• Minor Victories

    Minor Victories

    Minor Victories

    Minor Victories – the indie supergroup comprised of Mogwai’s Stuart Braithwaite, Slowdive’s Rachel Goswell, EditorsJustin Lockey and his brother James – will release their self-titled debut this summer. “Scattered Ashes (Song For Richard)” takes the band in a brighter direction and features James Graham of The Twilight Sad.


    Produced and engineered by Justin, and also featuring the likes of Mark Kozelek, “Minor Victories” began as Justin’s desire to create an extreme noise EP topped off by a delicate female vocals, which then became a cinematic 10-track LP, masterfully crafted by four band members who had somehow never even all been in the same room together until after the album was completed.


    Far more than a side project for its members, this record unveils the real essence of what a group of talented individuals unshackled by convention can attain. Brought together by brief meetings, mutual acquaintances and overall serendipity, Minor Victories created this album together by swapping ideas, songs, fragments and finished recordings via broadband connections. This unusual process, combined with the members’ wide spectrum of musical tastes and experiences converging, ultimately led to something beyond the original vision of any of the contributors that pushes new boundaries and new sounds into uncharted waters.


    “a track that weaves together the atmospheric, shoegazing sound of the band members’ other outfits.”–Rolling Stone


    “Minor Victories is an album to anticipate breathlessly.”–Stereogum


    “The tired old ‘supergroup’ concept finally has more potential to be super…Minor Victories synth-pop is stylishly dusky, with lush orchestral touches, motorik persistence, and a closing guitar cacophony.”–Pitchfork


    “moody and atmospheric and entirely beautiful.”–NPR (All Songs Considered)

    Listen: Minor Victories – “Scattered Ashes” (Song For Richard)

    Minor Victories – “Scattered Ashes” (Song For Richard)

  • Weaves

    In a little over two short years, Weaves has gone from a collection of voice memos on Jasmyn Burke’s iPhone, to establishing themselves as one of the most stridently individual acts to emerge from Toronto’s multifaceted DIY scene. Led by the collaborative efforts of Burke and Morgan Waters, Weaves has built a devoted audience while capturing the attention of international media with a brain of ebullient, art-damaged pop music, as difficult to categorize as it is to ignore.


    Weaves has been working on their debut album almost since forming in late 2013, and the self-titled result (out 6/17)  is an album that traverses the band’s history, exploring every facet of their always adventurous approach to pop music and leaving no idea unexplored. Filled beyond bursting with hooks and possibilities, Weaves is the sound of a band propelled forward by the thrill of discovering the limits of their sound and gleefully pushing past them.


    “‘One More’ is a harebrained avalanche of guitars that intensify with every new part of the song”–Pitchfork


    “Weaves are f*cking wild”–Stereogum (Band To Watch)


    “A Toronto-based foursome who bend pop tropes as if they’re made of Silly Putty”–Rolling Stone


    “Quirky, loud and mysterious, four amazing a downright fascinating players”–NPR


    “The construction is cerebral, but the songs come across as uproarious.”–NY Times


    “somewhere between Pixies and Pavement. They have the fierce power of the former and the quirky singularity of the latter. Arch and angular, their music has a crazed energy”–The Guardian (UK)


    “Rarely does a band excite us the way Toronto’s Weaves have in recent years”–NME

    Listen: Weaves – “One More”

    Weaves – “One More”

  • Ladyhawke


    Wild Things

    Ladyhawke‘s first single and video off the upcoming “Wild Things” (out 6/3), is album opener “A Love Song,  and it’s a sweeping, reverberating revelation. “‘This is what a love song sounds like’–meaning it’s not all sappy,” Pip Brown (aka Ladyhawke) explains.


    “People wonder why there’s always a massive gap between my albums,” says Brown (better known as Ladyhawke), the one-woman synth-pop act from New Zealand. “I’ve never released anything I’m not proud of. That’s important to me. I don’t want to release anything that I have a weird feeling about.”


    Brown worked on the album on and off over the course of a year–“day here, a day there”–with producer Tommy English (Børns, Robert DeLong), whom she met through her L.A. neighbor, tattoo artist/musician Kat Von D.



    “wonderfully upbeat and infectious” –NYLON


    “marries power-pop hooks, stuttering synths and 80s sparkle.” –NOISEY


    “As tight and catchy as a baseball mitt.” –BBC MUSIC


    “Strange and lovely synth-pop creature Ladyhawke has descended upon us once more…” –-IDOLATOR


    “Full of charisma and personality.” –ALL MUSIC


    “a CHVRCHES-nodding triumph that sends her straight into another stratosphere.” –DIY MAG

    Listen: Ladyhawke – “A Love Song” (radio edit)

    Ladyhawke – A Love Song (radio edit)

  • Seratones


    Get Gone

    Led by powerhouse frontwoman A.J. Haynes, whose thunderous vocals recall the grit of Janis Joplin and the gospel of Mavis Staples. Seratones’ debut “Get Gone” is out May 6th, and one of the best rock records you will hear this year.


    Haynes’ powerful voice, first honed at Brownsville Baptist Church in Columbia, LA at age 6, rings across every track. Adam Davis’ bass and Jesse Gabriel’s drums propel every song with the grit, energy and rawness of punk, the feeling of soul and occasionally a little jazz swing. While Connor Davis offers a clinic in guitar riffs, from swaggering blues to searing interstellar leads.


    “‘Chandelier’ is a southern gothic garage rock jam that will have you buying a leather jacket and dreaming of the summer…Everything’s coming up Seratones.”–NOISEY


    “Shreveport, LA’s Seratones is a kick-ass rock band that has all the stage presence in the world.”–NPR


    “…tears at the soul with sharp teeth.”–Consequence Of Sound


    “…right in the Southern rock wheelhouse…equal parts swagger and aggression.”–Stereogum

    Listen: Seratones – “Chandelier”

    Seratones – “Chandelier”

  • Yung


    A Youthful Dream

    For Yung frontman Mikkel Holm Silkjær, a Danish DIY figurehead who has left a catalog of cassettes and self-produced songs in his wake, the goal seemed to be recording, and living, as fast as possible.


    Since a teenager writing and performing songs filled with gritty guitar and driving rhythms that snap like a live wire, Silkjær has been busy channeling the electric drive of youth, creating brief, flashing sonic portraits of his life in Aarhus, Denmark’s gritty, industrial second city.


    That makes the music on the reflective “A Youthful Dream“, the debut album from Yung, such a revelation. Angst makes space for wisdom, youthful exuberance begins channeling road-tested experience, and a blur of basement shows and self-produced bromides becomes something more. DIY doesn’t mean unrefined in this case, it just means personal.



    “incessantly catchy, furious, and melodic punk”–Stereogum


    “one of the most catchy, yet furious groups we’ve come across since discovering music made with guitars could be as infectious as the pop songs we heard on the radio as small, innocent, wide-eyed children.”–NOISEY/Vice


    “Yung’s music is a space of duality: innocence & experience, beauty & pain, darkness & light”–NPR


    “A dreamy pop-punk lament of a heavily Rx-ed lifestyle.”–THE FADER

    Listen: Yung – “Pills”

    Yung – “Pills”

  • The Claypool Lennon Delirium

    The Claypool Lennon Delirium

    Monolith Of Phobos

    Two worlds have collided, and what glorious and odd worlds they are! From the minds of Les Claypool and Sean Lennon comes The Claypool Lennon Delirium, whose “Cricket and the Genie” is the first slice off the upcoming “Monolith Of Phobos” (out 6/3)!


    After Primus and The Ghost Of A Saber Tooth Tiger completed a successful summer tour, Messrs Claypool and Lennon decided to combine their abstract talents into a project called The Claypool Lennon Delirium. Their efforts thus far have spawned the upcoming full-length “Monolith Of Phobos”. Out June 3rd, the album takes listeners on a stimulating psychedelic journey through the cosmos.


    “Sean is a music mutant after my own heart,” says Claypool. “He definitely reflects his genetics–not just the sensibilities of his dad but also the abstract perspective and unique approach of his mother. It makes for a glorious freak stew.”


    In astronomical terms, the Monolith Of Phobos is a large rock on Mars’ Phobos moon. As the phrase implies, this album is a psychedelic space rock record. The Claypool Lennon Delirium will begin their summer tour on 6/4, including dates at Bonnaroo and Outside Lands. In addition to Les and Sean, the touring band includes Mark “Money Mark” Ramos Nishita of Beastie Boys (keys) and Paul Baldi of the Fungi Band (drums).

    Listen: The Claypool Lennon Delirium – “The Cricket and The Genie” (Movement I, The Delirium)

    The Claypool Lennon Delirium – “The Cricket and The Genie” (Movement I, The Delirium)

  • Fear Of Men

    Fear Of Men

    Fall Forever

    Brighton, England’s Fear Of Men take off in a bold and modern direction on their upcoming “Fall Forever” (out 6/3), pushing the limits of their instruments to take on new sounds and forms.


    After extensively touring in support of their acclaimed debut album “Loom”, Fear Of Men decamped in the early months of 2015 to an outbuilding of a disused abattoir in rural Kent, England to begin work on new material and determined to strip their sound back to the bone and build it up to make an album that would, on their live return, make the stage shake.


    Twisting together sounds and influences from a variety of genres, Fear Of Men have created their own version of a dark and modern pop record. Extending upon the themes of “Loom”, Jessica Weiss puts forth her own voice, rather than hiding behind metaphor or references.


    A vocalist who has proved herself adept at conveying a kaleidoscope of emotions in just a few lines, Weiss juxtaposes the resultant feelings of independence and self-determination with ruminations of reliance and intimacy.


    “pulsing synthesizers and a ghostly choir of harmonies enveloping even the corners of the song.”–NPR “Songs We Love”


    “a gorgeous and resolute assertion of self from Jessica Weiss and her bandmates.”–Stereogum


    “an announcement of independence set to a ringing guitar line and frenetic drums”–PASTE


    “finds the band’s sense of delicate dynamics still in fine form, with an E-bow’d guitar line snaking through the whole song.”–Brooklyn Vegan


    “the beautiful, defiantly bittersweet first single from one of our most anticipated albums of the year”–Gorilla Vs Bear

    Listen: Fear Of Men – “Trauma”

    Fear Of Men – “Trauma”

  • Caveman


    Otero War

    Caveman‘s upcoming summer release “Otero War” is the band’s third album and delivers the most mature And at the same time Fun music from the the New Yorkers to date.


    You can only go so far on cool points alone. Since Caveman first formed in 2010 they’ve claimed a spot for themselves at the center of the New York music scene, become in-demand DJs, toured the world (sharing stages with Weezer, The War On Drugs, Jeff Tweedy) and gotten love from everyone from Pitchfork to the New York Times. Now the band is aiming higher.


    Caveman is done being an indie rock band playing for indie rock fans alone. They have their sights set on bigger goals, so on their third time around they made their biggest-sounding album yet.


    This is a whole new Caveman: The songs are stronger and more spacious, with carefully constructed melodies and a more judicious use of four-part harmonies and washes of synthesizer, leaving more room for frontman Matthew Iwanusa’s instantly memorable vocals and lyrics.


    “bright synths and rhythmic guitar strums elevate a melodic vocal and hook that will be stuck in your head for the rest of the day. It seems Caveman are coming into their own; I think we are in for a treat with ‘Otero War'”–Stereogum


    “an optimistic, anthemic jam called ‘Never Going Back’ that contains shades of Springsteen”–FADER


    “The heady, emotional song tugs at nostalgia while also asserting itself as a clear tour de force for the group.”–Billboard

    Listen: “Never Going Back”

    Caveman – “Never Going Back”

  • Wild Beasts

    Wild Beasts

    Boy King

    Wild Beasts announce their forthcoming new album “Boy King” (out 8/5) containing the band’s most direct and vital collection of songs to date!


    Where 2014’s “Present Tense” found Wild Beasts in a reflective mood, absorbing a fascination with online culture and electronic music, the upcoming “Boy King” has them, as Tom Fleming puts it, “back to being pissed off”. The quartet’s ever-present knack for sensual melody via Hayden Thorpe and Fleming’s dueting vocals, Ben Little’s sinuous guitar groove and Chris Talbot’s potent rhythm section carries in “Boy King” an aggressive, snarling and priapic beast that delves into the dark side of masculinity and Thorpe’s own psyche.


    Wild Beasts’ “Boy King” took the East London band to Dallas with a collection of songs for sessions with producer John Congleton (St. Vincent, The War On Drugs). Both Thorpe and Fleming credit that trip to Texas with teasing out the raw power of “Boy King.”


    “a swaggering cut laced with Thorpe’s sleek falsetto”–Consequence Of Sound


    “raw, industrial funk”–Pitchfork


    “a vibrant, pulsating dance track”–Stereogum


    “sparse drums, angrily fuzzed synths…It offers raunch, but a grit and angst too.”–NOISEY/Vice

    Listen: Wild Beasts – “Get My Bang” (radio edit)

    Wild Beasts – “Get My Bang” (radio edit)

  • White Lung

    White Lung


    Boasting their smartest, brightest songwriting yet, White Lung return with “Paradise”!


    For the making of “Paradise”, vocalist Mish Barber-Way, guitarist Kenneth William and drummer Anne-Marie Vassiliou reconnected in Los Angeles to work with producer Lars Stalfors (HEALTH, Cold War Kids). In October of 2015, White Lung spent a month in the studio, working closely with Stalfors to challenge what could be done with their songs.


    Bringing all the energy, unique guitar work and lyrical prowess the band are known for to the studio, White Lung curated their songs with a new pop sensibility, focusing in on making a record for the present – “I wanted a record that sounded like it was made in 2016”, said William.


    “I can’t think of another band that sounds like you guys….I can’t wait to be in the pit.”–St. Vincent’s Annie Clark


    “exquisite layers of guitar perfectly colliding over punishing drums and plenty of crashing cymbals…Hell yes. Welcome back, White Lung!”–Stereogum


    “one of their most purely pop choruses yet…always-thrilling guitar parts have a bit of shoegaze tinge this time around, and Mish Way shouts a little less but has as much charisma as ever.”–Brooklyn Vegan

    Listen: “Hungry”

    White Lung – “Hungry”

  • The Monkees

    The Monkees

    Good Times!

    The Monkees’ “GOOD TIMES!” is the band’s first new album in nearly 20 Years!



    Much like The Monkees’ early albums, “GOOD TIMES!” features tracks written specifically for the band by some of the world’s most gifted songwriters, including Rivers Cuomo of Weezer (“She Makes Me Laugh”), Ben Gibbard of Death Cab For Cutie (“Me & Magdalena”), Andy Partridge of XTC (“You Bring The Summer”) as well as a song co-written by Noel Gallagher of Oasis and Paul Weller of The Jam (“Birth Of An Accidental Hipster”).



    All three surviving band members (Mickey Dolenz, Michael Nesmith and Peter Tork) have written new songs for the album as well as provide vocals and play on the album. The unmistakable voice of the late Davy Jones is also included with a vintage vocal on the Neil Diamond-penned “Love To Love”.



    To produce the album the band found the perfect co-conspirator in Grammy and Emmy-winning songwriter Adam Schlesinger of Fountains Of Wayne.



    “I’m super stoked to be writing a song for The Monkees. I’ve always identified with their musical aesthetic–the chord changes and melodies.”–Rivers Cuomo

    Listen: The Monkees – “She Makes Me Laugh”

    The Monkees – “She Makes Me Laugh”

  • Black Pistol Fire

    Black Pistol Fire

    Don't Wake The Riot

    Black Pistol Fire – the high-octane rock duo based out of Austin, TX by way of Toronto, Canada, is back with “Bad Blood” – the New single and first-taster off the upcoming album, “Don’t Wake The Riot.” (out 5/20!)


    With Kevin McKeown on guitar/lead vocals and Eric Owen on drums, Black Pistol Fire‘s gritty and dynamic performances are fueled by an undeniable musicianship. Quickly becoming festival veterans, BPF have performed at Lollapalooza, Austin City Limits, Bonnaroo, Sasquatch, Shaky Knees and Governor’s Ball, among others.


    BPF have also shared the stage with acts as diverse as Gary Clark Jr., Weezer, Wolfmother, and Band Of Skulls while their signature sound has been featured throughout television and entertainment outlets at large since inception.


    “Sleep on these guys at your own risk, because what they did to BMI on Friday afternoon was unholy….leaving a trail of scorched earth and melted minds.”–Consequence Of Sound (at last year’s Lollapalooza)


    “The next big thing!”–Huff Post


    “Impossible to resist.”–Interview Magazine


    “definitely displayed force-and then some-in a breakout set.”–YAHOO Music

    Listen: Black Pistol Fire – “Bad Blood”

    Black Pistol Fire – “Bad Blood”

  • The Kills

    The Kills

    Ash & Ice

    The Kills Are BACK, and at their emotionally charged, arresting best on their 5th album “Ash & Ice” (out June 3rd).


    The follow up to 2011’s critically lauded “Blood Pressures” and was five years in the making in part due to Jamie Hince’s five hand surgeries, which resulted in him having to re-learn how to play guitar with a permanently damaged finger.


    It was during Hince’s recuperation from surgery that he first started sketching out what would become songs for the new album. To shake up the writing process, Hince booked a solo trip on the infamous Trans-Siberian Express for inspiration, while Alison Mosshart, now residing in Nashville, wrote some of the most affecting, poetically candid lyrics that she ever has, painting word pictures that mine the dangerous terrain between romantic obsession, prophecy and tough love.


    “a slick-but-spartan throb with some chattering synths and a big, elemental riff”–Stereogum


    “a slinking, popping blues rocker that pulsates along thumping bass and bubbling mellotron notes.”–Consequence Of Sound

    Listen: “Doing It To Death” (radio edit)

    The Kills – “Doing It To Death” (radio edit)

  • Twin Peaks
    twin peaks down in heaven

    Twin Peaks

    Down In Heaven

    “Walk To The One You Love” is the First single off the highly anticipated third album from from Chicago garage rock wunderkinds Twin Peaks. A brash reminder of what made their 2014 release so charming, and brave.


    “definitely more professional….easily the cleanest Twin Peaks record yet, courtesy of veteran mixer John Agnello, whose previous work with laid-back indie shredders Kurt Vile and Dino Jr. make him a natural fit for the band.”–SPIN


    “acts like Twin Peaks are a revelation….an outfit in it for all the right reasons….They continuously manage to evoke the spirit of youthful innocence”–NME


    “honed in on some of the poppier elements of their sound…scratchy vocals and dusty grooving rock”–Consequence Of Sound


    “an approachable piece of nowtimes garage pop….the band currently at the peak of their powers and popularity, this should be a Top 10 of the year nominee.”–CMJ

    Listen: “Butterfly”

    Twin Peaks – “Butterfly”

  • Eagulls



    If Eagulls’ self-titled debut album was the surging adrenalin of a young band funnelling all their energies into their opening statement to the world, then “Ullages” is the result of them pausing for breath, reflecting, pondering ‘where next’ and then doing it all again, set on creating an altogether different record.


    When you see a band stroll up to the podium to beat the likes of Arcade Fire, Lilly Allen and Pharrell to a major prize at the NME awards or take the David Letterman show by storm the same night Bill Murray is a guest, the in-built cynical response is to presume that what you’re seeing is the result of yet another well-oiled, major label-funded, buzz band being churned through the mechanisms of the music industry. These are not scenarios necessarily synonymous with a hardworking independent band with staunch DIY ethics that are from Leeds. However, such was the success of Eagulls and their incendiary self-titled debut album, that this is where they found themselves in the wake of that release in 2014.


    Having spent a few years filling basements, sweatboxes and a plethora of venues throughout the country, they found themselves catapulted – with the full support of both mainstream and independent press and radio – to playing all over the world, taking in prominent festivals throughout ‘14-‘15 such as Coachella, Latitude, Field Day, Leeds & Reading, Bestival and numerous others, as well as acquiring – often hand-picked – major support slots for bands such as the Manic Street Preachers, The Jesus & Mary Chain, Suede, Franz Ferdinand, The War on Drugs, Ride and more.


    Whilst their debut album was a juggernaut of a record, often moving at breakneck speed and intensity, it was also a deeply melodic one, one that underneath the heady fuzz and gushing charge of the guitars laid a band with just as many pop leanings as they had punk. It’s these moments that have been brought to the surface on the new record: dense, deeply textured explorations that recall the shimmering opulence of the Cocteau Twins and the ominous gloom of Disintegration / Pornography-era The Cure.


    “There was an idea around the release of the first album that we’re these rowdy lads and we’re not, we’re just into making music.” Says guitarist Mark Goldsworthy, adding “We just wanted to make music that had ups and downs, not one sort of beat, something different but that follows on from the first record. More dynamic, more thoughtful.”


    “Ullages” an exercise in texture and ultimately proof that if Eagulls wanted to make straight up, fist-pumping euphoric guitar music, they could do so with their eyes closed – on “Ullages” they are stretching, and reaching, for something much higher.

    Listen: “Skipping” (radio edit)

    Eagulls – “Skipping” (radio edit)




    After a string of North American sold-out headlining shows, and having recently played their Biggest US Show to date during the Coachella weekends, Sydney, Australia’s RÜFÜS DU SOL have come full circle with “Bloom”‘s lead single to radio “You Were Right”.


    The past 12 months have been good to RÜFÜS DU SOL. The band has had no less than 3 tracks included in Aussie radio Triple J’s Hottest 100, played on multiple sold out tours around the world, won an ARIA award and Gold selling album back home And of course released their sophomore full-length “Bloom”.


    “Like their fellow Aussies Cut Copy before them, RÜFÜS DU SOL have managed to strike that perfect balance between melodic pop music and propulsive dance music, existing in this phantom zone that few other acts can straddle so naturally.”–NYLON

    Listen: RÜFÜS DU SOL – “You Were Right” (radio edit)

    RÜFÜS DU SOL – “You Were Right” (radio edit)