City Music is an airplane descending over frozen lakes into Chicago. City Music is riding the Q Train out to Coney Island to smell the ocean and a morning in Philadelphia where greats cranes reconfigure the buildings like an endless puzzle. City Music is a quiet afternoon moment on a bench in Baltimore, a highway in Seattle at night where the distant houses look like tiny flames and a bottle of red wine being drained on a bridge in Paris. City Music is a bus pulling into St. Louis at dawn where the arch looks like a metal rainbow reflecting the days early sunlight.
City Music is also the new album by Kevin Morby. Full of listless wanderlust, it's a collection inspired by and devoted to the metropolitan experience across America and beyond by a songwriter cast from his own mould. As he puts it: "It is a mix-tape, a fever dream, a love letter dedicated to those cities that I cannot get rid of, to those cities that are all inside of me."
His fourth album, City Music works as a counterpart to Morby's acclaimed 2016 release Singing Saw, an autobiographical set that reflected the solitude and landscape in which it was recorded. It was imagined as "an old bookshelf with a young Bob and Joni staring back at me, blank and timeless. They live here, in this left side of my brain, smoking cigarettes and playing acoustic guitars while lying on an unmade bed."
And now follows City Music, the yang to its yin, the heads to its tails. It is an collection crafted using the other side of its creator's brain, the jumping off point perhaps best once again encapsulated by an image. "Here, Lou Reed and Patti Smith stare out at the listener," explains Morby. "Stretched out on a living room floor they are somewhere in mid-70s Manhattan, also smoking cigarettes." It finds Morby exploring similar themes of solitude, but this time framed by a window of an uptown apartment that looks down upon an international urban landscape "exposed like a giant bleeding wound."
Morby rose to prominence as bassist in Woods, with who he recorded seven albums on Woodsist Records (Kurt Vile, The Oh Sees, Real Estate) while also forming The Babies with Cassie Ramone of Vivian Girls. Two albums and a clutch of classic singles with the latter followed. Morby's 2013 debut solo work Harlem River was a homage to New York and featured contributions from artists including Cate Le Bon and Tim Presley (of White Fence), while 2014's Still Life garnered universal critical praise. "It's easy to picture Morby with a wineskin under his arm," noted a Pitchfork review. "His every worldly possession hitched to his back, an eye constantly fixed on some faraway point on the horizon."
Recording at Panoramic Studios, a central Californian home-turned-recording studio, City Music saw Morby joined once again by former The Babies cohorts Megan Duffy (guitar) and Justin Sullivan (drums). Here the vocals were at recorded night, in darkness, overlooking a Pacific Ocean illuminated only by the stars, the wash and whisper of the ebbing tidal a distant soundtrack. Six weeks of European touring had left the trio speaking a secret language that only a band can speak. "The language of a musical family," explains Morby. "There was an outdoor shower with no curtain and deer ran through the front yard during the meals we cooked for each other..." The record was completed with Richard Swift in Oregon (producer of Foxygen, sometime member of The Black Keys).
From the widescreen opening of 'Come To Me Now' through the bubblegum stomp of the Ramones-eulogising '1-2-3-4' (which also references late poet Jim Carroll's litany of friends lost, 'People Who Died'), a stripped-back and wistful cover of 'Caught In My Eye' by nihilistic LA punk wrecking crew Germs and on to Leonard Cohen-evoking closer 'Downtown's Lights', City Music reads like a selection of musical postcards composed and posted in the moment. It is a forensic and poetic examination of a modern America in love with the myth of itself.
At the big beating heart of these songs is the voice and conscience of the city. All cities. We see them viewed from differing angles; from down in the gutter, and drifting up into the celestial firmament. "I am walking through a Chinatown in a major American city and now I am a guitar part taking place in my head," offers Morby by a way of a commentary for the album's inception. "It falls around me like rain, dancing with the neon lights coming off of the signs of the restaurants and bars. Now I am a lamp full of hot air floating away, looking down. The city is beautiful like one million candles with different sized flames, moving in their own directions. A line finds me and grabbing it I hold on tight. I sing to myself, 'Oh, that City Music, oh that city sound...'"
Here the album gives voice to the all those cities speaking the same universal language of chaos and commerce and culture. It views the city as an Oz-like experience, with your host cast as Dorothy, the Scarecrow, the Tin Man and the Cowardly Lion, a narrator by turns innocent, awestruck, fearful and fearless. Where a world once black and white is now rainbow coloured. "I am a city and I have many moods," it says via its human conduit. "I am dangerous and I am gorgeous. Like a proud forest made of metal and brick I am constantly changing shape, growing bigger and smaller all at the same time. I hold you but you do not hold me...."
City Music. Let it hold you.
DECAPITATED As a Teenage Death Metal act DECAPITATED averaged an age of just 17 by the time of their debut album but incredibly drummer Vitek was a mere twelve years old upon their formation in 1996. Both guitarist Vogg and bassist Martin also held down membership of Black Metal act LUX OCCULTA . In 1997 the trio of vocalist Sauron, guitarist Vogg and Vitek added the 13 year old bassist Martin. DECAPITATED, hailing from Krosno, debuted with the demos Cemeteral Gardens in 1997 and 1998 "The Eye Of Horus". Further exposure was garnered by the inclusion of tracks on the 2000 Relapse Records 'Polish Assault' compilation alongside YATTERING , LOST SOUL and DAMNABLE . The first album, recorded for Earache subsidiary Wicked World, was produced by VADER Piotr Wiwczarek and sees a cover of SLAYER Mandatory Suicide. DECAPITATED early demos were pressed up onto CD by Poland???s Metal Mind Productions entitled The First Damned, adding two live tracks from the 'Thrash 'em All' festival. The band toured as support to VADER in early 2001. DECAPITATED's February 2002 album 'Nihility' would include a cover version of NAPALM DEATH 's 'Suffer The Children'. The band scored a valuable coup later that same year, being chosen to perform at the Polish 'Ozzfest' event in late May. By August DECAPITATED was on the road in North America with tour partners INCANTATION , VEHEMENCE and DEAD TO FALL . The band, shooting a promotional video for the track 'Spheres of Madness' to further promote the album, would form up part of a strong package bill topped by VADER for a run of dates across mainland Europe from late August alongside KRISIUN and PREJUDICE . Vitek took time out to lay down drums on VADER frontman Piotr Wiwczarek's PANZER X project EP 'Steel Fist'. The February 2004 DECAPITATED album 'The Negatron' would see a bonus track offering of a take on DEICIDE 's 'Lunatic Of God's Creation'. A short spurt of UK dates saw the band ranked alongside ROTTING CHRIST , ANATA and THUS DEFILED . The band then united with Norwegian Black Metal elite outfit MAYHEM and Japanese act DEFILED for a European tour commencing early April. US dates scheduled for July and August had DECAPITATED opening for CANNIBAL CORPSE . However, all North American touring plans were cancelled due to the sensitivity in regard to the band's name and the executions of hostage victims in Iraq. DECAPITATED parted ways with guitarist Jacek Hiro in October, opting to remain a quartet for February 2005 European gigs allied with HATE , CRIONICS and DIES IRAE . The band re-shaped in June when frontman Sauron closed a nine year tenure by announcing his withdrawal. DECAPITATED quickly drew in their friend Covan formerly of ATROPHIA RED SUN, NEUROTOXIC.c.w.a., as replacement. The band entered Hertz Studios in Bialystok in August to record a new album entitled 'Organic Hallucinosis'. September European dates had DECAPITATED partnered with British act GOREROTTED and Dutch DETONATION . Following US gigs in December, DECAPITATED parted ways with bassist Martin, the four-stringer having to deal with military conscription issues, pulling in Richard Gulczynski as replacement. Live work breaking into 2006, promoting the 'Organic Hallucinosis' album recorded at Hertz Studio in Bialystok, saw the band teaming up with HYPOCRISY , SOILENT GREEN , RAGING SPEEDHORN , NILE and WITH PASSION for a North American tour commencing in early January. In mid February it was learned that bassist Martin had returned to the fold. US dates for September and October 2006 saw the band hooking up with KRISIUN , CATTLE DECAPITATION , SIX FEET UNDER and ABYSMAL DAWN . The band united with headliners FEAR FACTORY and SUFFOCATION for further North American shows in November. The band united with Nancy's PHAZM for extensive European touring throughout February 2007. In May the group toured throughout Australia and New Zeeland supporting NILE . The band's next tour outing was to be the 'Summer Slaughter' trek across the USA throughout June and July, seeing NECROPHAGIST headlining on a mammoth package billing with BENEATH THE MASSACRE , CEPHALIC CARNAGE , CATTLE DECAPITATION , THE FACELESS , AS BLOOD RUNS BLACK , ARSIS and ION DISSONANCE . The band is ready for next tour attacks! Asia, North and South America and Europe!!!
Thy Art Is Murder is an Australian deathcore band from Blacktown, New South Wales (a suburb located in the city of Sydney). The band formed in 2006 and have released two EPs and two full-length albums and are currently signed to Distort in Canada and Nuclear Blast worldwide.
In 2004 while still in high school, Greta Morgan was a founding member of The Hush Sound and found herself on tour at sixteen opening for artists such as One Republic, Fall Out Boy, OK GO, and The All American Rejects.
"Springtime Carnivore was born on the night of a full moon in the summer of the year of the dragon. She is the seventh of twelve siblings. Her father was a painter and her mother baked wedding cakes. Her favorite color is turquoise. Her favorite food is purple Pez. In a past life she slept beneath the stars in far away Western places and died in a gun fight with Annie Oakley.
Following high school, Springtime Carnivore joined a traveling circus company. She was a talented and nimble acrobat but her career was cut short by a tragic tightrope accident. ???We had been traveling for days trying to maintain our schedule and we were all sick and tired and lonesome,??? she recently wrote in a letter to her fans. ???One night during a show in Twin Falls, Idaho, my energy was all used up and I made a misstep on the tightrope. Long story short, I fell three stories and broke my fibula.???
Although the tightrope incident killed Springtime???s big top dreams, it opened the door to another dormant aspiration. ???While my poor leg was healing I discovered an old piano in the attic of my great great grandma???s second???s cousin???s third husband???s house. I dusted it off, paid a blind man to tune it by ear and I???ve been playing ever since. Inside me were all these songs about all these things I???ve seen and all these places I???ve been. Just came pouring out like tears."
The result of Springtime???s latent piano passions can be heard on this first release from the young songstress. Brought to you by LebensStrasse. Available all places cool discs are sold."
The Kickback immediately enters the front ranks of contemporary rock ???n??? roll with WEDDINGS & FUNERALS (Jullian Records), a furious, exhilarating, and deeply emotional collection that somehow captures all of the shared experiences that bring us together ??? joy and sorrow, unity and separation, love and hate, life its own self. Produced by Dennis Herring (Modest Mouse, Elvis Costello, WAVVES), the album sees singer-songwriter Billy Yost rending his chest to bare his own dark heart while grappling with intense personal trauma. Set against an inventive bed of infinite guitars, grizzled bass, and slippery rhythms, songs like ???Latest Obsession??? and ???False Jeopardy??? are personally cathartic but also painfully universal, Yost???s heartbreak as identifiable and real as any of our own.
???I found out I was getting divorced,??? Yost says. ???It was really unexpected. I got to a pretty bleak place initially. I don???t know what I???d have done without the ability to try and cope with things through music. I wouldn???t care to ever make a record this way again, but I also know it???s the best group of songs this band has been able to make.???
The Kickback was founded in Yost???s hometown of Vermillion, South Dakota, and then rebooted in Chicago to include guitarist Jonny Ifergan and bassist Daniel Leu. The band made their bones with a series of self-released EPs and electrifying live set before recording their 2015 debut album, SORRY ALL OVER THE PLACE, with Spoon???s Jim Eno behind the board. The collection earned pervasive acclaim for its sharp wit and expert use of pop cultural ephemera on songs such as ???Sting???s Teacher Years??? (in part inspired by Yost???s own extracurricular career as a high school substitute). Like any rock ???n??? roll band worth its salt, The Kickback toured hard, lighting it up at countless headline shows, festival showcases, and gigs alongside such diverse outfits as Here We Go Magic, Manic Street Preachers, Miracle Legion, Tokyo Police Club, and Bush.
Yost relocated once again when his wife entered graduate school at Penn State but continued to be dead focused on pushing The Kickback forward. Yost admits his perspective on the long relationship was clouded by drive and ambition, leaving him totally blindsided when his wife dropped the axe.
???We were in South Dakota,??? Yost says. ???The band was playing my best friend from college???s wedding. I found out I was getting divorced about an hour before I had to give my best man speech. I pretended like everything was okay and then went numb for about a year.???
Yost moved into a friend???s basement office where he spent a month ???staring at the walls??? before getting back to work. ???I Taste My Own Blood,??? a musical open vein marked by its candid chorus ???I lost my love in central Pennsylvania/And heard about it in South Dakota,??? was followed by a long stream of ???really sad rock ???n??? roll songs,??? all demoed on Garageband.
???The album is grieving in real-time,??? Yost says. ???Every song was a hopeless negotiation of trying to talk my way back into her life.???
The Kickback eventually resumed their never-ending tour, a cross-country trek that saw them playing a gig just three blocks from Dennis Herring???s Los Angeles studio. A fan of Modest Mouse and other Herring productions while growing up in rural South Dakota, Yost first met Herring on July 3rd 2012 when the nascent frontman took a Greyhound from his new home of Chicago to the producer???s studio in Oxford, MS.
???I played him my songs and he said, great, we???re going to make a record together,??? Yost says. ???He was right, only it turned out to be our second record, not the first.???
Herring came down to see The Kickback and was simultaneously moved and impressed by the band???s ferocity and Yost???s obvious angst.
???Dennis said, you???re playing like you???ve got nothing to live for,??? Yost says. ???I thought that was a dig but he meant it as a compliment. It took a while, he said, but I think now???s the time for us to make this happen.???
The Kickback set to work at Herring???s dtla recording in December 2016. Herring ??? ???one of the last great diabolical madmen of the studio,??? according to Yost ??? was admittedly not the easiest collaborator. The veteran producer had but one simple goal, to record all of The Kickback???s raw power and affecting energy, and he was determined to get there by any means necessary.
???Dennis knows how to get what he wants,??? Yost says, ???and that???s more than just his recording aesthetic. We clashed a lot. I was looking for perfect, in a colder, more cerebral kind of way. Dennis doesn???t care if you???re in tune or if you???re technically correct. He just wants to feel it. So I???m grateful for having somebody push back that way.???
Despite ??? or perhaps due to ??? their discord, Herring enabled The Kickback to find ???a sound we???d been chasing for a very long time.??? Tracks like ???Reptile Fund??? are imaginative, widescreen, and dirty, built around hip-hop inspired rhythms, ugly bass tones, and layers of unprecedented acoustic guitar.
???If you had told me two years ago that our next record would be full of acoustic guitars I would???ve punched you in the face and spit on you twice,??? Yost says. ???It took me a really long time to let go of the things I loved, but when you kill your idols that???s when you find your own voice.???
???A one-sided view of someone trying to work through a divorce,??? according to Yost, WEDDINGS & FUNERALS marks a great acceleration in more than simply sonics. Songs like ???Dating Around??? and ???Pale King??? are more literal than The Kickback???s earlier work and all the more potent for it, Yost???s existential turmoil forcing him to write from the gut rather than his head, reducing the popcraft and wordplay to find the sweet spot between those two aspects of his persona.
???Our first record had songs about professional wrestling and Twin Peaks,??? Yost says. ???Our second one is just this totally unharbored grieving process. You write what you???re going through.???
The Kickback is now poised to tour in support of WEDDINGS & FUNERALS, joined on drums by Yost???s brother Danny. The band is somehow more raw and unhinged on stage than ever before, like the album, an ideal vessel for Yost to unleash his still-roiling internal angst. Confrontational, aching, and fraught with palpable pain and apprehension, WEDDINGS & FUNERALS is as powerful and pure as modern rock ???n??? roll gets, the striking sound of a gifted artist???s primal scream howled into the abyss with no hope on the horizon.
???Being a divorcee before 30 was not something I saw coming,??? Billy Yost says. ???I'm still a fucking mess. I still have my ex-wife's name tattooed on my chest. I still hate myself for every right decision I made for the band that ruined my marriage??? and I would do it again.???
Listen to LoveJoys, the sophomore release from Seattle, WA???s Pickwick, and you???ll hear a band that has pushed aside external pressures and expectations, overcome internal demons, and plugged directly into their own creative center. Slinky, sinewy, and articulate, the record pulses with a palpable confidence. Hypnotically intricate, just-right sonic ornamentation shimmers around a thick, undulating bed of propulsive rhythm. Submit willfully, give yourself over to Pickwick???s practiced ministrations, and you???ll find yourself exhausted and deeply satisfied, slick with a sheen of glitter and sweat.
Following the breakout success of 2013???s self-released Can???t Talk Medicine (which WXPN lauded for its ???wonderfully engaging lo-fi rock and soul???) the band found themselves on national tours with Neko Case and Black Joe Lewis, performing on the main stage of the Sasquatch Music Festival, headlining the Capitol Hill Block Party, and performing alongside with the Seattle Symphony. They holed up to begin work on what was to be the follow up release, and things got complicated.
As the band was forty songs into writing a pop R&B record, they became deeply unsatisfied with the direction the music was taking. Tensions boiled over, and they lost a member in 2016. Walking away from a mountain of music, the group was able to tap into the joy of writing for themselves. ???We rediscovered what we do best by not overthinking what we make, and learned to love the process of creating again??? relates vocalist Galen Disston. ???LoveJoys is a specific type of euphoria,??? says drummer Alex Westcoat ???a liberating feeling of inspiration that can only be achieved through the sacrifice of one's own ambition. It is the shedding of expectations; an uninhibited escape into a world of child-like infatuation and wonder.???
After an intense three month writing session the band ??? Disston, Westcoat, guitarist Michael Parker, bassist Garrett Parker, and keyboardist Cassady Lillstrom - turned to producer Erik Blood (Shabazz Palaces, Tacocat and Moondoggies) for guidance in putting the music to tape. ???We are huge fans of his, and a mutual friend made the introduction??? says Disston. ???Erik requested we go out to drinks together every couple weeks for a four month period; he wanted to get to know us before we got too deep into working together. The first time he came to a practice I kept my back to him the whole time because I was intimidated, and after we'd played him all our demos, he picked them apart and pushed us into a new and better sound.???
LoveJoys was recorded at "Chemical X" and "Black Space" (February - May 2016), Blood???s studios in the basement of the old Rainier Brewery building in Seattle. It features performances from: Tendai Maraire (Shabazz Palaces), Sean T. Lane, Marquetta Miller (Breaks and Swells), Taryn Rene Dorsey, and the Black Space???s in-house horns and strings - Alina To (Passenger String Quartet) and Jeremy Shaskus (Breaks and Swells).
Written in the midst of personal and political turmoil, lyrically and sonically LoveJoys became an escape somehow, a place for the band to purge all their deepest concerns while somehow also being relieved of them. LoveJoys embodies the relationship between inspired creativity and the use of escapism as a way of getting there. Like little fossilized explorations of his own greatest fears and anxieties, Disston???s lyrics bury themselves into the band's bright new sonic landscape, both contradicting their collective fantasy and reminding them of why they chose to construct it in the first place. ???This record is an escape toward love and joy in the face of uncertainty??? says Westcoat. It's a sonic sanctuary built from unrestrained creativity, and a potent tonic; undiluted joyful creativity, guaranteed to transport the listener to a place of ecstatic release.
??? In Ronnie Baker Brooks??? powerhouse hands, blues-rock never sounded so outrageous. Soul never sounded so delicious. And the blues never sounded so profound??? one of today???s top live performers?????? ???Art Tipaldi, Blues Revue
On the first day recording Times Have Changed ??? the eleven-track album from Chicago bluesman Ronnie Baker Brooks that brings a sound so big it could topple a Louisiana juke joint ??? industry-revered album producer and drummer Steve Jordan told Brooks to put his pedal board back in the van. For the first time in his professional life, Brooks, the son of Texas and Chicago blues legend Lonnie ???Guitar Jr.??? Brooks, would plug a Gibson into TKTK amp and rip it straight from there.
???Back to the basics. The pedals get in the way of your tone ??? your natural tone. Any distortion I had came straight out of the amp,??? Brooks remembers from the Times sessions. ???It was almost like going to college, or grad school. It was definitely an education.???
Brooks, 49, likes to treat each album he makes as a platform for him to grow, but the reality is that he???s been climbing the blues world???s latter all his life. He was born in Chicago, and started playing guitar around age six. At 19, he joined his father, who by then had influenced some of the most well-known bluesman of our history: Jimmy Reed, the Fabulous Thunderbirds, Johnny Winter, and Junior Wells. For 12 years the two would tour together, putting Ronnie out front with Eric Clapton, B.B. King, Buddy Guy, and Koko Taylor. In 1998, when he was 32, his father told him to go solo.
Baker already had a band by then, one he???d been touring on the side with since 1992. But by 1998 he???d started a label; that year he made his first album, Golddigger, 16 songs tracked out in two weeks. ???My dad always said to keep writing, even if you don???t think the song sounds great or you can???t finish it,??? says Baker. ???Write. Continue to write. The more you write, the better you get.??? Take Me Witcha came three years later; his second album on Watchdog Records. Brooks broke out as his own champion on 2006???s The Torch. The Boston Herald called it ???ferocious and unrelenting ??? the year???s best blues album.???
In the ten years since The Torch, Brooks has started a family, toured North America and Europe, and taken feature spots on the records of other bluesmen. He produced Eddy Clearwater???s West Side Strut and contributed guitar work to albums from Elvin Bishop, the Legendary Rhythm & Blues Review, Billy Branch, and Big Head Todd.
Times Have Changed, Brooks??? first album in ten years, carries with it the weight of grown perspective and time spent perfecting old material. Brooks worked it with Steve Jordan, whose work runs from Keith Richard to Stevie Wonder, John Mayer and Eric Clapton. With that comes a lesson in rhythm and blues history. Brooks refers to the director as ???a walking encyclopedia of music detail and equipment,??? a professor through which Brooks could take that next developmental step. ???Once we got the ball rolling, my confidence went higher and higher,??? he says. ???I???m a better musician for this experience.???
The experience Brooks is talking about is that which came together over the course of a few weeks at Royal Studios in Memphis, the home of Al Green, Syl Johnson, Bobby ???Blue??? Bland, and O.V. Wright, whose 1974 hit ???Blind, Crippled, and Crazy??? gets a facelift on Times Have Changed. Jordan and Brooks brought in a mint press of Memphis music royalty: Stax Records staple Steve Cropper (Booker T. & the M.G.???s, Otis Redding, Sam & Dave), Archie Turner (Al Green, Syl Johnson, O.V. Wright), jazz saxophonist Lannie McMillan, and R&B icon Angie Stone.
???We used the same mics that Al Green used on his record,??? says Brooks. ???Matter of fact, we were using much of the same band! It kind of took that vibe.??? The first track recorded was a cover of Curtis Mayfield???s Superfly hit ???Give Me Your Love.??? The second, ???Twine Time,??? the instrumental jam from Alvin Cash.
???To be honest with you, when Steve said ???Man, we need an instrumental,??? the first person I thought of was Freddie King. Steve wanted something more appealing to all people, not just guitar players. He said ???What about ???Twine Time??????? I said, ???Is he serious???? Yeah, ???Twine Time.??? But that song was a key to this album.Man, that just lit the fire for this record. It became one of the funnest tracks we did.???
Times also comes laden with original hits. Five of the eleven tracks were penned by Brooks. Raised on others??? music, he???s always considered the songwriting process to be as sacred. ???It???s like having a baby,??? he says. ???You see it come to live. Once you play it live, it grows even more. That was the most fun part of it, for me: the creative side. Coming up with a song people can relate to, and you relate to, it just snowballs. It???s almost like therapy for me. Like the song ???Times Have Changed???: I wrote that song years ago. I sent Steve my songs and he picked that one. It???s kind of timeless. Every day something???s changing. Now, when I play it live, you can see the effect of it. Initially, it was just an idea: just a riff. Now, this song has influence on people. We were just in Europe this year, after the bombing in Brussels. And we???re playing Brussels. I played that song; people were in tears. It helped them heal.???
It???s on that title track that Brooks brandishes what may be his finest songwriting talent: the ability to humanize social issues and unite different voices into one cohesive thought. That???s no more evident than in the latter stages of the song, in which Brooks deploys his longtime friend, Memphis??? Al Kapone, to drop 32 bars on what the future holds for our people.
???My whole intention, when I started with Golddigger and up through this one, was to be authentic enough for the older generation but have something that the younger generation could latch onto,??? says Brooks. ???I try to be that bridge. With Take Me Witcha, I???ve got a rapper on that. On The Torch we went with Al. He???s a bridge. He???s a bridge from blues to hip-hop. With music, it all comes from the heart. It comes from the heart and from the soul. It blues, it doesn???t matter what you???re talking about, it definitely relates.
???That was my intention on this record: to build that bridge.???
Jason Richardson (born July 30, 1991) is an American guitarist. He is best known as the former guitarist of All Shall Perish, Born of Osiris, and Chelsea Grin. His playing style is known to be extremely fast and technical. He is currently a sponsored artist of Ernie Ball Music Man.
In 2016, Richardson released his debut solo album produced by Taylor Larson. The album featured The Word Alive drummer Luke Holland and Veil of Maya bassist Danny Hauser as a members. Along with Holland and Hauser, the album had many guest appearances from the likes of Periphery's Mark Holcomb & Spencer Sotelo, Vocalist Lukas Magyar of Veil of Maya, and Jeff Loomis.
In 2017, he embarked on his first tour as a solo act with instrumental, progressive metal band Polyphia and math rock band Covet.
Another New Year, and new shapes are forming ??? if only we are fortunate enough to notice them! As we spin through this world, we are witness to all manner of combinations unfolding before us ??? familiar arcs and breaking waves alike, upon all of which it is our choice, our chance and our challenge, to possibly ride. Find Me Finding You, the new album from the new organization called the Laetitia Sadier Source Ensemble, manages to strike new chords while touching familiar keys in the song of life.
From its percolating opening beat, Find Me Finding Youlocates new systems within the sound-universe of Laetitia Sadier. This in itself isn???t a surprise ??? Laetitia has relentlessly followed her music through different dynamics and into a variety of dimensions over the course of four solo albums since 2010 (not to forget her three albums with Monade and the long era of Stereolab) ??? but the nature of the construction here stands distinctly apart from her recent albums. Laetitia was inspired by a mind???s-eye envisaging of geometric forms and their possible permutations. As she sought to replicate the shapes in music, this guided the process of assembly for the album.
Part of the freshness of Find Me Finding You comes from working and playing within the Source Ensemble and exploring new sound combinations via a set of youthful and evolving musical relationships. Laetitia recognized the energy of the tracks in their initial form, and sought to preserve their vitality by not retaking too many performances ??? instead, the rawness in the tracks was retained and refined at the mixing stage, maintaining an edge throughout. When we hear synth lines diving, lifting and drifting, unusual guitar textures, the plucked sound of flat wound bass strings or the bottomless pulsing of bass pedals stepping out of the mix with an exquisite vibrancy, this is the sound of the Source Ensemble.
A key to Laetitia???s music is her use of vocal arrangements. Throughout Finding Me Finding You, the shifting accompaniment creates space to bring this element gloriously forward. Arranged by Laetitia with Joe Watson and Jeff Parker making string charts that were subsequently transposed to vocal parts for several songs, richly arranged choirs of voices provide depth along with the thrilling presence of extra breath in the sound. Laetitia???s community-politic is well-served by the groups of voices lending support to the machining of the song craft, providing additional uplift to her quintessentially for-ward-facing viewpoint ??? as well as massed voices from three different countries sharing space in harmony!
Working in collaboration is Laetita???s traditions, and a key to this album???s view on being free together (it is necessary, prefer-able and right!). The designation of Source Collective implies a new togetherness phase; alongside long-time collaborators Emmanuel Mario and Xavi Munoz, keyboard and flutes parts played by David Thayer (Little Tornados) were essential contributions, as well as further keys, synths and electronics from Phil M FU and several intense guitar sequences from Mason le Long. Chris A Cummings (aka Marker Starling, Laetitia???s favorite composer) graciously wrote ???Deep Background??? for her. The duet with Hot Chip???s Alexis Taylor on ???Love Captive??? (not to mention Rob Mazurek???s distinctive coronet playing!) gives voice to an ideological cornerstone of Find Me Finding You ??? that, should we be responsible enough to endeavor into a world of basic incomes and open relationships, we would make astonishing strides as a society. These sorts of things can only be done in agreement with others.
Expressing great compassion and expectation with startling immediacy, as well as an abiding belief in an underlying unity that permeates and intimately binds all things and beings, Find Me Finding You combines a rigorous process for music-making with a deeply invested mindset, making captivating music that promises many stimulating spins to come!
Crucialfest is back! This year, we are transforming The Gateway into a multi-stage outdoor venue, complete with food trucks and a variety of experience rooms???including events like film showings, art galleries, markets, and more! This will also be the first year of Crucialfest as a truly multi-genre festival.
The main event will be happening September 2nd & 3rd. The main event is ALL AGES. We will also be hosting 4 days of nighttime events Aug 31 - Sept 3rd at both Urban Lounge & Metro Music Hall that are 21+.
There will be a limited amount of discounted early-bird tickets available the first week. General admission prices increase at the general on-sale.
-VIP inclues premier stage viewing in our VIP Lounge at the main festival, along with entry into all of the nighttime events at Metro Music Hall and Urban Lounge, Aug 31-Sep 3.
-4-Day pass includes entry to the festival as well as all of the nighttime events at Metro Music Hall and Urban Lounge, Aug 31-Sep 3.
-2-Day pass includes entry into both days of the main event only, Sep 2nd & 3rd.
Sponsored by Coors, Wasatch / Squatters, Red Bull, Graywhale, KRCL, CityWeekly, Duffy's Tavern, Black Harbor, and Roc Doc
"What I really resent most about people sticking labels on you is that it cuts off all the other elements of what you are because it can only deal with black and white..." Siouxie Sioux
I have been playing in bands since I was 16 years old. When we were 15, my sister Jessica and I started going to punk shows every weekend in LA to see the likes of the Adolescents, the Dickies, X, TSOL. We were obsessed with the Slits, Blondie, Siouxie and the Banshees. One weekend we went to see F Minus at the Glasshouse. It was during their set when Jessie and I decided to start a band. That week we learned to play guitar and have been playing punk music since. Currently I am the singer, one of the guitar players, and songwriter for Bleached, a punk band from the San Fernando Valley. We are releasing a new EP on March 3, 2016 titled Can You Deal? After 5 straight months of touring, there was an energy in our band playing together that we wanted to try and capture in the studio. We recorded these songs in a 3 week break from touring when we felt like we needed to keep moving. After spending months working on the last record, we wanted to go back to the process of recording quickly, capturing the energy we were experiencing on stage. Alex Newport produced and mixed them with us. The songs are raw. The recordings are too. Just how we wanted them.
Last year we released a full length album titled Welcome The Worms which was a deeply personal record. It was a record about being in and getting out of an emotionally abusive relationship. It was a record about getting spun out on drugs and alcohol. It was a record about totally losing myself in order to find myself. It was also our most ambitious body of work yet, with guitar work and guitar sounds and production we had only dreamed of until then. And yet to this day I am still fielding interview questions that have more to do with my gender than with the art I am creating. Somehow the conversation usually derails into some variation of the following question: "What is it like to be a girl in a rock band?" What does one want from this question? It is a lazy question, is it not? What does me being in a band have to do with my gender? The question is asked with a feigned surprise that women can play well, play loud, make records, and tour as if it has not been happening for years. There is a sense of novelty to a girl playing guitar and making rock music. There is an element of surprise that we are females and being interviewed about the music we make...as women.
Here is my answer to your question. Being girl in a band is no different than being a girl in any field. We have people consistently pointing out our gender as if it relates to our ability to do our job. Our gender is pointed out in nearly all coverage of what we do as if it was integral to understanding our band. Labeling me as a woman in a band just puts me in a box, and doesn't allow everything else I am to be seen and heard. My band is labeled as a "girl band" or a "female fronted" band. Why the necessity to differentiate? Is it a warning? Women have been playing rock music for decades. When does the novelty wear off? The labeling is reductive. And does not (and has not) done us any favors. When can my band simply be labeled as "a punk band"?
I create music and art because I need to. To express, to bond, to reconcile, and to connect. And to use my voice. To have it received with such a generic filter and off hand labeling is insulting. The title track to this EP, "Can You Deal?" is about this experience. "You know that it's me, Who Else Could I Be? Don't You See?"
Can You Deal? is for every girl out there who is sick of every male sound engineer telling them what they think is right for their set up. Can You Deal? is for every girl who has been told that "girl bands are in right now" by an A&R guy. Can You Deal? is for any girl mulling over press photos knowing their band will be picked apart before someone even listens to the music. Can You Deal? is for everyone who can stop referring to my band as "female fronted." It is for everyone who can stop feigning surprise every time a woman plugs in and plays well, or gets behind the drums, or has the sickest bass style. It is 2017. Can You Deal Yet? I look forward to speaking to you about the music.
-Jennifer Clavin, Bleached