Wallows

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 (out 3/22). 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?” (radio edit)

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

Sego

Sego

Sego

Sego Sucks

Sego are Back (!) and the LA via Provo, UT band’s instantly irresistible thumper “Shame” has perfectly partnered this addictive new single with an eye-popping, Fantastic new video, which’ll garner repeated viewings from you as well (trust us!).

 

Sego’s 2nd long player “Sego Sucks” (out 4/5) is woven with the changes of becoming a four-piece band. Originally Spencer Petersen and Thomas Carroll, the band added members Alyssa Davey on bass and Brandon McBride on guitars and keys in 2018.

 

The sound became more focused, but the raucous spirit that has kept people sweating since the beginning is just as tangible and as long-time fans this end, dare I say, primal as ever. You are gonna love it!

 

“balances heavy energies with bright, pointed instrumentation and hammered percussion. The dichotomous push-pull of the track’s sound reflects the uncertain confidence of the lyrics: ‘I don’t really know what else I could say/ But I don’t even know anything anyway/ I don’t really know where I went wrong/ Banging on my head but I’m already numb.'” – Consequence of Sound

Listen: Sego – “Shame”

Sego – “Shame”

Weyes Blood

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” (out 4/5)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)

Tacocat

Tacocat

Tacocat

This Mess Is A Place

Seattle’s Tacocat are set to release their sparkly Sub Pop debut “This Mess Is A Place” (out 5/3), and we’ve pulled for you the first single And video off it, “Grains Of Salt”—an ode for “remembering who the f*ck you are”!

 

Tacocat’s upcoming album heralds a more pop-driven and ebullient direction for the band, and the new music video for “Grains Of Salt” features a variety of Seattle’s finest drag performers.

 

Of the track, lead singer Emily Nokes explains, “This song is for roller skating, friendship, self friendship, yes and no doubt, turning it off, running up and down that hill, leaving gross stuff behind, landing the backflip, imposter syndrome, being your own genie, and remembering who the f*ck you are.”

 

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 – “Grains Of Salt” (radio edit)

Tacocat – “Grains Of Salt” (radio edit)

Grayshot

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”

Perfect Son

Perfect Son

Perfect Son

Cast

Polish artist Perfect Son (aka Tobiasz Biliński) is set to release his debut album Cast” on February 15th, 2019. The 10 track album, which features the lead single “It’s For Life,” was co-produced by Biliński and Marcin Buźniak at Axis Audio in Warsaw, with additional production from Jeff Zeigler at Uniform Recording in Philadelphia, and mixed/mastered by Buźniak.

 

Perfect Son is Sub Pop’s first Polish artist, the result of an extended interest in Biliński’s work and the country itself from label co-founder Jonathan Poneman. Several years ago, Biliński applied to play at South by Southwest as Coldair.  Poneman saw his performance, and was impressed. The two stayed in touch, with Poneman eventually signing Coldair to a publishing deal. “I bugged him about releasing my stuff constantly,” Biliński admits with a laugh. “And I guess he admired my persistence.”

 

On “It’s For Life,” Biliński’s soft falsetto and arching melodies are embedded in a world of enormous drums, pounded piano, and blown-out bass. The lyric video for the song (below), was co-directed by Biliński and his wife Anna Mayer-Bilińska, and shot in his hometown of Sopot, and in Warsaw, where he now resides.

Listen: Perfect Son – “It’s For Life” (radio edit)

Perfect Son – “It’s For Life” (radio edit)

Lion

Lion

Lion

Lion

The first time LION (aka Beth Lowen) sang in public, a woman she didn’t know approached her. “You sound like you’ve smoked 20 cigarettes,” she told her, “and drunk a bottle of whisky.” Given that Beth was 10-years-old and unsurprisingly had done nothing of the sort, she started to cry. “I thought that was a bad thing,” she recalls, laughing. “And my parents were like, ‘No, no! That’s good!”

 

Nowadays, Lowen embraces the ferocious, Janis Joplin-esque rasp of her voice. In fact, it’s one of the reasons she chose to adopt the name LION. “Someone said I sound like a lion,” she explains, “Also, everyone says I have lion hair, and ‘Löwen’ means lions in German.” Still, declaring herself deserving of such a fierce moniker wasn’t something that came easily. “I didn’t mention it to anybody for months,” she admits. “It’s a big statement, it’s pretty extreme. But I was looking at people like Lorde, and I was like, that’s f*cking cool. And then I was like, f*ck it. So now it’s Lion.” The stage name never feels more apt than it does when LION performs live. Her husky but powerful voice, already so potent on record, is unleashed to its full, roaring potential, as she jitters a little behind the mic, bathed in red light.

 

Lowen doesn’t make music than can be easily compared or categorized. Each song differs from the next – though there’s one thing she hopes they all manage to achieve. “I hope people feel something,” she says, “like I do when I’m playing it. Take what you want from it, but feel. I want to make boys cry.”

 

+ BBC RADIO 1 — Introducing Track Of The Week (“Fiction”)

 

+ 6MUSIC – Steve Lamacq’s ‘Recommends’ (“Fiction”)

 

+ Amazon Music UK ‘Best New Band of 2018’

 

+ 1 Mil + Worldwide Stream

 

+ 100K = Total Video Views

 

+ Executive Produced by Linda Perry (Adele, Courtney Love, Pink)

Listen: Lion – “Fiction” (clean edit)

Lion – “Fiction” (clean edit)

Fat White Family

Fat White Family

Fat White Family

Serfs Up

Perhaps the world’s last dangerous band, South London’s Fat White Family have stormed the palace, ceased the throne, and on their upcoming third album And Domino debut “Serfs Up!” (4/19), embark on their imperial phase as overlords of a kingdom of their own making. It’s the most gratifying and unexpected creative about-face in living musical memory, and we couldn’t be more thrilled to deliver first single “Feet” first out of the gate.

 

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, FWFnow 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 – “Feet” (radio edit)

Fat White Family – “Feet” (radio edit)

The Bright Light Social Hour

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 will release “Jude, Vol. 1,” their third full-length album, on February 1st.  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)”

Moving Panoramas

Moving Panoramas

Moving Panoramas

In Two

Warm and spacey, loud yet still light, painting panoramic sound against a moving melodic backdrop, Austin, TX’s Moving Panoramas are back with a dream rock-tastic New Single off their upcoming album that’s out next month and in “ADD Heart”!

 

Moving Panoramas break the shell of “One” veritably “In Two” with the new record, expanding room for more diversity, rhythm, volume, instrumentation such as the swimmy pedal steel, plus special guests Matthew Caws of Nada Surf, Sabrina Ellis of A Giant Dog/Sweet Spirit, and past Panoramas Karen Skloss, Jolie Flink, and Laura Colwell. Over the years, the band’s lineup featured a moving cast of magical busy talent, but has luckily landed on the incredibly solid current “In Two” crew with Cara Tillman, Jordan Rivell, Jody Suarez, and Phil McJunkins.

 

The Austin Chronicle describes MP as, “Conjuring a big yet intimate sound reminiscent of Nineties output from Brit indie 4AD.” Pop Matters compares the music to Dum Dum Girls, Best Coast, and The Aislers Set saying, “Austin-based band Moving Panoramas waste no time creating a niche for themselves within that style…” NPR’s Songs We Love says, “The ingredients and the sentiment might be simple, but the outcome is disarmingly complex.” KCRW’s Today’s Top Tune says, “Moving Panoramas have been honing an expansive sound that is rooted in slithering guitar-work and crisp vocals.” Brooklyn Vegan says, “Austin’s Moving Panoramas make hazy psych pop with the kind of intricate harmonies that instantly elevate things a couple inches off the ground.” The Guardian (UK) New Band of the Week says, “They’re in Warpaint’s ballpark, or Best Coast’s hazy dream pop territory, and are most likely to make Theresa Wayman and co jealous.”

Listen: Moving Panoramas – “ADD Heart”

Moving Panoramas – “ADD Heart”