ascendant shredders, and one that is also not afraid to subvert rock conventions. Cohesive but unorthodox, the album brings together the propulsive, surging rock of songs like “Too Big World” and “Chase It Down” with the raw, acoustic introspection of “Barophobia.” At the record’s emotional epicenter is “Gleam,” a dedication to Esme Barrera, one of Lauren’s fellow Girl’s Rock Camp volunteers who was murdered during the writing of the record.
Lauren and Eric began making music together after meeting at a skatepark in highschool. Shortly after forming Ume, Lauren moved on to attend graduate school in philosophy, but eventually traded in the PhD pursuit to follow her guitar heroine dreams. Driven by a desire to share how they felt as kids the first time they saw Fugazi, Lauren and Eric have logged tens of thousands of miles together on the road, moving from basements and dive bars to major festivals like Austin’s Fun Fun Fun Fest, Paris’ Rock En Seine, and London’s British Summer Time Fest.
The band has shared the stage with Black Sabbath, Soundgarden, The Smashing Pumpkins, Warpaint, …And You Will Know Us By The Trail of Dead, Franz Ferdinand, Helmet, Wu-Tang, and Foals, and were personally called by Perry Farrell to open for Jane’s Addiction at their Lollapalooza afterparty. In May 2014, Lauren was invited by rock legend Nancy Wilson of Heart to perform alongside her at an acoustic benefit show in San Francisco featuring James Hetfield, Billie Joe Armstrong, and Sammy Hagar. Ume also appeared on the 2012 Season Premiere of No Reservations with Anthony Bourdain, who celebrated the band as “a shitload of rawk in a tiny little room” before taking them to dinner during SXSW. The band’s name – pronounced “ooo-may” – was taken from a Japanese plum blossom that they later learned symbolizes perseverance and devotion, a moniker that aptly reflects the musicians’ tenacity and passion.
Sometimes what you’re looking for is right in front of you.
Sure, the expression is trite, but as far as truisms go, sometimes, well, it just happens to be true. Such is the case with Wildermiss, a promising young band whose name literally reflects this notion and whose story also bears this out.
“We were driving in the Redwood Forrest, and I was looking at my phone, trying to write down band names the whole time,” recalls singer Emma Drae, who coined the name last year on a road trip with drummer Caleb Thoemke. “I was just missing everything. I ‘missed’ the wilderness. So I wrote it down as a joke, and the guys -- we all texted each other our top ten names -- loved it.”
The moniker fit perfectly, just like Drae, who had been in her bandmates' orbit for quite some time, first as a member of Montana Tapwater – an act she had previously played in with guitarist Seth Beamer, classmate from University of Colorado Denver – and later as a collaborator with Red Fox Run, the outfit that directly preceded Wildermiss and featured Thoemke and Beamer, along with guitarist Joshua Hester.
Shortly after Red Fox Run ended and right around the time Drae was finishing her degree, Drae asked the trio to accompany her at a graduation recital. The chemistry was immediate, and two months later, the foursome began writing songs together. After Red Fox Run effectively ran its course, the three members of that group – seasoned musicians who had been playing since they were kids – were ready to move into a different direction.
Turns out, Drae, who had been right in front of them the entire time, was the perfect addition. A gifted vocalist whose expressive voice blends the sublime sensibilities of singers like Ellie Goulding and Hayley Williams, with the powerful strains of Amy Lee of Evanescence, Drae completed the quartet on vocals and synth bass.
Drae started playing synth bass sort of by default -- the outfit needed a bassist to bring out the bottom end but was reluctant to add a fifth member, so she stepped in on synth bass because there was less of a learning curve, she says. Since then, it’s sort of become a signature of the band’s burgeoning sound.
"We love the sound of two guitars. I don't know if we were really looking to add anybody,” says Beamer. “We had talked about who we could add — we know tons of musicians and have tons of friends who could definitely fit the bill — but there was something about the four of us."
"We liked how it gave us this cool, mellow low end,” adds Hester, “and the guitars could do a lot more.”
This willingness to be flexible on the part of Drae is emblematic of the band’s overall approach to making music together, says Hester. “We've always been in service to the song,” he explains. “That's our goal. If we're writing something, it has to be to the benefit of the song, not our own ego. Our rule's always been we leave our ego at the door whenever we go into rehearsal. It's all about the music. It's not about what we're trying to do individually.”
“Yeah, the music is bigger than all of us,” Beamer agrees.
Indeed, judging from the songs the young act has crafted together thus far, this dynamic certainly seems to be in play here. As you see the band barreling down the road in the same direction, you get the sense that each cylinder is firing at exactly the same time.
“We're talking 24-7,” Thoemke confirms. “We always have a group chat going on. We’re texting each other all day, every day. Every decision that’s made, is made by everyone. Everyone's mindset is: this is a career. This is going to be something."
More and more fans seem to agree. Since forming less than a year ago, Wildermiss has quietly been taking the town by storm. Unassumingly serving as an opening act on frequent weeknight gigs, the auspicious act has been steadily making a name for itself with a smart brand of guitar-driven pop rock, which has plenty in common with acts like Local Natives, Echosmith, and Florence and the Machine.
The songs are instantly memorable as much for their melodies as for their meaning -- both of which are equally as integral to the impact of the song, if you ask Hester. "I've always thought lyrics find their validation through melody,” he says. “You can sing the simplest line but if a melody has conviction, then it works better than the most poetic paragraph you can write."
Talk about seeing the forest for the trees.
Virtuoso vocalist Zeshan B is widely being recognized as one of the most unique singers to come out of Chicago. Blending the hard-driving rhythms and horn heavy sounds of 60s and 70s soul with the angsty scats and vocal stylings of early Indo-Pakistani film/folk music, he has created an entirely new genre that is his very own: Brown Skinned Soul.
His breakout album “Vetted” was released in April 2017 to commercial and critical acclaim with the album debuting at #8 on Billboard's Top 10 Albums (World Music) and peaking at #1 on iTunes’ World Music chart. Additionally, “Vetted” has received rave reviews from Rolling Stone, NPR, ABC, NBC, PBS, Salon Magazine, Democracy Now and the Times of India. Zeshan's hit single from the album “Cryin in the Streets”--his reinterpretation of George Perkins' 1970 classic civil rights anthem--has garnered praise from PRI, American Songwriter, Chicago Tribune and the New York Times (WNYC) for its musical finesse as well as its relevance in America's current socio-political climate.
In August of 2017, Zeshan made his US television debut with a stirring rendition of his hit single, “Crying in the Streets” on CBS’s Late Night w/ Stephen Colbert at the historic Ed Sullivan Theater. This was followed by a PBS NewsHour special (“Groovin’ for Change”). Since then, he continues to be on tour with appearances at iconic venues and festivals such as the Lincoln Center, Bonnaroo Fest, Electric Forest Fest, House of Blues (Boston), Kennedy Center, and the Canadian National Exhibition.
He has performed for two US Presidents--Jimmy Carter and Barack Obama--with the latter performance taking place at the White House’s historic inaugural Eid Celebration in 2016.
Zeshan is trilingual (Urdu, Italian, English) and is currently at work to add Spanish, German and Punjabi to his linguistic palette.