Survival Knife (ex-Unwound) share single, tour (2014)

Survival Knife, featuring Unwound bandmates Justin Trosper and Brandt Sandeno, share a second single off of their upcoming, debut album, Loose Power

Out April 29th, 2014 on Glacial Pace Recordings, hear the angular “Roman Fever” that debuted last Friday at The AV Club calling Loose Power “a lean, wiry collection of prog-punk that sounds only slightly like Unwound. Granted it’s still grim, jittery, and cryptic—but Survival Knife slices in a direction all its own.”

05.01.14 – Portland, OR @ The Crystal Ballroom w/ Modest Mouse
05.02.14 – Portland, OR @ The Crystal Ballroom w/ Modest Mouse
05.08.14 – San Francisco, CA @ The Hemlock Tavern
05.09.14 – Los Angeles, CA @ The Echo
05.10.14 – San Diego, CA @ Soda Bar
05.16.14 – Portland, OR @ Bunk Bar (Album Release Party)
05.17.14 – Seattle, WA @ Barboza

Kylesa and Lazer/Wulf announce tour dates (2014)

Kylesa and Lazer/Wulf will be touring Europe and the UK together this summer, see below for the dates. Lazer/Wulf themselves recently signed to Kylesa‘s Retro Futurist label and will have their new album The Beast Of Left And Right out through it on May 27.

06/09 Braunschweig, GER – Hansa
06/10 Lyngby, DEN – Templet
06/11 Malmo, SWE – Babel
06/12 Oslo, NOR – Vulkan Arena
06/13 Bergen, NOR – Bergenfest
06/15 Kiel, GER – Pumpe
06/16 Drachten, NET – Iduna
06/17 Stuttgart, GER – Juha West
06/17 Siegen, GER – Vortex
06/19 Saarbrucken, GER – Garage
06/20 Clisson, FRA – Hellest
06/21 Vitoria, SPA – Canopy
06/22 Porto, POR – Hard CLub
06/23 Madrid, SPA – Boite Live
06/24 Barcelona, SPA – Razzmatazz 3
06/25 Toulouse, FRA – Le Connexion
06/26 Montpellier, FRA – La Taf
06/27 Laussane, SWI – Inferno Fest
06/28 Dessel, BEL – Graspop
06/30 Munchen, GER – Strom
07/01 Pisa, ITA – The Jungle
07/02 Bologna, ITA – Freakout Club
07/03 Ljubljana, SLV – Gala Hala
07/04 Rijeka, HR – Delta Summer Street
07/05 Warsaw, POL – Progresja
07/07 Gleisdorf, AUT – Bang Bang Club
07/08 Gdansk, POL – B90
07/09 Berlin, GER – Magnet
07/10 Dresden, GER – Schuene
07/11 Erfurt, GER – SFTU Festival
07/12 Linz, AUT – Ottenheimer Open Air
07/13 Monchengladbach, GER – Horst Fest
07/15 St. Petersburg, RUS – Ozhidanya
07/16 Moscow, RUS – Volta

Burn It Down, The Gates of Slumber bassist dies

YouIndie’s friend Jason McCash, former bass player for Indianapolis, Indiana bands The Gates of Slumber and Burn It Down, passed away yesterday at the age of 37.

The Gates of Slumber frontman Karl Simon had the following to say:

“My best friend died last night. There will be no reunion – no more of TGoS. It’s dead beyond dead, and I’ve lost a brother. Please be respectful or silent. It’s a small world and I’m still alive. Remember that shit.”

McCash was the father to three young children and donations are being collected on their behalf.

Deathwish Inc. to hold inaugural festival (2014)

The folks behind Massachusetts record label Deathwish Inc. will be holding the inaugural Deathwish Fest this summer. The event will take place July 22 and July 23 at the Sinclair in Cambridge, MA. Converge and Trap Them will headline both nights of the event. It will be both bands only Boston area appearances this year. It will also be the only area appearance for Modern Life Is War, Harm Wulf (G. of Blacklisted), and YAITW who are all making the journey exclusively for these shows. Finally, the festival will serve as the New England stop for the Oathbreaker and Cult Leader U.S. Tour.

Two-day passes for the event are $50 and the lineup is as follows:

Tuesday, July 22
Trap Them
Modern Life Is War
Cult Leader
Self Defense Family
Harm Wülf

Wednesday, July 23
Trap Them
Young And In The Way (YAITW)
Code Orange Kids
New Lows
Chrome Over Brass

Sound Check Chat podcast features The 1984 Draft

The 1984 Draft

The 1984 Draft

The Sound Check Chat podcast with The 1984 Draft, went live on April 1 via iTunes and Stitcher.  This episode of the podcast is sponsored by Ghettoblaster Magazine, and Frame Jump Music Videos.

Access the podcast here: or

Dayton-based rock band The 1984 Draft released their latest EP, Bo Jackson Up The Middle, via We Want Action (84 Nash, She Bears, Tiara).  The EP was recorded at Popside Studio with Micah Carli (guitarist for Hawthorne Heights) in mid-January, 2014. The EP sees the light of day in advance of the release of an NFL Network documentary on the actual 1984 NFL Draft, in which the band is featured.  NFL Films captured them live in the band’s hometown on January 10, 2014.  The documentary airs on April 30 at 10 pm on the NFL Network.

The band have also premiered a video teaser for “Clear Heads Full Hearts” produced and directed by Mike Postalakis, who has been responsible for videos from Guided By Voices, DTCV and more. The video is available here:

On March 15, 2014, the podcast and Sound Check Chat website ( launched.  The initial podcasts included interviews with one-half of Insane Clown Posse, Violent J, and Hawthorne Heights guitarist/frontman and solo artist JT Woodruff, and Benjamin Laub, aka Rhymesayers Entertainment’s Grieves.

Future podcasts currently in production include Buffalo Killers and Circle Takes The Square.

Download the podcast at iTunes here: or

From The Horse’s Mouth: Eric Solomon (Tiny Empires) on Weird Headspace

Tiny Empires

Tiny Empires

Tiny Empires, a new outfit from O Pioneers!!! founder/vocalist Eric Solomon and New Bruises’ guitarist and Kiss of Death label owner Bryon Lippincott, release their debut album, Weird Headspace, on April 15.

Alternative Press, in review of a split EP with Tigers Jaw and what would serve as Tiny Empire’s recording debut, described the young quintet’s music as “brash, dynamic and cathartic” with Solomon sounding “more vulnerable than he has in the past.”  Punk News said the band’s promising debut is “great punk rock with a strong hold on dynamics.”  The Houston/Tampa quintet is rounded out by Mickey Schmidt (guitar), Jason Winter (drums) and Christopher Murray (bass).

You Indie recently caught up with Solomon to discuss the record, and this is what he said about it.

When did you begin writing the material for Weird Headspace?  

Tiny Empires started around the spring of 2011. O Pioneers!!! had just recorded a song for a split with Tigersjaw, and after we recorded it, we all kind of felt that song was different than anything that OP!!! had done. Although it was a natural progression to where the band was going, we kind of felt that maybe we should change it up a bit, and see if starting something new, would shake off any old preconceived notions. When OP!!! finished, we quickly started writing for the Tiny Empires Record, but with one of us in Texas, and everyone else in Florida, it delayed the writing process alot. Throughout the next year we worked on the record when we could all get together. I’d say by Oct of 2012, we had the majority of the songs for this record written, with the final piece being written days before went into the studio in Dec. 2012.

What was the most difficult song to take from the initial writing stage through recording and mixing?  Why was it so troublesome?

The last three songs of the record, were literally written two days before going into the studio. We had the idea, the layout, and the general vibe of what we wanted to do, but trying to piece together a 9 minute song with two days of practice was a little tricky.

Which of the songs on Weird Headspace is most different from your original concept for the song?

One of the things I’m most proud of about this record, is every song that is on our first album is for the most part exactly how we envisioned them to be. There are definitely parts in each song that resonate a little bit more with me after they were recorded, but as a whole, we worked very hard on achieving a certain “mood” for the record, before we even went in to record it. I feel that we were very fortunate that everything came out the way the 5 of us imagined it would. I think it’s very rare, but also pretty awesome.

Did you have any guest musicians play or sing on the record?

On this record we did not. I’m hoping to convince Jeff Rosenstock and Laura Stevenson to be on the next one though. If their schedules allow it.

I think we are open to working with new musicians if they have anything that could be added to make a better song or record.  At the same time it was kind of important for this record to just be us, like an introduction

Who produced the record?  What input did that person have that changed the face of the record?

The record was produce by a friend (and soon to be Bryon’s nephew-in-law), Tyler Nicolo. He is sort of our secret to this record.  Tyler works with a lot of R&B and hip hop artists. He helps record and produce a ton of records in that genre in PA.

He has been surrounded around music since he was a kid as his dad ran RuffHouse Records.

Bryon had talked to him a bunch about helping us with our record, and he seemed pretty on board. I think having someone work on the record who was approaching the songs from a completely different angle than “this is a rock band, let’s make it all loud”, and focusing more on where the grooves in the songs are, help make each track stand stronger on their own.

Is there an overarching concept behind Weird Headspace that ties the record together?

Song writting was split by myself and Bryon. During writing and recording of this, I was going through a bad business relationship, Bryon was having some issues at home, and Jason, Mikey and Murray (as well as Bryon), were in and out not only their homes, but the country for work, that everyone just seemed a little strained. I think everyone kind of rallied around having a cool, part time outlet to work off the pangs of not being at home, or having weird stuff at home happening. I feel a lot of that is oddly reflected in the songs, not only the lyrics, but just the sort of downer feel throughout the record.

Have you begun to play any of these songs live and if so, how do they differ? 

We’ve been playing these songs for about a year now. So far the biggest challenges have been having three guitar players. this makes it incredibly difficult to not just be mind blowingly loud. It’s super fun though.

(A pre-order for Weird Headspace is available now via Tiny Empires’ Bandcamp page:

From The Horse’s Mouth: Emma Ruth Rundle on Some Heavy Ocean

Emma Ruth Rundle

Emma Ruth Rundle

Known for her work in Red Sparowes, Marriages, and The Nocturnes, Emma Ruth Rundle’s first official solo album Some Heavy Ocean presents a collection of impassioned, cathartic songs exorcising the ghosts of one of life’s dark detours.  Melancholic, but equally hopeful and accessible, the album wears its emotions on its sleeve.  One critic described Rundle’s voice as “bone-chilling texture filled to the brim with intent”, and a better description is difficult to imagine; when paired with her compelling guitar playing, and enduring spirit takes root.

 Some Heavy Ocean will be available everywhere on CD, LP and digital formats on May 20 from Sargent House and You Indie caught up with her to discuss it.  This is what she told us about the undertaking.

When did you begin writing the material for your debut solo record, Some Heavy Ocean?  

I’m always writing this kind of music in my quieter moments and probably starting doing so when I first picked up the guitar. The Nocturnes was my band and conduit for the folkier stuff- I decided after “Aokigahara” that I would start putting this music out under my name, which I had initially avoided because in doing so many different kinds of music alone and in various bands, etc., I didn’t want to get pigeon holed as a singer-songwriter. Once I put that idea aside, I began writing a lot more. All of the songs on Some Heavy Ocean were written between the summer of 2012 and 2013. Many lyrics and arrangements did not come together until I started the long process of recording the album.

What was the most difficult song to take from the initial writing stage through recording and mixing?  Why was it so troublesome?

Well, I can tell you the story of the title song, “Some Heavy Ocean.”  So before it became a swirly sound piece, “Some Heavy Ocean” was a song called “The Riches of Summer’s Death.” It was a dark wave song by The Headless Prince of Zolpidem – my somewhat anonymous (until this interview) downtempo, somewhat creepy electronic dark wave project. I guess the best way to describe it would be like putting on a Kate Bush record, taking some sleeping pills (hence the name) and holding your finger on the vinyl until the world slurs. SO this THPOZ song of mine that I loved so much- I tried to turn it into a folk song by simply switching all the lush synth chords and changes over to very basic acoustic guitar- it was an experiment. I was hoping to find out if a song with somewhat of a pop sensibility, obscured as it was behind THPOZ, could be successfully translated to another genre, maintaining its integrity, in other words… to see if it was still pleasant to hear. The song became “City of Light” and Chris Common and I recorded it in the studio.

We went to great lengths to “fix” that song- the experiment was a total failure- no amount of pedal steel, bass or spacing the song out into infinity could save it. “City of Light” was just terrible- a bad song- nothing at like its darker twin who I had loved so much! So I asked Chris to bounce what we had and I brought it into Logic and dismantled all the parts- did away with much of the song- and reconstructed what is now “Some Heavy Ocean” and is one of my favorite songs now, ha. I’ll never be able to really play it live but it is a small nod to other, more ambient music I make… I like that about it.

Did you have any guest musicians play or sing on the record?

Yes, indeed! The most impactful of which is the unparalleled violinist, Andrea Calderon, of Corima. Her playing and singing really changed the record. I should also mention that she wrote all her own parts and vocal harmonies. I feel so lucky to have captured that beautiful lady! Henry Kohen (Mylets) played some guitar on a song. Greg Burns played some very tasteful pedal steel on a few songs as well. Chris Common also contributed so much to the record in the way of playing bass quite a bit and doing some singing. He is responsible for all the drumming and percussion too.

Who engineered, produced and mastered the record?  What input did they have that changed the face of the record?

Chris Common engineered the record and both he and I produced it together. Chris and I spent so much time locked away working on this project together- I really can’t imagine how else it could have happened.
I know he put his heart into it as much as I did- it was a long process and took a lot out of both of us. We collaborated on much of what you hear but Chris is the one who was able to get all the sounds- He records things so beautifully. He took his time in trying many different ways for us to capture things and each song reflects that. He also knew what was lacking, where songs needed help and was able to invent a fix or play something himself or make suggestions here and there. He’s in this record, a master of his craft and a brilliant musician. Very grateful to have had that time with him. He also mixed about 80 percent of it. The rest was mixed and mastered by Marty Rifkin, who I had worked with before on “Aokigahara.” Also a master but different and I can hear the distance between his mixes and Chris’. Both are good but different.

Is there an overarching concept behind your new album that ties the record together?

No, there really isn’t. It’s just a series of expressions realized by the simplicity of guitar and voice. I imagine that much of the music I make in this way will maintain its tone or mood- I will say that the year in which the songs were written and even through recording and mixing was one of the hardest times for me… maybe that translates into a theme but not a concept.

Have you begun playing these songs live and which songs have elicited the strongest reaction from your fans?

While I have played them at a few very small private engagements, I cannot really claim to have “played them live” in the way that one does on a tour. I look forward to doing so and finding out, although feedback can be a dangerous thing for some of us. Ha!

(Listen to the first track premiere from Emma Ruth Rundle’s debut solo album for the song “Arms I Know So Well” here on Pitchfork.  Pre-order the record here.)

PUP ready LP, tour (2014)

The good news just keeps on coming for rising Toronto punks, PUP. Last month, the band left SXSW in their dust with unforgettable performances alongside OFF! and The Black Lips and next week, will be releasing their self-titled debut on April 8. Today the band is stoked to announce that they’ll be heading out on a full U.S. tour this spring with The Menzingers, Lemuria and Cayetana. The dates start on May 29 in Providence, RI and wrap up on July 6 in Baltimore, MD. Tickets can be purchased here:

WATCH their new video for “Lionheart” below:

Fri Apr 11 – Toronto, ON – The Sound Academy
Sat Apr 12 – Brooklyn, NY – Brooklyn Night Bazaar (Record Release Show)
Thurs Apr 24 – Guelph, ON – Van Gogh’s Ear
Fri Apr 25 – London, ON – Black Shire Pub

UK Tour with Pure Love:

Weds Apr 30 – Lincoln, UK – Engine Shed
Thurs May 1 – Kingston, UK – New Slang
Fri May 2 – Meerhout, Belgium – Groezrock *
Sat May 3 – Leeds, UK – Live At Leeds
Sun May 4 – Gloucester, UK – Guildhall
Tues May 6 – Liverpool, UK – East Village Arts Center
Weds May 7 – Newcastle, UK – Academy 2
Thurs May 8 – Glasgow, UK – King Tuts
Fri May 9 – Brighton, UK – Great Escape *
Sat May 10 – Manchester, UK – Sound Control
Sun May 11 – Birmingham, UK – Academy 3
Tues May 13 – Brighton, UK – Green Door Store
Weds May 14 – Southampton, UK – Joiners
Thurs May 15 – Chester, UK – Compass
Fri May 16 – London, UK – Underworld

* = festival appearance

U.S. Tour with The Menzingers, Lemuria and Cayetana:

Thurs May 29 – Providence, RI – The Met
Fri May 30 – New York, NY – Webster Hall
Sat May 31 – Philadelphia, PA – Union Transfer
Sun June 1 – Washington, DC – Rock And Roll Hotel
Mon June 2 – Rochester, NY – The Bug Jar
Tues June 3 – Toronto, CA – Opera House
Weds June 4 – Cleveland, OH – Grog Shop
Thurs June 5 – Pittsburgh, PA – Altar Bar
Fri June 6 – Chicago, IL – Bottom Lounge
Sat June 7 – Minneapolis, MN – Triple Rock
Sun June 8 – Des Moines, IA – Vaudeville Mews
Tues June 10 – Davenport, IA – River Music Experience
Weds June 11 – St. Louis, MO – Firebird
Fri June 13 – Denver, CO – Marquis Theatre
Sat June 14 – Salt Lake City, UT – Kilby Court
Sun June 15 – Boise, ID – The Shredder
Tues June 17 – Seattle, WA – El Corazon
Weds June 18 – Portland, OR – Branx
Fri June 20 – San Francisco, CA – Slims
Sat June 21 – Los Angeles, CA – The Roxy
Sun June 22 – San Diego, CA – The Irenic
Mon June 23 – Phoenix, AZ – Pub Rock
Tues June 24 – Albuquerque, NM – Launchpad
Thurs June 26 – Austin, TX – Red 7
Sun June 29 – Houston, TX – Fitzgeralds
Mon June 30 – New Orleans, LA – Siberia

Weds July 2 – Tampa, FL – Orpheum
Thurs July 3 – Orlando, FL – The Social
Fri July 4 – Atlanta, GA – Masquerade

Sat July 5 – Richmond, VA – Strange Matter

Sun July 6 – Baltimore, MD – Ottobar

Donovan Wolfington share song, tour (2014)

The only scary thing about the new EP Scary Stories You Tell in the Dark from New Orleans indie punks Donovan Wolfington is how damn good the thing is for four people who aren’t old enough to have graduated college yet. The AV Club got it right when they said “Donovan Wolfington recall Weezer’s best moments”, and today MTV Buzzworthy followed suit, stating “At the risk of sounding hyperbolic and melodramatic, “Quitting,” the standout track from Donovan Wolfington’s new Scary Stories You Tell In The Dark EP, is the best song we’ve ever heard!”  You can stream the EP at MTV Buzzworthy in full today in advance of next week’s April 8 release date on Topshelf Records.

Listen to Scary Stories You Tell in the Dark

The 5-song EP is a perfect example of everything Donovan Wolfington does best, blending sharp angsty-pop sensibilities evocative of bands such as Weezer and Desaparecidos with warbling guitar lines that wouldn’t be out of place on a Thin Lizzy record.  Couple this with the band’s slightly snarky, gritty New Orleans edge and it becomes really difficult not to jump around your living room when you listen.

Donovan Wolfington will embark on a brief U.S. tour this month (all tour dates below).

4/11/2014    Birmingham, Al @ The Forge
4/12/2014    Nashville, TN @ Neuhau5
4/13/2014    Chicago, IL @ Township
4/14/2014    Grand Rapids, MI @ The House of Pancakes
4/15/2014    Pittsburgh, PA @ The Mr. Roboto Project
4/16/2014    Philadelphia, PA @ Gold Tea House
4/17/2014    Brooklyn @ Death By Audio
4/18/2013    Baltimore, MD @ Charm City Art Space
4/19/2014    Richmond, VA @ House Address

Makthaverskan shares “No Mercy”, readies record for Run For Cover Records

Gothenburg, Sweden’s Makthaverskan unveils their unbridled post-punk anthem ”No Mercy” today for stream along with the announcement of  the U.S. release of their sophomore effort Makthaverskan II due out May 6th with the ever expanding palette of Run For Cover Records. The single, often referred to fondly as the ‘fuck you for fucking me / when I was 17′ song, has that universal call-to-arms aura around it, relatable in the joyous catharsis of shouting lines like “your time will come, my friend”.

Pre-order :