Monday, January 15, 2018

The Most Outrageous Rock Fails of All Time!

 Let's Face It...Even The Best Bands Make Total Bone Head Moves! This week Lou and Lily discuss some of their Picks For Rock's Biggest Fails of all times? They also discuss your picks from our recent Facebook post. All of this plus some great hard and heavy rock to blow your doors off!  Featured Loudini Artists:    PRYM  Cloud Catcher   Firewind
















PRYM
https://www.prymmusic.com/
elease Date
February 7, 2017

Genre
Rock

Hometown
Nashville

Record Label
Mathilda's Choice

About
Come play at the masquerade.





Cloud Catcher
https://cloud-catcher.bandcamp.com/
"With its gnarly odes to voodoo children and celestial empresses, Trails of Kozmic Dust finds Colorado’s Cloud Catcher settling further into their swampy, vintage sound. These eight slices of bluesy psych-rock capture heavy metal at its most classic. With a record store’s worth of riffs at his disposal, vocalist and guitarist Rory Rummings’ extended solos—equal parts cosmic grandeur and classic rock worship—are the record’s highlight. The whole album serves as a reminder that space might represent our projections of the future, but it’s been there long before any of us. “We’ll leave this world far behind/Believer in ancient times,” Rummings sings optimistically in closing track “Righteous Ruler.” And just like that, the great unknown feels a bit more familiar." - PITCHFORK 

"Trails of Kozmic Dust feels like the output of a band that’s survived decades (and multiple musical trends) together, yet it’s only Cloud Catcher’s second album since forming in 2013. They already get it. Clearly, the next step should be a co-headlining tour with Earthless to completely disintegrate what’s left of our brains." - INVISIBLE ORANGES

Current Location
Denver, CO

Booking agent
cloudcatcherco@gmail.com

Firewind
http://firewind.gr/
Time to wake the sleeping giant...
It’s been four years since Firewind released their critically acclaimed seventh album ‘Few Against Many’ but in that time the band and it’s various members have all been extremely busy. Main man Gus G. has released not one, but two solo albums, toured in support of both of them and hit the road once again with the ‘Prince of Darkness’, Ozzy Osbourne. His fellow Firewind band mates have also been far from idle too; but despite the prolonged break in activities Firewind was always going to return and 2016 will see the band back and blasting on all cylinders!
The band will return with live activities and a new singer. Henning Basse, a long time friend and collaborator of Gus’ is the man trusted to bring Firewind back to the masses. His rich, classic rock referencing vocals are the perfect foil for the wealth of material the band have been working on and he brings a reinvigorated power to the band.
Firewind return with a string of dates throughout 2016 as they prepare their brand new studio album.

Influences
Black Sabbath, Thin Lizzy, Iron Maiden, Judas Priest, Scorpions, Dream Theater, Gary Moore, Metallica and many more!

Press contact
Nasrin Vahdani (Europe / Rest of the World) | nasrin.vahdani@centurymedia.de

Booking agent
(Europe, Asia): LuckyBob Music Management: lucky@luckybob.de

(Greece, Cyprus, Bulgaria inquiries only): Elias Aravidis elias_aravidis@yahoo.com

(North America) 
First Row Talent - John Finnberg | firstrowtalent@aol.com

Sunday, January 14, 2018

Jefferson Angell Picks Up the Pieces after Tragedy and takes his Walking Papers on the Road

Jefferson Angell – Vocals, Guitar
Barrett Martin – Drums, Vibes, Percussion, Backing Vocals
Duff McKagan – Bass
Benjamin Anderson – Keyboards, Backing Vocals

Put up or shut up. It’s a mantra many rock bands of today tend to give great lip service to, but often fail to deliver the goods to back up their lofty claims. The hard-rocking Seattle quartet Walking Papers knows exactly how to forge the sounds that back up everything they want to be as a vibrant creative entity. “There’s no excuse to not be great anymore,” believes WP frontman, guitarist/vocalist Jefferson Angell. “Everyone now has access to everything related to music, right at their fingertips — every recorded sound, endless lessons for kids to learn every guitar lick, and the very foundation of music and where it all comes from. In a weird way, I think that raises the bar for what artists need to do with their own work.”





Indeed, Walking Papers have upped the sonic ante with the lucky 13 tracks put forth on their aptly dubbed second album WP2, which is set for release on January 19, 2018 from Loud & Proud Records. Once again deploying the in-sync production handiwork of mixmasters Jack Endino (Soundgarden, Nirvana, Mudhoney) and Martin Feveyear (Mark Lanegan, Kings of Leon, Queens of the Stone Age), and mastered by Chris Hanzsek, WP2 builds on the promising template of the band’s self-titled 2013 debut, which featured deeply impactful tracks like “The Whole World’s Watching” and “Capital T.” WP2 brings the band into their wholly ascendant second phase with aurally galvanizing statements like the fuzztastic footstomper “Death on the Lips,” the anthemic buildup of “Red & White,” and the delicate yet forceful declarative shuffle of “Don’t Owe Me Nothin’.”

Perhaps the Walking Papers band manifesto is best described via a few key lines from “My Luck Pushed Back,” the driven opening-track dirge that kicks off the whole WP2 ride: “The truth is somewhere in the middle/Yeah, that’s why I prefer the edge.” Angell very much agrees, noting, “I try to incorporate a sense of sarcasm and humility into my songs and the characters who reside in them to show how ridiculous people can be sometimes. But at the same time, in some of those songs, I can be who I want to be in society — a considerate, compassionate, empathetic human being. But not always!” he adds with a hearty laugh.

The true secret sauce of Walking Papers lies within the push-pull collaborative connection between Angell and drummer Barrett Martin (Screaming Trees, Mad Season, and 2017 Latin Grammy award winning producer). “Barrett and I sometimes come at things from different directions,” Angell admits. “There’s some creative tension, sure, but the music benefits from it. If you have an idea and you’re not willing to fight for it, then maybe it’s not that good of an idea in the first place. In our band, everybody has a lot of good ideas that we’re all willing to fight for. Sometimes it’s painful, but at the end of the day, we all feel really good about what we’ve accomplished together.”

Standing one’s ground while in the studio leads to ultimately better song results. “People aren’t shy in this band about letting the others know their opinions, that’s for sure — but that’s also why I think the music we all came up with here is that good,” Angell continues. “There’s a lot of collaboration on the album, but not a lot of compromise. If it’s art, it should reflect a vision that’s taken as far as it can be in order to satisfy that vision. For a song to have made it to the final album, it had to pass a pretty rigid test from the other three people in the band to get there.”

Of course, having a low-end impresario like Duff McKagan (Guns N’ Roses, Velvet Revolver) handling the bass duties doesn’t hurt either. “He’s got so much going on with his other legendary successes that he certainly didn’t have to keep working with us,” Angell concedes. “But I think our grassroots approach inspired him, and reminded him why he got into playing rock ‘n’ roll in the first place. And that in turn inspired us to up our game and keep coming up with better and better material. It’s because of all those things that I think we created something here that’s really special. In a way, I feel like divine intervention stepped in, rather than it being just my personal creation.”

Angell also has a deep respect for keyboardist Benjamin Anderson. “Ben is like the George Harrison of the band,” he clarifies. “He won’t bring in 15 separate ideas, but the ones he does present to us really stand out. He’s an incredible, thoughtful musician.”

The vocalist/guitarist says he’s much more interested in harnessing the impact a fully realized album can have on listeners. “Music is a linear artform, but nowadays, there are those people who just want to come up with that quick fix — and that level of desperation is a repulsive cologne,” Angell observes. “They’re trying so hard to cram everything into those first 30 seconds to get people’s attention, but I think something gets lost at that point. It’s more repellant than it is an invitation. I definitely feel pressured by that sometimes, but I also feel music needs time to spread out and be what it wants to be. The music we’re making is for people who want to take the time to get into a record and give it the time it needs to percolate. We’re not about delivering high-fructose content to chase after those short-term radio hits that ultimately just disappear.”

Angell is willing to acknowledge that sometimes, when you’re in the business of making music, “good enough” is, well, not good enough. “As artists, you should be trying to create new things, and once you do that, you want to move on and try something else,” the songwriter notes. “If you’re merely re-creating something, then you’re just turning out a product. And that’s not what we do.”

Drummer Barrett Martin, a Latin Grammy-Award winning producer who recently won for Nando Reis’ album, Jardiim-Pomar in the Best Portuguese Language Rock Or Alternative Album adds, “This new Walking Papers album reflects the three years we spent on the road throughout Europe, North America, and Australia. It shows a band that has played a couple hundred shows together, and perhaps more importantly, it shows the evolution of our songwriting and arranging skills. Although we’re still rooted in the blues, soul, and classic rock, this album show a lot more musical diversity and exploration in how our songs are recorded and delivered to our audience.”

Forging their creative energy into something new is one of Walking Papers’ ultimate goals. “We’re all standing on the shoulders of giants in some ways,” Angell concludes, “but I feel the songs on WP2 live in their own world.” And just what does that world sound like? “That world sounds very much like Walking Papers. The songs define a sound of their own. If you’re not taking your music to a new place or bringing people directly to the source, then why bother?” Truer words, as the saying goes. With WP2, Walking Papers have inked an indelible sonic contract that guarantees your ears will gladly come back for more.

Wednesday, January 10, 2018

Songs that NEVER Mention the Title in The Song

This week Lou and Lily discuss songs that never mention the title. Some of us find this really annoying! Why do artists do this? We discuss your picks and thoughts as well.   Featured Loudini Artists:   Greta Van Fleet  Meka-Nism  Tax The Heat








Featured Loudini Artists:   

Greta Van Fleet
Firing twin barrels of arena-rock muscle and moving melodies, Greta Van Fleet is a modern rock & roll band rooted in the genre's strongest traditions: super-sized hooks, raw riffage and the sweeping vocals of a front man who was born to wail. 

The four-piece formed in Frakenmuth, Michigan, just outside of Detroit, where 20 year-old twin brothers Josh and Jake Kiszka began playing shows with their 17 year-old younger brother, Sam, and 17 year-old family friend Danny Wagner. Holding their practices in the Kiszka family garage and road-testing their songs onstage throughout Michigan, the four became a band of brothers whose songs mix classic chops with the thrill of teenage angst. 

From sing-along choruses to fiery guitar solos, Greta Van Fleet rounds up a highlight reel of rock & roll heroics. These guys aren't revivalists; they're looking ahead, breathing new life into a sound that's blasted out of car dashboards and living room stereos for decades.

Current Location
Frankenmuth

General Manager
ABI - Aaron Frank
gvf@abimgmt.com

Influences
Robert Johnson, Howlin Wolf, John Lee Hooker, Muddy Waters, Cream, Jimi Hendrix, Janis Joplin, Led Zeppelin, The Who, Black Sabbath, Deep Purple, Willie Dixon, Albert Collins

Press contact
HERFitz: 
Heidi Robinson Fitzgerald
herfitz@mac.com

Booking agent
WME
Marc Geiger, Ron Opaleski, Mike Rosenfeld, Alex Bramwell
ABramwell@wmeentertainment.com


Meka-Nism
Meka Nism is a metal band that is comprised of exquisitely talented musicians that seamlessly work in unison to create some of the most elaborate, unique and eclectic music on the planet. Members include, Meka (vocalist), Bobby Keller (lead guitar), Jarret Robinson (bass), Jay Adkisson (keys), and Christopher Lane (drums).

Meka Nism was formed back in 2006 and originated as Meka Nism and Her Rusty Tears. Meka was the former guitar player for Orlando punk legends Dirty Barby and Angel Autopsy, who enchanted audiences for years. Florida based Hidden Records quickly noticed her as being a unique talent and put her on their independent label. In 2006, “Mad to Love” was the first album recorded by Meka Nism and her Rusty Tears. The album was recognized as an exceptional artistic achievement of great beauty and passion. "Break," the second track from the album was the WINNER of the Songwriter's Showcase of America's (SSA) Best Experimental Song of the Year – 2006. Meka was also SSA's Solo Artist of the Month - January 2007. Explosive with enthusiasm, Meka made a scorching impact on the Central Florida music scene. She has a strong, loyal fan base, not only in Florida, but around the United States, in areas like Los Angeles, New York, Philadelphia, Atlanta, and many more.

In 2010, with the return of Meka from touring in Japan with over 150 shows, the movement to solidify the group as “Meka Nism” began and in March of 2013, the debut EP “The Dance at the End of the World” was released as the band’s first collaborative collection of songs as a unit. The theme behind the EP was based off of a world that was destroyed, desolate and in dismay. It was meant to uplift spirits to a higher potential out of negative situations and to bring them to light. The idea of playing their music as the world came to an end was the ultimate triumph, which was based on 2012’s prediction of the world coming to an end. The band also released their first music video for the single “Bring the Sun Back” in October of 2013. Meka Nism’s debut EP “Dance at the End of the World” was proof that new sounds, new excitement and new frontiers have not only been explored but have been claimed as their own unique voice in the music industry.

After touring and playing numerous amounts of shows in Florida and in the South East, opening for Mastodon at the Kink Festival, and a headlining House of Blues show, Meka Nism began the journey to start “The Shift”. The EP was successfully funded by a Kickstarter campaign back in 2014. Brett Hestla, former bass player for Creed and vocals for Dark New Day, was chosen as the producer and recording began back in October of 2014. “The Shift” was released on May 1st with a massive CD Release show at the House of Blues in Orlando, Florida. 

2015 was a big year for the band in that they toured for a month with platinum award winning band, Trapt, all across the mid-west and east coast. Earlier in the year, playing the Texas Showdown Festival in El Paso, Texas, opening for the likes of The Offspring, Limp Biscuit, Upon a Burning Body, and more. Followed by a tour across Texas with Otep. 
In 2016, Meka Nism got the opportunity to tour with the Swedish power-house and one of metal's biggest up and coming bands, Avatar. The two bands wrecked havoc across the east coast and mid-west before ending in Minot, North Dakota. Upon returning home, Meka Nism was named Orlando's #1 Metal Band according to the Orlando Weekly and was chosen to headline the local stage at the 3rd Annual Kink Festival opening for Evanescence, Hellyeah, and InFlames. 

Nothing has seemed to slow down. 2017 has proven to be a big year for the band so far. They were given the slot to open the main stage at WJRR's Earthday Birthday 24 with the likes of Alter Bridge, Sevendust, Nonpoint, and more. The name of the new EP, "The War Inside", was unveiled and the plans of recording it in Germany with world renowned producer and engineer, Lasse Lammert, were announced as well.

Awards
2016 Orlando Weekly Best of (#1 Metal Band in Orlando)

2015 Orlando Weekly Best of (#2 Metal Band in Orlando)... See More

Current Location
Orlando, Florida

Press contact
mekanismrocks@gmail.com

Booking agent
mekanismrocks@gmail.com

Tax The Heat
CHANGE IS GOOD. CHANGE IS IMPORTANT. CHANGE IS THE ENEMY OF STAGNATION, A VITAL MEANS TO KEEP THINGS FRESH, INNOVATIVE AND EXCITING. FOR TAX THE HEAT, ‘CHANGE’ MEANS SOMETHING ELSE TOO. THE TITLE TRACK OF THE ACCLAIMED BRITISH BAND’S STUNNING NEW ALBUM, ‘CHANGE YOUR POSITION’, SEES THEM ADDRESSING THE TURBULENT STATE OF THE WORLD RIGHT NOW AND THE VERY REAL IMPACT IT IS HAVING ON PEOPLE. “IT’S LOOKING AT DIVISION IN SOCIETY AND PEOPLE USING IT AS AN EXCUSE TO DO WRONG AND SAY WRONG,” SAYS SINGER AND GUITARIST ALEX VEALE. “IT’S SAYING, ‘LOOK, CHANGE YOUR POSITION.' IT’S HOLDING UP A MIRROR TO THINGS.”FITTINGLY, ‘CHANGE YOUR POSITION’ – RECORDED ONCE AGAIN WITH MAVERICK PRODUCER EVANSSON – REPRESENTS A HUGE LEAP FORWARD FOR TAX THE HEAT, WHO ARE COMPLETED BY GUITARIST JP JACYSHYN, BASSIST ANTONIO ANGOTTI AND DRUMMER JACK TAYLOR.
THE BRISTOL BAND’S BRILLIANTLY RECEIVED DEBUT ALBUM, 2016’S ‘FED TO THE LIONS’, ESTABLISHED THEM AS ONE OF THE MOST ELECTRIFYING NEW BANDS IN THE COUNTRY. ‘CHANGE YOUR POSITION’ DOES MORE THAN JUST BUILD WHAT THEY ACHIEVED WITH THAT RECORD. IT PUSHES THE TAX THE HEAT SOUND TO THE NEXT LEVEL, ADDING A RAZOR-SHARP MODERN EDGE TO THEIR ROCK’N’ROLL APPROACH. 
“IN MY MIND, THIS IS WHAT A MODERN GUITAR BAND WOULD SOUND LIKE,” SAYS ALEX. “WE’RE INFLUENCED BY SO MANY DIFFERENT GENRES. IT’S NO SECRET THAT GUITAR MUSIC IS STRUGGLING GENERALLY. WE’RE ON A MISSION TO HELP KEEP IT ALIVE AND WELL.”

ON THAT FRONT, THEY’VE MORE THAN SUCCEEDED. STELLAR NEW SONGS SUCH AS ELECTRIFYING ALBUM OPENER ‘MONEY IN THE BANK’, ‘ALL THAT MEDICINE’, THE INSTANT CLASSIC TITLE TRACK AND EPIC CLOSER ‘THE SYMPHONY HAS BEGUN’ SHOWCASE A BAND BRIMMING WITH CONFIDENCE, HUMOUR AND A-LIST SONGWRITING SKILLS. THE BAND PUT THIS EVOLUTION DOWN TO THE INTENSIVE TOURING THAT FOLLOWED THE RELEASE OF ‘FED TO THE LIONS’. AS WELL AS FURTHER HONING THEIR MUSICAL INSTINCTS, THE ROAD-WORK ALSO BROUGHT THEM EVEN CLOSER AS A BAND.
“THAT ALWAYS WAS THE CASE,” ADDS ALEX, “BUT TIME AND TOURING HAS MADE OUR UNDERSTANDING OF EACH OTHER EVEN STRONGER. ANYONE’S FIRST RECORD IS CREATED OVER TIME. WITH THIS ONE, THE FOUR OF US WENT INTO A ROOM WITH A VISION OF WHAT WE WANTED TO CREATE.” THE INFLUENCES THEY HAVE DRAWN ON – FROM GROUNDBREAKING MODERN ICONS QUEENS OF THE STONE AGE AND WHITE DENIM TO SUCH ETERNAL VISIONARIES AS DAVID BOWIE AND PRINCE – WERE UNIFORMLY CONTEMPORARY, THOUGH THE END RESULT IS UNIQUELY TAX THE HEAT.
THE NEW SONGS CAME SURPRISINGLY EASILY, AND THE BAND SENT A HANDFUL OF ROUGH DEMOS TO PRODUCER EVANSSON. ALEX ADMITS THAT HE FULLY EXPECTED THE PRODUCER TO BE HYPER-CRITICAL BUT THE OPPOSITE HAPPENED.“HE PHONED ME UP AND SAID, ‘THESE ARE BRILLIANT’,” SAYS ALEX. “AND AS SOON AS HE SAID THAT, WE FELT SO RELIEVED. THAT’S WHEN WE STARTED WRITING ALL KINDS OF STUFF, SENDING IDEAS BACK AND FORTH TO HIM. IT WAS THE SONG ‘ALL THAT MEDICINE’ THAT REALLY MADE US REALISE WE WERE ON TO SOMETHING SPECIAL. IT HAS A QUIRKY RIFF BUT STILL HAS A BIG CHORUS. IT FELT LIKE THINGS WERE MOVING FORWARD.”
THE BAND RECORDED THE NEW ALBUM AT THE CHAIRWORKS STUDIO IN CASTLEFORD, WEST YORKSHIRE, WITH EXTRA WORK DONE AT EVANSSON’S OWN STUDIO IN WILTSHIRE. THE BOND THAT WAS INITIALLY FORGED WITH THE PRODUCER ON ‘FED TO THE LIONS’ REMAINS SO STRONG THAT ALEX AND JACK CALL HIM “THE EXTRA MEMBER OF TAX THE HEAT.”“WE KNOW WE CAN RELY ON HIM, WE KNOW HE BRINGS SUCH GREAT ENERGY TO THE TABLE,” SAYS JACK. TAX THE HEAT HAD A CLEAR VISION OF WHAT THEY WANTED TO ACHIEVE WITH ‘CHANGE YOUR POSITION’. THE MOST IMPORTANT THING WAS THAT IT CAPTURED THE INCENDIARY ENERGY OF THEIR LIVE SHOWS. THEY INSISTED ON RECORDING IT WITH ALL FOUR MEMBERS STANDING IN ONE ROOM, PLAYING THEIR INSTRUMENTS TOGETHER, LOOKING EACH OTHER IN THE EYE. “WE PRIMARILY SEE OURSELVES AS A LIVE BAND,” SAYS JACK. “THAT’S WHAT WE WRITE THE MUSIC FOR – TO GET OUT AND PLAY ALL THESE SHOWS. THAT GIVES US A CLEAR IDEA OF HOW WE WANT OUR SONGS TO SOUND. AND THESE SONGS WERE DESIGNED TO BE PLAYED LIVE.”

THAT ENERGY, AND THE SENSE OF JOYOUS CAMARADERIE THAT FUELS IT, RUNS DEEP THROUGH ‘CHANGE YOUR POSITION’. IT’S ONE OF THE THINGS LINKS THE MUSCULAR, GUT-LEVEL PUNCH OF ‘MONEY IN THE BANK’, THE PEDAL-TO-THE-FLOOR RUSH OF ‘ON THE RUN’, THE GLAM ROCK-ESQUE STOMP OF ‘MY HEADSPACE’ AND THE UPLIFTING ‘CUT THE CHAINS’, WHICH POSSESS THE SORT OF ANTHEMIC CHORUS THAT WOULDN’T HAVE SOUNDED OUT OF PLACE DURING THE BRITPOP ERA. WHILE TAX THE HEAT HAVEN’T COMPLETELY JETTISONED THEIR OLD SOUND, ‘CHANGE YOUR POSITION’ HAS ITS EYES RESOLUTELY FIXED FORWARD.
ALEX AND JACK CITE THE SUDDEN AND UNEXPECTED DEATHS OF DAVID BOWIE AND PRINCE AS PARTIAL CATALYSTS FOR THE NEW ALBUM. BOTH HAD AN UNDOUBTED MUSICAL INFLUENCE ON TAX THE HEAT – ALEX SAYS THAT HE IMMERSED HIMSELF IN BOWIE’S ‘YOUNG AMERICANS’ AFTER HIS PASSING, WHILE THE BAND COVERED PRINCE’S ‘BAMBI’. BUT IT WAS THOSE LEGENDARY FIGURES’ SINGLE-MINDED ARTISTIC VISION THAT PROVED AN EVEN BIGGER INSPIRATION.
“IT’S UTTERLY INSPIRING WHEN YOU SEE HOW THEY BUILT THESE AMAZING CAREERS PURELY BY GOING AGAINST THE GRAIN,” SAYS ALEX. “IT DOES MAKE YOU THINK, ‘LET’S DO WHAT WE WANT TO DO, NOT WHAT WE’RE EXPECTED TO DO.’ I TOOK THE APPROACH IN MY HEAD, WHAT WOULD WE DO IF WERE ONLY GOING TO MAKE ONE MORE ALBUM? IT’S KIND OF NOT REALLY GIVING A SHIT ABOUT ANYTHING OTHER MAKING IT AS GOOD AS IT POSSIBLY COULD BE.”
 WHILE TAX THE HEAT INSIST THEY’RE A NON-POLITICAL BAND, IT’S IMPOSSIBLE TO SEPARATE ANY ALBUM FROM WHAT IS HAPPENING IN THE WIDER WORLD. THE WORLD IS IN TURMOIL, POLITICALLY AND SOCIALLY, AND THAT TURBULENCE HAS INEVITABLY FOUND ITS WAY ONTO ‘CHANGE YOUR POSITION’, FROM THE TITLE DOWNWARDS. “THERE ARE A CRAZY AMOUNT OF THINGS GOING ON, AND IT’S DEFINITELY INSPIRED US IN A WEIRD WAY,” SAYS ALEX. “I WAS AT THE GYM, OF ALL PLACES, WHERE DONALD TRUMP’S INAUGURATION WAS ON THE TV, AND LITERALLY THE FIRST TWO VERSES OF ‘CHANGE YOUR POSITION’ CAME INTO MY HEAD. I THOUGHT, ‘I’VE GOT TO WRITE THAT DOWN.’ STUFF LIKE THAT AND BREXIT AND THE DIVISIONS IN SOCIETY ARE HARD TO IGNORE.”
THE FLIPSIDE OF THAT IS ‘ON THE RUN’, AN OUTLAW ANTHEM THAT CRACKLES WITH A KIND OF ESCAPIST ROMANCE AND FEATURES SUCH LYRICS AS: “NOW THE FUZZ ARE ON OUR TRACKS, EATING RAZORBLADES FOR SNACKS.” ANOTHER SONG, ‘CUT YOUR CHAINS’, CAME FROM A MORE PERSONAL PLACE. IT WAS INSPIRED BY A FRIEND OF THE BAND WHO HAD OPTED TO LIVE A GENDER-NEUTRAL LIFESTYLE.“WE WENT TO THE PUB WITH THEM, AND THEY WERE TELLING US HOW THEY HAD BEEN FEELING ABOUT ALL OF THIS STUFF AND ALL THESE BATTLES IN THEIR HEAD,” SAYS ALEX. “I CAME HOME AND STARTED SCRIBBLING STUFF DOWN, AND IT TURNED INTO THIS COOL SONG. TO ANYBODY ELSE, ‘CUT YOUR CHAINS’ IS JUST ABOUT BEING FREE AND DOING YOUR OWN THING, BUT IT CAME FROM SOMEWHERE DEEPER.”
FOR TAX THE HEAT, EVERYTHING THEY DO – THE SONGS, THE CHORUSES, THE STYLE THAT GIVES THEM THE KIND OF STRIKING VISUAL DIMENSION EVERY GREAT BAND REQUIRES – COMES DOWN TO ONE THING: THE LIVE EXPERIENCE. “THE BEST PART ABOUT MUSIC IS SEEING BANDS PLAY LIVE,” SAYS JACK. “IT’S WHAT THE BEATLES AND THE STONES AND THOSE OTHER GREAT BANDS WERE DOING BACK IN THE 60S. IT’S WHAT THE HIVES AND THE BRONX AND OTHER ELECTRIFYING LIVE BANDS WHO INSPIRED US MORE RECENTLY WERE DOING. WE’RE CREATING MUSIC FOR PEOPLE WHO WANT TO GO AND EXPERIENCE THAT.”THESE AREN’T JUST HOLLOW WORDS AND EMPTY GESTURES. WITH ‘CHANGE YOUR POSITION’, TAX THE HEAT HAVE DELIVERED ONE OF THE GREATEST ALBUMS OF THE YEAR. THE FUTURE IS SAFE IN THEIR HANDS

Sunday, January 7, 2018

Chris Keup: Why Music Publishing Is Still VERY Important

Charlottesville, VA-based music publishing start-up, Salinger Songs, is pleased to announce an administration deal with Kobalt Music, one of the world’s largest publishing companies. Kobalt will collect royalties generated from Salinger’s catalog through its global infrastructure as well as provide creative support, helping to find placement opportunities for individual songs in film/television/advertising. Many Salinger artists will also be able to release their material through AWAL, Kobalt’s digital distribution service.

Salinger CEO, Chris Keup, on the deal: “In my opinion, Kobalt is not only the smartest publisher out there right now, providing the best technology and deepest data resources for its partners, but also has an amazing culture. CEO Willard Ahdritz emphasizes fairness to the artist above all else and that ethos is reflected throughout the company. At Salinger we hope to emulate their approach.”






Salinger Songs’s catalog focuses on emerging talent. Keup says, “I think of the company almost like a tech incubator. Career guidance coupled with the right resources made available at the right times can make all the difference for an emerging artist. We strive to be activist in our support for our writers/artists through sometimes unconventional methods to advocate for their careers.”

A recent example of this approach: For new artist, Rookie Season  Salinger Songs not only provided studio resources and funding for the production of a debut album but also helped the band release their clothing line (designed to stand alone from band merchandise while building a brand identity/overarching aesthetic) at a sold-out Nashville-based launch party in partnership with rising footwear company, Nisolo. Rookie Season’s debut single recently made it to #8 on the Spotify global viral chart.

It is a strategy that has resonated with Salinger’s writers who often actively recruit their peers and collaborators to join the company. Two recent additions to the Salinger roster include 21 year old, LA-based, Lena Fayre (more than 20 million Spotify plays, called “An Artist To Watch” by Rolling Stone) and acclaimed German EDM producer/re-mixer, Chris De Luca (Wu Tang Clan, Bjork), who brings a portfolio of major ad campaigns to the fold.

Keup’s rural studio, White Star Sound, serves as a home base for many of the roster’s projects and two albums recently produced at White Star are currently generating significant label attention:

 * Sleepwalkers are currently mixing the highly anticipated follow-up to Greenwood Shade, their debut album that made fans of Ryan Adams and Judd Apatow and landed the band tours with The Lumineers and J Roddy Ralston among others. 

 * Carl Anderson has wrapped production on his follow up to Risk of Loss. The new album will feature members of War On Drugs (Charlie Hall), Hiss Golden Messenger (Phil Cook), Ryan Adams’ band (Daniel Clarke), and Mavis Staples’ band (Rick Holstrom) among others. 

Visit http://www.salingersongs.com for more information


Industry (basically the same without explaining what Kobalt is):

Charlottesville, VA-based music publishing start-up, Salinger Songs, is pleased to announce an administration deal with Kobalt Music.


Salinger CEO, Chris Keup, on the deal: “In my opinion, Kobalt is not only the smartest publisher out there right now, providing the best technology and deepest data resources for its partners, but also has an amazing culture. CEO Willard Ahdritz emphasizes fairness to the artist above all else and that ethos is reflected throughout the company. At Salinger we hope to emulate their approach.”

Salinger Songs’s catalog focuses on emerging talent. Keup says, “I think of the company almost like a tech incubator. Career guidance coupled with the right resources made available at the right times can make all the difference for an emerging artist. We strive to be activist in our support for our writers/artists through sometimes unconventional methods to advocate for their careers.”

A recent example of this approach: For new artist, Rookie Season  Salinger Songs not only provided studio resources and funding for the production of a debut album but also helped the band release their clothing line (designed to stand alone from band merchandise while building a brand identity/overarching aesthetic) at a sold-out Nashville-based launch party in partnership with rising footwear company, Nisolo. Rookie Season’s debut single recently made it to #8 on the Spotify global viral chart.

It is a strategy that has resonated with Salinger’s writers who often actively recruit their peers and collaborators to join the company. Two recent additions to the Salinger roster include 21 year old, LA-based, Lena Fayre (more than 20 million Spotify plays, called “An Artist To Watch” by Rolling Stone) and acclaimed German EDM producer/re-mixer, Chris De Luca (Wu Tang Clan, Bjork), who brings a portfolio of major ad campaigns to the fold.

Keup’s rural studio, White Star Sound, serves as a home base for many of the roster’s projects and two albums recently produced at White Star are currently generating significant label attention:

 * Sleepwalkers are currently mixing the highly anticipated follow-up to Greenwood Shade, their debut album that made fans of Ryan Adams and Judd Apatow and landed the band tours with The Lumineers and J Roddy Ralston among others. 

 * Carl Anderson has wrapped production on his follow up to Risk of Loss. The new album will feature members of War On Drugs (Charlie Hall), Hiss Golden Messenger (Phil Cook), Ryan Adams’ band (Daniel Clarke), and Mavis Staples’ band (Rick Holstrom) among others. 

The Fountain of Youth Across The Decades with Jonathan Cavier

Phoenix-based singer-songwriter and pop performer Jonathan Cavier is no stranger to writing catchy tunes that blend wide-ranging influences into a multi-faceted yet cohesive sound.

Originally from Northern California, Cavier (“cav-AIR”) moved to Phoenix, AZ where he performed as Alan Clark in the atmospheric pop duo, EyeTalk. Over the course of 10 years and five albums, this venture saw their music reach international audiences in Italy, the UK, and Australia. After five albums and hundreds of shows played throughout the US, Alan Clark has reintroduced himself under the pseudonym Jonathan Cavier. With one solo album, Premier, already under his belt, Cavier further defines his sound on 2017’s 10-song release entitled Blue Room.




Cavier has created a sound of his own, as he merges his new pop and rock influences from his early influences from the 80’s. Premier saw Cavier’s music reaching the ears of audiences around the world, thanks to its catchy songwriting and unique style. Blue Room, Cavier’s 2017 full-length album, promises to be all of that and more as his songwriting style continues to mature into a balanced blend of pop styles from the 80s to today.  

Cavier is also no stranger to recording covers, having launched a monthly series of “Cavier Cover” song releases in late 2016. Each song in the series pays tribute to an artist, song, or moment that was key in Cavier’s artistic development. 

Ultimately, Cavier hopes to “transport listeners to colorful three-minute worlds,” through his careful composition, thoughtful lyrics, and stunning visual accompaniments. In addition to his musical endeavors, Cavier is a semi-professional tennis player and a member of the USTA and IFT. Cavier says practicing and playing in tournaments is “the fountain of youth.”

Shawn Phillips: from Teaching Joni Mitchell to Play Guitar to Singing With The Beatles

Shawn Phillips is one of most fascinating and enigmatic musicians to come out of the early '70s singer-songwriter boom. The mere fact that he was a musician as much as a singer and songwriter made him stand out, and helped him attract a dedicated following. His refusal to shape his music -- which crosses between folk-rock, jazz, progressive, pop, and classical -- to anyone else's expectations has allowed him to hold onto a large and dedicated cult following, without ever achieving the stardom that his talent seems to merit.......With 15 albums behind him since the mid-1960s, Phillips has a following, in America, Europe, and Japan, and he has performed at different world music festivals. A cult figure whose peers include Van Dyke Parks and, perhaps, Leonard Cohen (though Cohen's public profile is enhanced by his following, as an established poet and author, in the literary community), he remains an enigmatic figure on the music landscape. His work remained sufficiently in demand in the 1990s, however, to justify a best-of compilation from A&M in 1992 that included notes by Phillips and one new song. In 1998, eight of his LPs were re-released via the Wounded Bird label. 



Thursday, January 4, 2018

American Darlings: The Beatles Mix Tape for the 21st Century

American Darlings have been providing whoozy, tremolo-soaked guitars and winsome hooks from Brooklyn since Fall 2010. The Big Takeover, Culture Collide, The Deli (artist of the month), Impose magazine have joined the buzz about the quartet's catchy fuzz pop. With the new Rubber Tracks EP out and another one out soon, four words describe these American Darlings-infectious, melodic, catchy and loud.

 #superdrag #burgerandwienerrecords #bigstar #thebeatles #jasonmaksymillian #americandarlings #loulombardimusic #loudinirockandrollcircus