Currents

  • Marika Hackman

    Marika Hackman

    Any Human Friend

    Rock provocateur Marika Hackman returns with melodic earworm “i’m not where you are” which shows off a sharper and more liberated sound than ever before. The track was co-produced by Marika and David Wrench (Frank Ocean, The xx), and is about breaking up with people, or self-sabotaging relationships” Marika explains. “That feeling of not trusting one’s emotions because you can’t seem to get to the same place as the other person.  On the surface, it seems like an arrogant everybody falls in love with me” kind of song but its actually incredibly lonely, introspective and self-deprecating”

     

    “i’m not where you are” fits into a wider narrative, in which the process of writing was cathartic and – as the best songwriters do – she has strengthened her own voice through the process, exploring herself and emerging with a widescreen, heavy-hitting new sound.

     

    Marika has deployed synthesizers that recall the off-kilter, oddball hits of OMD or New Order and places them at the heart of “i’m not where you are.” For all the urgency of the backing music, Marika’s natural delivery and sensuous tone offers a dreamlike quality to the proceedings and allows her to look within to find answers that make sense outside.

     

    Hackman is a Rid of Me-era PJ Harvey for the inclusive generation: unbounded by musical genre, a preternatural lyricist and tunesmith who isn’t afraid to go there. She really found her footing with her sophomore release, “I’m Not Your Man”—which earned raves from The GuardianStereogum, and Pitchfork—and its sybaritic, swaggering hit “Boyfriend,” which boasts of seducing away a straight guy’s girlfriend. Marika’s new sound sees her dive into herself, peeling back the skin further and further, exposing herself in a big way, creating something for people to react to.

     

    Having recently teased new music at the BBC 6 Music festival, Marika is gearing up to an exciting year of touring. More news to come.

    Listen: Marika Hackman – “i’m not where you are”

    Marika Hackman – “i’m not where you are”

  • Kyle Craft & Showboat Honey

    Kyle Craft & Showboat Honey

    Showboat Honey

    Kyle Craft & Showboat Honey’s lead single off the upcoming “Showboat Honey” (out 7/12) is “2 Ugly 4 NY” and the video below stars the bandleader as ‘Hobo Grimm’, a skeleton-faced busker.

     

    Craft says in the video he was “aiming to snag that “day in the life” feel, following old Hobo Grim around downtown tryin’ to make the illusive busker’s dollar and then heading off into the night to blow it.”

     

    “Showboat Honey” was recorded and produced by Kyle Craft, Kevin Clark, and Billy Slater at their own Moonbase Studios in Portland over 2018. The album was mixed by Trevor Spencer (Father John Misty) and mastered by April Golden at Golden Mastering.

    Listen: Kyle Craft & Showboat Honey – “2 Ugly 4 NY”

    Kyle Craft & Showboat Honey – “2 Ugly 4 NY”

  • Foreign Air

    Foreign Air

    “Wake Me Up”

    Coming off a successful, and in Most cases sold out headlining Spring tour, Brooklyn duo Foreign Air follow up their sun-soaked last single to radio  “Everything Is Good Now” with their Next reveal off their upcoming album, and in the unequivocal feel-good, drum-driven anthem that is “Wake Me Up.”

     

    Jesse Clasen and Jacob Michael are ready to get inside of your minds. The duo call themselves Foreign Air and are a different breed from all the other acts that are out there. The two currently split their time between New York (Clasen) and Washington DC (Michael) – initially establishing their friendship while playing in different bands.

     

    “One night, I watched Jesse perform and I was really intrigued by his voice and some of the stuff he was doing. We kept in touch and got to know each other over the years. We became really good friends.” Jesse followed up by saying, “With Jacob, we played just one show and it went really well. We kept in contact with each other. Over the years, it just developed into a friendship. We shared music online through Dropbox. Whenever I was in D.C. playing with different bands, he would come and hang out. Whenever he was around my area we would go to shows together. Sleep on each other’s couches. This project just kind of happened.”

     

    “Transcendent Indie-Rock-Meets-Electronica with a penchant for forceful guitars and haunting vocals.”—Billboard

     

    + Spins On SiriusXM’s ALT Nation

    + Spins On Beats 1 (Zane Lowe & Ebro)

    + Top Tier Apple Playlists (A-List Alt, Breaking Alt, Indie Anthems, 2.2Mil + streams)

    + Top Tier Spotify Playlists (Indie Pop, Feel-Good Indie Rock, Ultimate Indie, 1.2Mil + monthly listeners)

    + 146K Shazam Followers

    + 1.1Mil Pandora Spins

    Listen: Foreign Air – “Wake Me Up”

    Foreign Air – “Wake Me Up”

  • The Get Up Kids

    The Get Up Kids

    Problems

    Following up the recent #1 SubModern Specialty Single “Satellite”, The Get Up Kids offer up “The Problem Is Me” from their new album “Problems” (their first in 8 Years!). “The Problem Is Me” is an exploration of embracing your own romantic dysfunction.

     

    Following up TGUK’s triumphant return to SXSW, you can See Our Tour Page for a full itinerary for a set of newly announced upcoming dates (more to come!).

     

    “The song is about a friend’s second divorce and about taking responsibility in a relationship. For me, the song is about self care. Acknowledging personal faults and trying to work on them.”—Matt Pryor/TGUK

     

    “Problems,” The Get Up Kids‘ sixth studio album, was recorded with Grammy award-winning producer Peter Katis, best known for his lasting work with The National and Interpol, and more recently Kurt Vile’s latest. Peter was an old friend of the band’s, dating back to when he was the assistant engineer on “On A Wire” (2002). The band wrote most of these songs during last year’sKicker” EP cycle, building on the band’s newfound mission statement of leaning into your strengths. The result is one of their most inspired albums to date, a true return to form and will go down as one of their finest efforts.

     

    “The track’s punchy and precise, a wave of keys and stumbling momentum.”—Stereogum

     

    “the punchy, punky sound of their classic 1999 album Something To Write Home About but revising it and adding in the maturity that’s inevitable after 20 more years of age and experience.”—Brooklyn Vegan

    Listen: The Get Up Kids – “The Problem Is Me”

    The Get Up Kids – “The Problem Is Me”

  • Fat White Family

    Fat White Family

    Serfs Up!

    Seven years into a career defined by collapsing masculinity, Celtic mysticism, provocation, eroticism, wanton violence, joy, radical empathy, narcissism, hog-like indulgence, personality defects and a fondness for both extreme left and right-wing aesthetics – and some of the best musical performances the UK has ever witnessed – South London-spawned Fat White Family return, clean(ish) and serene(ish).

     

    “Serfs Up!” could be called a career-defining moment, were the Fat Whites – always a drug band with a rock problem – to ever have considered this a career. It’s not. It’s so much more. It’s struggle. It’s survival. Potential, finally, has been realised, the odds have been defied, and the Fat White Family’s greatness can no longer be denied.

     

    At the close of 2016 celebrating their largest headline show at the Brixton Academy after four years of touring, FWF were running on fumes. They were just about held together by singer Lias Saoudi who had led, Rommel-like, from day one. Despite hinting at a more streamlined direction on the motoric death disco of “Whitest Boy On The Beach” (chosen by Danny Boyle to feature on ‘T2 Trainspotting’), their second album “Songs For Our Mothers” was the product of psychically-incinerated, part-feral men, an undernourished musical morass described by the band at the time as “going to the extremes.”

     

    With the smoke now cleared and the battlefield-free of casualties, FWF now re-emerge triumphant. The results on “Serfs Up!” offer something utterly sensual. It’s a lush and masterful work, lascivious and personal. Tropical, sympathetic and grandiose. It invites the listener in rather than repel them through willful abrasion. FWF have broken previous default patterns of behavior, and as such their third album heralds a new day dawning for a new world.

     

    Where once they soundtracked a grubby Britain of vape shops, defrosted dinners and blackened tin-foil, FWF now inhabit another cosmos entirely. “Serfs Up!” is the product of a band of outlaws reborn. Few but themselves could have forecast it: Fat White Family survived. Fat White Family got wise. Fat White Family got sophisticated.

    Listen: Fat White Family – “When I Leave” (radio edit)

    Fat White Family – “When I Leave” (radio edit)

  • Walker Lukens

    Walker Lukens

    Adult

    “For better or worse, I tried to make a record about how absurd it has felt to be alive over the past few years, that sounds like how it feels to build a life while the world you were promised changes,” says Walker Lukens, describing the broad premise behind his third album “ADULT”. “I also wanted to make a record that made people dance…so, here ya go.”

     

    Lukens took creative inspiration from work like Bob Dylan’s famously wide-ranging double LP “Blonde on Blonde” as well as Frank Ocean’s “Blonde” while writing and recording “ADULT”. “That, to me, is the trick – making something personal and political that doesn’t try to make sense of itself,” he says.

     

    “I’ve never wanted to be one of those songwriters who compartmentalizes what part of their lives comes out in their songs,” Lukens says. “I wanted to deal with Trump, and Charlottesville, and the ‘Me Too’ movement alongside things like breaking up and falling in love.”

     

    “ADULT” was produced by Jim Eno from Spoon.

     

    Walker Lukens has become well known for embracing contradiction, “blending genres and techniques” (Billboard) into an addictive sound that’s hard to pin down. NPR’s All Songs Considered described him as a “rhythmic sound effect master” who creates “curious, textured music.”

    Listen: Walker Lukens – “We See U”

    Walker Lukens – “We See U”

  • Wallows

    Wallows

    Nothing Happens

    Southern California trio Wallows quickly established themselves as a band to watch in 2018, and are Now poised for their biggest year yet with their debut album “Nothing Happens” on Atlantic Records. The lead single and video “Are You Bored Yet? (feat. Clairo)” is Live Now!

     

    Recorded at Los Angeles’ Sargent Studios, “Nothing Happens” sees Wallows reunited with Grammy award-winning producer John Congleton (St. Vincent, Alvvays, Future Islands) and captures the band’s journey towards adulthood through 11 intimate and introspective tracks.

     

    Wallows first glimpse into “Nothing Happens” is the lead single and trippy video for “Are You Bored Yet? (feat. Clairo),” with the band in a retro karaoke bar surrounded by friends and familiar faces, including special appearances by Noah Centineo (To All The Boys I’ve Loved Before, Sierra Burgess Is A Loser) and Brian Jones (Vampire Weekend, Human Natural), among others.

     

    Over the past year, Wallows released their debut EP “Spring”, amassed over 40 million career streams, sold out a headlining tour, played major festivals from Lollapalooza and Austin City Limits to Camp Flog Gnaw and Life is Beautiful, and made their TV debut on The Late Late Show with James Corden. Idolator named single “Pictures of Girls” one of their 100 Best Singles of 2018, declaring it “stood out like a sore thumb in 2018 for all the right reasons,” Stereogum called track “1980s Horror Film” an “openly melodic acoustic guitar ballad that gradually unfolds into a thing of beauty with some help from indie-world superproducer John Congleton.”

    Listen: Wallows – “Are You Bored Yet?” (feat. Clairo) (radio edit)

    Wallows – “Are You Bored Yet?” (feat. Clairo) (radio edit)

  • Cinders

    Cinders

    Looking Forward to Looking Back

    CINDERS’ rowdy acoustic pop is on full display during their first single to radio, with the feel-good energy of “Tree House” adhering itself immediately to your brain, Then setting up long term residence there.

     

    CINDERS’ indie vocals sit atop acoustic textures and catchy melodies, all delivered with the frenetic live energy you might only find at a punk show.

     

    ++ Added to Apple Music’s Breaking Alternative playlist ++

     

    “Looking Forward to Looking Back,” CINDERS’ newly released and ambitious sophomore full-length, comes with darker themes combined with an explosive energy, serving as a fitting juxtaposition to the breezy, care-free optimism of their self-titled debut.

     

    On the new album, CINDERS embodies the complexity of contradiction, yet never losing with the urgent, sing-along sense of wonder that makes the band a stand out. We couldn’t be more excited to deliver them to you first!

     

    The Salt Lake City, UT-based band formed in 2015 by high school buddies Jordan Zabriskie (Vocals / Acoustic Guitar), Montana Smith (Vocals / Electric Guitar), Adrian De La Cruz (Bass), and future friends Brad Bennett (Drums), and Austin Harris (Keyboard / Multi-instrumentalist), with Chelsey Powell (Saxophone / Vocals) completing the six-piece lineup in 2017.

    Listen: Cinders – “Sleep Walking”

    Cinders – “Sleep Walking”

  • Weyes Blood

    Weyes Blood

    Titanic Rising

    The New Weyes Blood single “Everyday” chronicles the chaos of modern love and dating, short attention spans, restlessness and the continuous crusade (and carnage) to find some kind of all-encompassing soul mate. The lead single comes from her upcoming fourth album and Sub Pop debut “Titanic Rising”the cover was shot in a bedroom submerged fully underwater (zero CGI!).

     

    “Titanic Rising,” written and recorded during the first half of 2018, is the culmination of three albums and many years of touring: stronger chops and ballsier decisions. It’s an achievement in transcendent vocals and levitating arrangements, conversational lyrics and thoughtful commentary on the modern condition of our souls.  Like the Kinks meet WWII (or is it Bob Seger meets Enya?) “Titanic Rising” manages to ride that line between classic songwriting and post-apocalyptic futurism.

     

    Weyes Blood has also scheduled an intergalactic headlining tour starting the spring of in support of the upcoming album, and which she’s dubbed the ’True Love Is Making A Comeback Tour 2019′ (see our Tours page!).

     

    “There are complicated influences mixed in with more relatable nostalgic melodies. In my mind, my music feels so big, a true production. I’m not a huge, popular artist, but I feel like one when I’m in the studio. But it’s never taking away from the music. I’m just making a bigger space for myself.”—Natalie Mering (aka Weyes Blood)

    Listen: Weyes Blood – “Everyday” (radio edit)

    Weyes Blood – “Everyday” (radio edit)

  • Rolling Blackouts Coastal Fever

    Rolling Blackouts Coastal Fever

    In The Capital/Read My Mind

    Following up a landmark 12 months for Rolling Blackouts Coastal Fever, who released their debut “Hope Downs” to worldwide acclaim, the Melbourne band reveal their new single “In The Capital”! It’s live digitally, has been released on a limited 7-inch alongside B-side “Read My Mind”.

     

    Rolling Blackouts C.F.’s Fran Keaney describes how “In the Capital” came together: “I first had the idea for the melody and some of the lyrics when I was swimming. It’s taken a while to finish the song, to make it feel like the initial feeling. I can’t neatly describe it, but something like connection despite distance. I was thinking about transience and water and death and big cities and fishing towns and moon river.”

     

    To celebrate the arrival of new music, Rolling Blackouts C.F. has extended their 2019 international tour schedule with newly added North American, UK, and European headlining shows and festival appearances, including Boston Calling, Governors Ball and Bonnaroo (see our tour page)!

    Listen: Rolling Blackouts Coastal Fever – “In The Capital”

    Rolling Blackouts Coastal Fever – “In The Capital”

  • Tacocat

    Tacocat

    This Mess Is A Place

    Following up their pair of Specialty Show #1’s (2 weeks in a row!) for “Grains Of Sand”, Tacocat unveil the next slice of heaven from their forthcoming Sub Pop debut and in “Hologram”!

     

    Tacocat’s upcoming “This Mess Is A Place” heralds a more pop-driven and ebullient direction for the band. “Just remember if you can, power is a hologram,” lead singer Emily Nokes intones on second single “Hologram”, which smuggles a discourse on power dynamics and the nature of reality inside of a candy-colored pop-rock coating.

     

    When Seattle band Tacocat first started in 2007, the world they were responding to was vastly different from the current Seattle scene of diverse voices they’ve helped foster. It was a world of house shows, booking DIY tours on MySpace, and writing funny, deliriously catchy feminist pop-punk songs when feminism was the quickest way to alienate yourself from the then-en vogue garage-rock bros.

     

    Their lyrical honesty, humor, and hit-making sensibilities have built the band a fiercely devoted fanbase over the years, one that has followed them from basements to dive bars to sold-out shows at the Showbox. Every step along the way has been a seamless progression—from silly songs about Tonya Harding and psychic cats to calling out catcallers and poking fun at entitled weekend-warrior tech jerks on their last two records on Hardly Art, 2014’s “NVM” and 2016’s “Lost Time”.

     

    “This Mess is a Place”, Tacocat’s fourth full-length and first on Sub Pop, finds the band waking up the morning after the 2016 election and figuring out how to respond to a new reality where evil isn’t hiding under the surface at all—it’s front and center, with new tragedies and civil rights assaults filling up the scroll of the newsfeed every day.

    Listen: Tacocat – “Hologram”

    Tacocat – “Hologram”

  • Passeport

    Passeport

    "Blood"

    Cincinnati, OH’s collaborative ElectroPop trio Passeport unveil their first single And video combo to radio–the grand and glorious “Blood”!

     

    Like many groups before them, Passeport’s Brian Davis (synth, producer), Mia Carruthers (vocalist, writer) and Benjamin Hines (writer, guitarist) met in playing in a different band in 2014. When that band fizzled out in 2016, they remained close friends and began to collaborate on songs from the ground up, a process they had never explored in their previous, more traditional group.

     

    The combination of their diverse musical backgrounds and sensibilities allowed them each to be challenged in new ways, as they wrote, produced and recorded together resulting an exciting and empowering collection of songs.

     

    Passeport made its debut with “On the Run,” a collaboration and feature performance with L.A. Electronic/Dance producer/DJ/artist NGHTMRE from his latest EP for Mad Decent, the label founded by Diplo. In 2019, they will release a series of singles leading to their debut EP released by Modern Outsider (coming later this year).

     

    Mia Carruthers is an alum of Cincinnati’s School for Creative and Performing Arts. Performing as a singer-songwriter since the age of twelve, she contributes vocal melodies, arrangements and lyrics as well as vocal performance. Benjamin Hines is an accomplished singer-songwriter and guitarist. In Passeport, he writes, composes and performs on guitar. Brian Davis, an Army veteran (82nd Airborne Division), is a composer, producer, keyboardist and bassist.

     

    “’Blood’ was the first song that we fully realized as a band. Our former drummer Sebastien Schultz (Twilight Sad), was playing the progression on electric (guitar) and it really spoke to us. Brian converted that progression to synth and the foundation came together in that session. We composed the rest of the song in pieces, as we would continue to do for all of the songs on the EP— until we hit a wall. That wall for ‘Blood’ turned into Ben’s intentionally extravagant guitar solo. We missed that in today’s music. The current popular structure is so fragmented and at times, diluted, that we wanted to do something flashy and indulgent — mostly to have people tell us it was wrong or stupid. It was a sonic middle finger. We were so charged by this new and collaborative way of writing that we abandoned some of the rules. It was exhilarating.”—Passeport

    Listen: Passeport – “Blood” (radio edit)

    Passeport – “Blood” (radio edit)

  • Sego

    Sego

    Sego Sucks

    Sego seems to get off on doing things one wouldn’t expect from an LA indie band today. Being proficient at their instruments instead of relying on computer tracks to play their new album “Sego Sucks” live, recording said album in a church in far away Canada in the winter, thus committing to the deliberate notion of an album more than an amalgamation of ‘laptop studio’ singles. And yes, chanting “USA, USA, USA” as the main reprise of a reflective tune about entitlement culture. One must ask why? Why take it there? Or one may not ask and instead bounce and bop their way through each energetic turn, just happy to have their blood pump a little faster than the “everything chill all the time” pace that we’ve all become accustomed to.

     

    And therein lies the trick of Sego. It’s a gosh-damn choose your own adventure story of music for adrenaline huffers and introspective socio-philosophical types alike. Not that the two are mutually exclusive.

     

    “What started out as a hashtag from some disgruntled audience member, ‘Sego Sucks’ ended up encapsulating the ethos behind this entire record.

     

    The more I give in to the modern temptation to generate opinions and clever commentary about everything swirling around me, the more I realize I’m not an authority on much of anything. It’s probably fine not to have an opinion on everything. It’s probably fine not to be liked by everyone all the time.” – Spencer Petersen/Sego

    Listen: Sego – “Neon Me Out”

    Sego – “Neon Me Out”

  • Calpurnia

    Calpurnia

    "Cell"

    Calpurnia are Back with “Cell,” the first new music since the release of their debut ” Scout EP”. Once again produced by Twin Peaks frontman Cadien Lake James and co-producer R. Andrew Hymphrey, and the track showcases a surprising amount of growth for the young band.

     

    The track was premiered on Matt Wilkinson’s Beats 1 show. Matt spoke of the band saying “They’ve got great spirit, Calpurnia. They’re a unit, a proper gang, and a complete package – it makes you want to believe in them!”

     

    “This song is about being taken advantage of in anyway,” says frontman Finn Wolfhard of the band’s new “Cell” single. “It was amazing working with Cadien and Andrew again and I’m really excited for everyone to hear it!”

     

    The video for “Cell” released today serves as a behind the scenes look at life on the road for the band. Guitarist Ayla Tesler-Mabe tells us “While on our first ever official American tour, we had the pleasure of being joined by the incredible Pooneh Ghana for our last two shows in Austin and Houston. She is easily one of the most prolific and talented photographers (and videographers!) on the music scene right now, and so we left it to her to capture the joy and adventure of packing all your bandmates into a single van and hitting the road.”

     

    Calpurnia recently made headlines starring in Weezer’s latest video for their cover of “Take On Me.” The video has already amassed more than 6 million streams with Rolling Stone writing “Wolfhard plays a young Rivers Cuomo, an aspiring rocker done-up with massive metalhead hair, who leads Calpurnia through Weezer’s rendition of “Take On Me” in the living room of his parents’ house. In a nod to a-ha’s famous music video, the clip jumps between live footage and intricate pencil animations of the band’s performance.”

     

    Calpurnia also have announced three shows in Colorado this Spring, in addition to playing several North American festivals this Summer including Shaky Knees, Governors Ball and Forecastle Festival as well as Fuji Rock in Japan.

    Listen: Calpurnia – “Cell”

    Calpurnia – “Cell”

  • Indoor Pets

    Indoor Pets

    Be Content

    Indoor Pets’ new album“Be Content” is Finally Here! The Kent, England band’s debut album is one seemingly full of a bottomless pool of Great Tunes, focused on familiar feelings of not fitting in or wanting to play the hand life’s dealt you, all delivered with self-deprecating wit and lead singer Jamie Glass’ trademark use of double-bluffing word play.

     

    “I feel like a black sheep a lot of the time,” notes Glass of his approach to writing songs. “The logic I had with songwriting was if I could reveal that in my songs and connect with other people who felt like that, then that will cure the feeling of being a black sheep. Everyone would be like ‘I’m a black sheep too! There’s thousands of us, we’re all loners!’ It nullifies the feeling of being a weirdo. Basically I’m just waiting for everyone to justify me being weird.”

     

    “Shining power pop melody and raucous indie punk”—Clash

     

    “a burst of fuzzed-out guitar riffs combined with soaring pop sensibilities”—DIY

     

    “The quartet deliver a giddy, memorable brand of power pop”—NOISEY/Vice

     

    “Indoor Pets pull out all the stops ensuring they pack in as many catchy hooks and jangly guitar riffs into the song as possible….a self-deprecating blast of refreshingly good fun on their exhilarating new offering”—The Line Of Best Fit

    Listen: Indoor Pets – “Good Enough”

    Indoor Pets – “Good Enough”

  • Grayshot

    Grayshot

    Surface

    Already a ‘Song Of The Day’ at The Current/KCMP, Minneapolis electropop duo Grayshot’s new single “Misinformation” comes from the newly released third album “Surface”.

     

    Grayshot is vocalist/guitarist/keyboardist Aaron and his brother, bassist Christian Ankrum, and on the instant sounding first single “Misinformation”, the band speaks to “the false sense of competence we get from our own perspective and our own worldview, that we fill with whatever informational source we subscribe to,” explains Aaron.

     

    A rare hybrid of indie depth & heart with larger-scale audience sound, Grayshot‘s approach to electropop is sharp and sleek. Whether the songs are more meditative (the R&B-inflected, John Hughes movie soundtrack-esque nod “Anthropomorphic”) or brisk and upbeat (the Killers-meets-New Order standout “Aerial”). “We’re chasing a feeling more than a sound a lot of times. The temperature in the room changes when you find the right thing,” Aaron says.

     

    Grayshot view the newly released “Surface” as a record focusing on communication and “the intense desire to be understood, and then also to understand everyone—especially your loved ones and the people around you—and to express the reality of what you feel in an accurate way.” That comes through in a song such as “Ordinary Love”—which takes the view that all kinds of love are unique and meaningful.

     

    “I don’t necessarily expect that our thoughts unite the world in understanding,” Aaron says. “But I think of it more as, ‘This is me working out in a succinct way the things that are pretty deeply rooted inside of me.’ Things are less scary when you know you’re not the only one afraid of them, or vice versa. Things are more joyful when you share it with someone.”

    Listen: Grayshot – “Misinformation”

    Grayshot – “Misinformation”

  • The Bright Light Social Hour

    The Bright Light Social Hour

    Jude Vol. 1

    “No matter how much research you put into figuring out who will be the hottest new artists of each year, another act comes into your vision with an output that absolutely blows you away. Today, that band is Austin, Texas’ The Bright Light Social Hour.”—Huffington Post

     

    The Bright Light Social Hour is out with “Jude, Vol. 1,” their third full-length album.  Produced by Chris Coady (Beach House, Yeah Yeah Yeahs, Slowdive), the deeply personal album was written after the passing of vocalist and multi-instrumentalist Jackie O’Brien’s brother Alex, the band’s longtime manager who struggled with bipolar disorder. “Jude, Vol. 1” is the full-length follow-up to 2015’s “Space Is Still The Place,” which spawned songs licensed for HBO, MTV, Fox, The CW, and NBC, and ultimately led to the band composing the theme song for Amazon’s series “Sneaky Pete.”

     

    Known for their incredible live shows, TBLSH is a mainstay on the festival circuit in addition to their own national and international touring, having played Lollapalooza, Hangout Festival, Sasquatch and of course Austin City Limits Fest, to name a handful.

    Listen: The Bright Light Social Hour – “Lie To Me (Große Lüge)”

    The Bright Light Social Hour – “Lie To Me (Große Lüge)”