Very (very!) Excited to deliver the Very Instant and memorable first single to radio from duo Foreign Air—sunny, breath of fresh air “Everything Is Good Now” should creep immediately into you brain and set up residence awhile! The band’s out on a headline tour this spring (see our tour page).

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

Listen: Foreign Air – “Everything Is Good Now”

Foreign Air – “Everything Is Good Now”

“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 upcoming third album “ADULT” (out 4/26). “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”

Following up the recent #1 SubModern Specialty Single “Satellite”, The Get Up Kids offer up the Next preview from their forthcoming album “Problems” (their first in 8 Years!)—“The Problem Is Me” is Live Now, and is a one listen exploration of embracing your own romantic dysfunction.

Following up TGUK’s triumphant return to SXSW last month, 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’s “Kicker” 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”

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)

Cincinnati, OH’s collaborative ElectroPop trio Passeport unveil their first single And video combo to radio this week–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)

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”

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)

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”

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”

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 – “Tree House”

Cinders – “Tree House”