Speak Low If You Speak Love shares video for “Adjacent,” tours (2015)

Prolific singer-songwriter and State Champs bassist Ryan Scott Graham’s solo indie-rock outfit Speak Low If You Speak Love will be releasing a re-mastered version of his debut LP, Everything But What You Need, with Pure Noise Records on March 31. Fans can pre-order the record beginning today at SpeakLow.MerchNow.com.

In anticipation for the upcoming release, they have partnered with AltPress.com today to premiere a new lyric video for the track “Adjacent.” Watch it now at http://bit.ly/1MSrtMr.

Graham will be taking his act Speak Low If You Speak Love on tour in late March in support of the new release. Follow him at https://www.facebook.com/speaklowmusic for additional updates.

Mar 27 – Pawtucket, RI – The Met

Mar 28 – Portland, ME – Port City Music Hall

Mar 29 – Hartford, CT – Webster Underground

Mar 31 – Baltimore, MD – Ottobar

Apr 1 – Richmond, VA – The Canal Club

Apr 2 – Greensboro, NC – Shiners

Apr 3 – Charleston, SC – Boones Bar

Apr 4 – Jacksonville, FL – Auqa Club

Take Over And Destroy and Gatecreeper team for split 7″

Take Over And Destroy is a six-piece band from Phoenix, Arizona, formed in 2008. Their unique sound is best described as an American rock & roll band from the 1970s trapped inside of a Scandinavian metal band from the early 1990s, scoring a John Carpenter film.

Spawning from the desolate fissures of Arizona, Gatecreeper formed in 2013 like an eclipsing mass of pure darkness. Their malevolence extended into 2014, which saw the untimely release of their four-song, self-titled debut, sealing within itself a legion of hell bent riffs, demon-swooning vocals and skull crushing percussion. Sewing together the buzz saw precision of early Entombed with the battle lust of Bolt Thrower, Gatecreeper are intent on bludgeoning you further into dust with “Poisoned Mind,” which takes all that wrath to darkly melodic, inhospitable places.

The bands release a split 7″ on March 31 via President Gator/Common Wall.  Purchase it here.

Take Over and Destroy’s “Subterfuge”
Premiere: http://goo.gl/gxYDVW
Listen: https://soundcloud.com/takeoveranddestroy/subterfuge

Gatecreeper’s “Poisoned Mind”
Premiere: http://goo.gl/KTpsfu
Listen: https://soundcloud.com/gatecreeper/gatecreeper-poisoned-mind

The Story So Far announce headlining tour dates (2015)

Revered Bay Area pop-punk band The Story So Far has announced plans for a spring headlining U.S. tour. The excursion will include support from Four Year Strong, Terror and Souvenirs and kicks off on May 1 in Santa Ana and will culminate on June 13 in San Francisco. VIP Tickets/Packages are on sale now at http://www.showstubs.com/tssf and general tickets go on sale Friday, February 27 at 12:00PM local time. VIP packages will include a general admission ticket, an exclusive shirt, a download of forthcoming album and a poster.

The Story So Far are currently finishing up work on their third studio record, which they’ll be supporting on the upcoming tour. Details about the record will be announced soon.

Over the past two years, The Story So Far has quickly become one of pop-punk’s most buzzed about bands with the release of their sophomore album, What You Don’t See, and an acoustic EP, Songs Of, which are available now from Pure Noise Records at  http://purenoise.merchnow.com/catalogs/The-Story-So-Far.

Follow The Story So Far at https://www.facebook.com/thestorysofarca for news and updates.

The Story So Far Tour Dates:

May 1 – Santa Ana, CA – The Observatory

May 2 – Ventura, CA – Ventura Theatre

May 3 – San Diego, CA – SOMA

May 5 – Mesa, AZ – Nile Theatre

May 6 – Albuquerque, NM – The Works

May 8 – St. Louis, MO – The Ready Room

May 9 – Des Moines, IA – Wooly’s

May 10 – Minneapolis, MN – Varsity Theater

May 12 – Milwaukee, WI – Turner Hall Ballroom

May 13 – Chicago, IL – Concord Music Hall

May 14 – Detroit, MI – St. Andrews Hall

May 15 – Cleveland, OH – Agora Theatre and Ballroom (Spring Fling)

May 16 – Asbury Park, NJ – Asbury Park Oceanfront (Skate & Surf Festival)

May 17 – Pittsburgh, PA – Altar Bar

May 19 – Buffalo, NY – Town Ballroom

May 20 – Clifton Park, NY – Upstate Music Hall

May 21 – New York, NY – Webster Hall

May 22 – Boston, MA – House of Blues

May 23 – Philadelphia, PA – Electric Factory

May 24 – Washington, DC – 9:30 Club

May 26 – Charlotte, NC – Neighborhood Theater

May 28 – Tampa, FL – Orpheum Theatre

May 29 – Fort Lauderdale, FL – Revolution

May 30 – Orlando, FL – The Plaza Live

May 31 – Atlanta, GA – The Masquerade

June 2 – Houston, TX – Scout Bar

June 3 – Austin, TX – The Mohawk

June 4 – Dallas, TX – The Door

June 5 – Oklahoma, OK – Farmers Market

June 6 – Denver, CO – Summit Music Hall

June 8 – Salt Lake City, UT – The Complex

June 10 – Seattle, WA – The Showbox

June 11 – Portland, OR – Hawthorne Theatre

June 12 – Sacramento, CA – Ace of Spades

June 13 – San Francisco, CA – The Fillmore

Built to Spill release Untethered Moon, tour

Built to Spill, one of the most endearing and enduring rock bands of  its generation, will release their eighth studio album, titled Untethered Moon, on April 21.

Vinyl enthusiasts will be the first to hear the album, as it will be available exclusively on April 18 in honor of Record Store Day at all good Independent Records Stores. To make a bit more interesting, a very limited edition quantity of Untethered Moon will be pressed on transparent blue vinyl and will be randomly distributed into the initial run of pressings.  In other words, don’t hesitate!

Album pre-orders begin today, February 24. All pre-orders will include an instant download of their brand new song “Living Zoo” from Untethered Moon.

Untethered Moon is the first BTS album recorded with new band members Steve Gere (drums) and Jason Albertini (bass), who join vocalist/guitarist Doug Martsch with guitarists Brett Netson and Jim Roth. Untethered Moon was produced by Martsch and Sam Coomes. One half of Quasi, Coomes, is also a session musician who has performed on albums by Sleater-Kinney and Elliot Smith and appeared on every Built To Spill album after the band’s 1997 major-label debut, Perfect From Now On.

BTS have also confirmed tour dates which include this year’s Coachella Arts and Music Festival in Indio, CA.  Please see below for all confirmed tour dates.

03/27   Boise, ID                         Treefort Music Fest

04/10   Visalia, CA                      Cellar Door

04/11   San Luis Obispo, CA      SLO Brew

04/12   Indio, CA                        Coachella Festival

04/13   Santa Barbara, CA         SOhO

04/14   San Diego, CA               Irenic

04/15   Los Angeles, CA            Shrine Expo Hall (supporting Brand New)

04/16   Tucson, AZ                     Rialto Theatre

04/17   Phoenix, AZ                    Crescent Ballroom

04/18   Flagstaff, AZ                   Orpheum Theater

04/19   Indio, CA                         Coachella Festival

04/20   Las Vegas, NV               The Bunkhouse

05/09   Atlanta, GA                     Shaky Knees Music Fest

07/08   Troutdale, OR                 Edgefield Amphitheater (supporting Death Cab For Cutie)

07/09   Bend, OR                        Les Schwab Amphitheatre (supporting Death Cab For Cutie)

07/11   Berkeley, CA                   Greek Theatre Berkeley (supporting Death Cab For Cutie)

Somos, Have Mercy release split EP, tour (2015)

Two emerging rock acts, Somos and Have Mercy, have teamed up to release a new split EP today via No Sleep Records. The album is available for purchase now at iTunes and  https://nosleeprecords.com/product/7496.

Fans can stream the record in its entirety at BrooklynVegan.com: http://bit.ly/1B6t2ld

The new record features four tracks, including two newly recorded tracks from Somos, “Streets Upon Streets” and an acoustic version of “Domestic” and two from Have Mercy, “Two Years” and a cover of Jackson Browne’s “Somebody’s Baby.”

Somos will be on tour this spring with Tigers Jaw while Have Mercy will be on the road as well performing dates February through April.

Follow Somos (https://www.facebook.com/somosMA) and Have Mercy (https://www.facebook.com/HaveMercyMD) for additional updates.

Somos Tour Dates:

Apr 1 – Cambridge, MA – The SInclair (w/Tigers Jaw, Lemuria)

Apr 2 – Cambridge, MA – The SInclair (w/Tigers Jaw, Lemuria)

Apr 3 – Danbury, CT – Heirloom Arts Theatre (w/Tigers Jaw, Lemuria)

Apr 4 – Howell, NJ – Gamechanger World (w/Tigers Jaw, Lemuria)

Apr 6 – Buffalo, NY – Waiting Room (w/Tigers Jaw, Lemuria)

Apr 7 – Toronto, ON – Mod Club (w/Tigers Jaw, Lemuria)

Apr 8 – Grand rapids, MI – The Pyramid Scheme (w/Tigers Jaw, Lemuria)

Apr 9 – Detroit, MI – Magic Stick (w/Tigers Jaw, Lemuria)

Apr 10 – Chicago, IL – Bottom Lounge (w/Tigers Jaw, Lemuria)

Apr 11 – St. Louis, MO – Firebird (w/Tigers Jaw, Lemuria)

Apr 12 – Lawrence, KS – Jackpot Music Hall (w/Tigers Jaw, Lemuria)

Apr 13 – Denver, CO – Marquis Theatre (w/Tigers Jaw, Lemuria)

Apr 14 – Salt Lake City, UT – Kilby Court (w/Tigers Jaw, Lemuria)

Apr 16 – Vancouver, BC – Korean Hall (w/Tigers Jaw, Lemuria)

Apr 17 – Seattle, WA – The Vera Project (w/Tigers Jaw, Lemuria)

Apr 18 – Portland, OR – Alhambra Theater (w/Tigers Jaw, Lemuria)

Apr 20 – San Francisco, CA – Great American Music Hall (w/Tigers Jaw, Lemuria)

Apr 21 – West Hollywood, CA – The Roxy (w/Tigers Jaw, Lemuria)

Apr 23 – Pomona, CA – The Glass House (w/Tigers Jaw, Lemuria)

Apr 24 – Mesa, AZ – The Nile (w/Tigers Jaw, Lemuria)

Apr 25 – El Paso, TX – Tricky Falls (w/Tigers Jaw, Lemuria)

Apr 26 – Austin, TX – The Mohawk (w/Tigers Jaw, Lemuria)

Apr 27 – Dallas, TX – Trees (w/Tigers Jaw, Lemuria)

Apr 28 – Houston, TX – Fitzgerald’s (w/Tigers Jaw, Lemuria)

Apr 30 – Jacksonville, FL – Underbelly (w/Tigers Jaw, Lemuria)

May 1 – Orlando, FL – The Social (w/Tigers Jaw, Lemuria)

May 2 – Atlanta, GA – The Masquerade-Downstairs (w/Tigers Jaw, Lemuria)

May 3 – Nashville, TN – The End (w/Tigers Jaw, Lemuria)

May 4 – Charlotte, NC – Visulite Theatre (w/Tigers Jaw, Lemuria)

May 5 – Washington, DC – Rock & Roll Hotel (w/Tigers Jaw, Lemuria)

May 6 – Brooklyn, NY – Music Hall Of Williamsburg (w/Tigers Jaw, Lemuria)

May 7 – New York, NY – Bowery Ballroom (w/Tigers Jaw, Lemuria)

May 8 – Philadelphia, PA – Union Transfer (w/Tigers Jaw, Lemuria)

Have Mercy Tour Dates:

Feb 27 – Brooklyn, NY – Brooklyn Night Bazaar (Free Show)

Mar 12 – Baltimore, MD – Ottobar

Mar 13 – Philadelphia, PA – barbary

Mar 14 – New York, NY – Studio @ Webster

Mar 15 – Boston, MA – Middle East Upstairs

Mar 17 – Pittsburgh, PA – The Smiling Moose

Mar 18 – Toronto, ON – Hard Luck Bar

Mar 19 – Lakewood, OH – Mahall’s 20 Lanes

Mar 20 – Pontiac, MI – Pike Room @ The Crofoot

Mar 21 – Chicago, IL – The Beat Kitchen

Mar 22 – St. Louis, MO – The Demo

Mar 24 – Denver, CO – Marquis Theater

Mar 25 – Salt Lake City, UT – The Loading Dock

Mar 27 – Orangevale, CA – The Boardwalk

Mar 28 – Van Nuys, CA – White Oak Music

Mar 29 – Anaheim, CA – Chain Reaction

Mar 30 – Henderson, NV – Eagle Aerie Hall

Mar 31 – San Diego, CA – The Irenic

Apr 1 – Mesa, AZ – The Nile Underground

Apr 3 – Dallas, TX – Club Dada

Apr 4 – San Antonio, TX – The Korova

Apr 5 – Houston, TX – Walter’s On Washington

Apr 7 – Atlanta, GA – The Masquerade

Apr 8 – Tampa, FL – Epic Problem

Apr 9 – Sunrise, FL – Anonymous Guitars

Apr 10 – Orlando, FL – Backbooth

Apr 11 – Jacksonville, FL – The Birdhouse

Apr 12 – Greensboro, NC – Shiners

Tiny Engines announces physical release of The Hotelier debut

Tiny Engines announced the first proper physical release of It Never Goes Out, the debut album from Worcester, MA ‘s The Hotelier. The album was only released in digital form in 2011 and the long wait for a physical release is finally over. It Never Goes Out is available for Pre-Order on LP/CD with immediate digital download. The album is also available now on Bandcamp for $6 or iTunes, and Spotify for streaming.

Before The Hotelier made a splash in 2014 with their sophomore release, Home, Like Noplace Is There, the band (as The Hotel Year) quietly released their cult classic debut full-length, It Never Goes Out, in 2011. The album was unfortunately kept in label limbo in regards to a proper physical release but the time has finally come to right that wrong. Tiny Engines will release It Never Goes Out on LP/CD with all new artwork in the Spring of 2015. A year after Home, Like Noplace Is There cemented the band, revisit where it all started with It Never Goes Out.

The Hotelier will be heading out in the U.S. with Title Fight and La Dispute in March and will head to Europe in May with festival appearances scheduled at Groezrock & Primavera Sound. The band continues to support their critically-acclaimed sophomore LP, Home, Like Noplace Is There.

Home, Like Noplace Is There was released in February of 2014. The 4th pressing is available for Pre-Order now. The album is also available digitally on Bandcamp for $6 or pick it up on iTunes.

Upcoming Shows

Feb 28: NYC @ SUNY Purchase w/ 100%, Adult Mom, + more

Mar 15: Lemoyne, PA @ The Champ w/ Hurry
Mar 16: Columbus, OH @ Double Happiness w/ Dead Leaves
Mar 17: Louisville, KY @ The New Vintage w/ Frontier(s)
Mar 18: Asheville, NC @ The Odditorium w/ Muscle & Bone
Mar 19: Birmingham, AL @ Spring Street Firehouse
Mar 20: Lafayette, LA @ Heffe’s Saloon

Dates w/ La Dispute, Title Fight
Mar 21: Houston, TX @ Fitzgerald’s
Mar 23: Atlanta, GA @ The Masquerade
Mar 24: Carrboro, NC @ Cat’s Cradle
Mar 25: Washington, DC @ The Howard Theatre
Mar 26: Philadelphia, PA @ Union Transfer
Mar 27: New York, NY @ Webster Hall
Mar 29: Boston, MA @ Paradise Rock Club
Mar 31: Pittsburgh, PA @ The Alter Bar
Apr 1: Toronto, ON @ Phoenix Concert Theatre
Apr 3: Pontiac, MI @ The Crofoot Ballroom
Apr 5: Chicago, IL @ The Metro

European Dates
Apr 30: Münster, BE – Uncle M Fest @ Skaters Palace
May 1: Meerhout, BE @ Groezrock
May 3: Braunschweig, DE @ B58 w/ Make Do And Mend
May 4: Cologne, DE @ Gebaude 9 w/ Knapsack, Beach Slang

Pirate Satellite Festival w/ Samiam, Make Do And Mend, Smith St Band, Joyce Manor + more
May 6: Hamburg, DE @ Markthalle
May 7: Berlin, DE @ Astra
May 8: Wiesbaden, DE @ Schlachthof
May 9: Stuttgart, DE @ LKA
May 10: Munich, DE @ Backstage

Dates w/ Emperor X
May 11: Paris, FR @ l’Espace B
May 13: Cardiff, UK @ Clwb Ifor Bach
May 14: Kingston, UK @ Fighting Cocks
May 15: Southampton, UK @ Joiners
May 17: Norwich, UK @ The Owl Sanctuary
May 18: Newcastle, UK @ Think Tank
May 19: Glasgow, UK @ Bloc
May 20: Leeds, UK @ The Key Club
May 21: London, UK @ The Borderline

May 22: Manchester, UK @ Dot To Dot
May 23: Bristol, UK @ Dot To Dot
May 24: Nottingham, UK @ Dot To Dot
May 29: Barcelona, ES @ Primavera Sound
May 30: Barcelona, ES @ Primavera Sound

You Indie Feature: An interview with Jack Duckworth of Radio Berlin

Radio Berlin (photo by Jeremy R. Jansen)

Radio Berlin (photo by Jeremy R. Jansen)

On February 2, 2015, the members of now defunct Canadian post-punk band Radio Berlin, re-issue their three incredible LPs, Sibling, The Selection Drone, and Glass digitally.  These long out-of-print, hard to find records, have never been officially available in digital format before now.  The news seems especially timely considering the band dissolved ten years ago.

For those needing a history lesson, Radio Berlin was a four piece band from Vancouver, BC, Canada comprised of musicians that have also performed in a bevy of celebrated bands including A Luna Red, Black Mountain, Lightning Dust, etc.. Formed in 1998, the band released numerous, well-received albums. With a sound best described as rhythmic postpunk/new wave with early ‘goth’ stylings, Radio Berlin’s garnered many welcome comparisons to bands like Pornography-era Cure, Joy Division, Wire, Josef K, and Siouxsie and the Banshees, only backed by the rhythm section one would expect from a band like Clikatat Ikatowi. Having played with peers such as of The Locust, I Am Spoonbender, The Faint, Vue, Add N To X, Interpol, Ted Leo, The Organ and Camera Obscura (not the Scottish band), Radio Berlin rocked out with a hypnotic live show.

You Indie recently caught up with former Radio Berlin multi-instrumentalist and vocalist Jack Duckworth to get a bit of an oral history of the band, an update on where they are now, and collect other little tidbits of long-lost music lore, including about the tour Radio Berlin was offered with The Killers.  This is what he told us.

When Radio Berlin first got together, what were the goals of the band?

It’s been a while now but I think our goals at the time where as simple as just wanting to experiment in a different style of music that we all mutually had a strong aesthetic and emotional connection to. Prior to Radio Berlin all of us had played in more aggressive, post-hardcore style bands; usually very noisy and not without shouting/screaming or whatever. The scene in Vancouver at the time for that was really upbeat and positive for that sort of thing but for me I felt like it was only representative of a small range of ideas that I wanted to get across. All of the Radio Berlin members at the time had grown up on music that I guess one could call “alternative” from the decade before (’80s).

The timing was right as there were other bands in the same general scene from the US that were starting to experiment with those sounds, like The Faint, The VSS, The Audience, Satisfact, the first couple of releases by The Rapture and more.

But yeah, I think our goals were just to play some shows and maybe put out a record. Nothing really beyond that at the time.

What were Radio Berlin’s accomplishments that you are most proud of?

Well, in our seven years of activity we did get a lot done! We put out three full length albums as well as other releases and had toured North America I’d up to half a dozen times. I think that was more than what we were expecting compared to our goals in the initial years of that project. We were there at the start of that wave that was the beginning of the “post-punk revival” that started in North America around 1999 or 2000 and sort of took it from there really. Prior to playing in Radio Berlin I hadn’t really released anything on vinyl before. I started the band when I was 19 after all!

Are all the old LPs currently out of print? Have they ever been available digitally before?

Yes, that’s correct, although vinyl copies of The Selection Drone are still available through Ache Records — which is still around but not really actively doing anything anymore so it’s not really being pushed out there. All of the other releases in their various formats are out of print as far as being commercially available and that’s because all of the record labels that had released them have been out of commission for years. And with that came the lack of access to those records digitally as well. The only place you can really get them, if you’re actually keen, is sifting through the marketplace that is Discogs where there are copies of those kicking around second hand.

Our recent re-release that we’ve done finally gets all three albums out there in a publicly available format.

Why did Radio Berlin call it quits?

In short: change! The band started in 1998 when I was 19 and the other folks in the band weren’t too much older than I. When you’re in a band for seven years people get different ideas and want to do different things. By the time we started touring the last album Glass we were on the road at least 2-3 months of the year so the band intensely became a part of our lives. We were consciously aware of the hype about the post-punk revival happening around us and I think that subconsciously started to inform how we could move it further. I was wanting to go more electronic and atonal and Chris wanting to go more guitar-oriented so we experimented with both but nothing presented itself as a feasible option toward the end of the band. On our final un-released, half-recorded set of tracks most of the tracks were both Chris and I playing guitar, which sounded good. I think we just couldn’t make up our minds as a unit as to what we wanted to do.

Plus all of the touring we were doing was very DIY and very intense. We were doing somewhat well enough to coast along with it but we had no major backing behind us. It just started to get exhausting I think! Our last tour we were offered was opening for some new band called “The Killers” but we opted to try and record a new album for a new UK label at the time called Discoloration to try and rekindle things. In the end we just moved on to do different things. We had all remained, for the most part, good friends since then.

What has everyone been up to since Radio Berlin?

A lot actually. A lot has happened in ten years. For myself I moved to the UK in 2007 and have been active here since doing Soft Riot, promoting club nights, and doing a lot of design work. Josh has been doing very well with Black Mountain, Lightning Dust and now his new project, Sur Une Plage, whom I played with in Vancouver last October. Great band. Chris lives has been living in Berlin since 2008 and plays in a number of great bands like The Deep and Dysney Boys. Lyndsay has started a pretty sweet (pun intended) custom cake business called Coco Cake which is doing extremely well. Warren runs a label and record store in Portland, Oregon. Yeah, we’ve all been busy in our different spheres of the world — moving forward, trying new things with what I’d say the same curiosity and enthusiasm that lead us to do Radio Berlin in the first place back in 1998.

Do you believe the sound Radio Berlin was making is as relevant in 2015 as it was over ten years ago?

That’s a tricky question and one I’ve thought a lot about, not just Radio Berlin but the whole trajectory of the post-punk revival in general. At the time we started it was a major shift out of this very intense punk/hardcore scene that was in full swing in the early to mid nineties. I think that was part of a larger motion in music that rejected all of the aesthetic choices that dominated the 1980s, reverting back to rawness and anti-“glamour” — opting for a stripped bare approach rather than fantastical constructs that were prevalent in the decade previous.

At the time when all of these revival bands started popping up, the press was obviously going on about “the 80s” and “donning your black eyeliner” and all that sort of thing. They still are to some extent, almost 20 years later. There’s tons of amazing original synthesiser post-punk music that sounds similar to what was happening in the 80s but sounds like its own thing. The music journalism around that music today is far more retro and cliché than the music it writes about in my opinion (how many times to we need to hear “80s” in twenty years of current synthesiser music, c’,mon!).

I think the music we were doing at the time by circumstance has its own sound. We were referencing bands from a decade or two previous but the studio environments of the time (late 90s/early 00s) were run by friends and peers of ours that had grown up in the 90s indie methods of production. When I listen to them now Radio Berlin sounds like a post-punk band produced by Steve Albini or Steve Fisk rather than Mike Hedges or Trever Horn so that in itself makes it sound quite different.

Plus, Radio Berlin, when I listen to it now, sounds far more “prog” and math-rock than the obvious bands I thought we were referencing — maybe less Siouxsie and The Banshees and more Grace Under Pressure-era Rush or something. Not in a bad way — but our musical chops were already pretty fucking technical from playing hardcore bands in our teen years to just start some band with simple 4/4 rhythms. There’s some time signatures in the songs that are totally bizarre. I listen to them now and have a bit of a laugh when I listen to them.

But all in all, I think we had our own take on it. It wasn’t as accessible as other bands at the time that had more success at it but it’s part of the story of that post-punk revival in some way.

What made the band want to revisit this material in this way?

Since we quietly disbanded back in 2005 I think at least I’ve always had an interest in getting the material back out there. However, we’ve all been busy with new things so it’s always got pushed to the back burner. I think it’s been shelved for so long as there’s been new music buying/listening habits that have only gathered steam within the last five years that have made us doing a project like this possible. I mean, we could have taken the route of trying to find a label to re-release but to be honest I don’t think there’s enough interest out there to buy a re-issue from a somewhat known early-2000s post-punk revival band… hahaha. That and it’s a lot of time and effort to shop things around to a label. But with platforms like BandCamp it’s made things possible. That and in my travels touring with current music, as well as articles here and there on the internet about Radio Berlin that have surfaced in the last couple of years, it just seemed a good time — it was easy enough to do and for me, winter gets a bit slower for work (I’m a graphic designer/web developer) so I thought it’d be fun to dig through the archives and get the music out there for anyone who may have interest in it.

What bonus material is available with these albums?

For each of the three re-releases I’ve put extra tracks on there. For the Sibling digital re-issue there’s a track called “All Systems Go” off of our original seven song demo we self-released in 1998. To me this track sounds the most “retro” than any of them. It was the first song we did and was fun to make. There’s also an electronic version of this track that Josh did that was the “secret” track from the original CD version of Sibling. Finally, there’s “The Connection”, which was recorded in the same batch of songs that we did for Sibling but was released exclusively on a now very out of print split 7” we did with a band called Kid Commando from Sweden, released on an Australian label.

The new digital version of The Selection Drone contains the track “The Nation”, which was an outtake track from those sessions that didn’t make it on the album mainly as it didn’t fit the track sequencing we ended up settling on.

For Glass, there’s a few extras, including “Towers Above You” which again was an outtake from the recording sessions, omitted as it didn’t fit the track listing. There’s also an ambient version of “The Hyphen” that I did on one of my earliest computer workstation configurations back in 2003. Finally, there’s a track called “Bright Things”, which was a track recorded along with four or five others for what was to be a fourth Radio Berlin album that never materialized. Most of the tracks from that session never got completely finished and I don’t know if those tapes will ever re-surface. The only reason this track was completed was because we submitted it for a compilation on the Kill Rock Stars label called “Track and Fields,” released in 2004 I think.

Is a Radio Berlin reunion ever something that you guys would entertain?

To me it would seem very alien and regressive to do a Radio Berlin reunion. The majority of us have definitely moved on to newer things since then as far as music and art goes that represents us where we are now and are very excited about our current projects.

And we don’t have that “let’s do it for the money” bottom line either as, uh, we never even got close to that sort of popularity to do a reunion to rake in big bucks or whatever. Finally, the fact that all of the ex-members live in four different countries across two continents makes that sort of convenience of hooking up very inconvenient.

Having said that I had an amazing time working with all of those folks in the band that were all involved. They’re all massively talented and I miss them all quite a bit. In some alternate world where we all lived in the same city it would be fun to do just for a laugh but yeah, that was a long time ago now!

Where can people get the albums?

Well, right now anyone can get the recently re-released digital albums through our archive site that we’ve set up at www.radioberlinarchive.com which in turn is ultimately housed on BandCamp at radioberlin.bandcamp.com. If anyone is looking for physical copies of the record, as mentioned earlier there are some copies of “The Selection Drone” at www.acherecords.com but other than that, any other physical copies will require a bit of sifting through sites like Discogs, eBay or any other music distros that still have dusty copies lying on their shelves!

You Indie Feature: Daidria Eckels of Revolution Design

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A couple of weeks ago our good friend, artist Daidria Eckels opened Revolution Design in downtown Pataskala, Ohio.  The purpose of the business is to turn upcycled, repurposed furniture and other household items into artistic pieces that are ready for a new home and a new life.

You Indie recently caught up with Eckels to discuss her new undertaking.

When did you first come up with the concept for Revolution Design?

I have always liked collecting unique items, things that are old and have a soul and a story … and creating something new out of them, giving them a new purpose and a new life again.  My grandmother and mother both used to refinish furniture for themselves and they both always had an eye for design.  (My mother will deny it, but she too has an artistic spirit).  I was just thinking about this the other day, and it’s funny – I remember when I first went to The School of the Art Institute of Chicago and was trying to figure out my art focus, I had thought about furniture design…I loved the area in the Museum that was dedicated to furniture design.  I enjoy things that are beautiful, and also have a function.  My grandfather and dad are carpenters, so I always grew up around tools and they built our homes growing up, so I have always been surrounded by those materials and the smell of wood and paint.

I started focusing on it as a business the last year or so.  I was doing cake decoration and design, but was getting frustrated, because even though I was making these unique creations that were pieces of art, they were edible and the time and effort spent on something in that medium just wasn’t paying off financially.  Plus, as much as I enjoy baking, I would rather someone else did that part and I just got to do the “fun” sculptural part.

My best friend Chris Murphy – who owns District in Chicago, https://www.facebook.com/districtchicago, check it out! – had been encouraging me to do what he does with his business there, here in Ohio.  We always go on hunting expeditions and flea markets together, and we share a love and an eye for unique pieces and their potential.  So, with Chris’s support and advice, I started playing again with furniture.  I had lost myself creatively in a bad relationship and had a 5 year creative block and it was nice to get that all flowing again. And people reacted positively, and enjoyed my designs.

We were actually in Nashville together, flea marketing, when I found out the Just Pause store was for sale.  It felt like a sign, and Chris just looked at me and said “You have to do it”.  So, I did.

The name comes from my feminist view point, as well as my belief that art is revolutionary. If you ask my Mom, she will tell you I have always been a little bit of a rebel, and I have grown over the years to be proud of that and embrace it instead of trying to fit into the way I “should” be – as a woman, a mother, a daughter, a partner, a friend, and artist.  It took me almost 40 years, but I finally feel I am my true self, without apology.  So, that’s where that came from.

What is the concept behind the business?

I studied art therapy and psychology at Capital after I had my sons, and that sparked the idea that everyone has a creative spirit and that it is something I liked helping people tap into. The concept behind the store is to be MORE than a mere storefront. I want to make and sell unique pieces, but also get people excited and creating themselves. That’s why I have the desire to have classes and support fellow artists and craftspeople.

People’s homes should reflect who they are – I take a playful approach to design, yet sometimes I can be a little “dark”. I like contrasts. I think people’s homes should be their sanctuary and should feel however they want it to feel. No rules. So, I want to help people break the rules, I guess.

What experience do you have that makes this the perfect business for you?

Well, I am learning the business side of it, that’s for sure… that does not come naturally to me. But I have worked in some aspect of retail my entire life, so I understand a bit more than even I give myself credit for. I have my background in art, and I do well with people – I enjoy sharing my excitement and ideas with others. I like to teach – which comes from being a mother, and I also used to teach scrapbooking classes.

Also, my art therapy and psychology studies help.

When did you open and where is your business located?

I opened just a week ago! February 10th was my first official business day. We are located in downtown Pataskala, right off of 70, at 22 East Walnut St., in the former Just Pause space. It may seem way off the beaten path, but really it’s a less than 30 minute drive down 70.

Who do you imagine your perfect customer is and what kind of experience do you hope they have at Revolution Design?

Someone who likes to express themselves in a unique way – in life, in their home, in their style. I love the resurgence of nostalgia that has come as a result of all of the technology that is now a part of our daily lives. I feel like people have a desire to get back to basics, so to speak… We live in a very DIY time, with the popularity of Pinterest and Etsy, all of the home renovation shows, the flea-market flippers, the Salvage Dogs, not to mention the surge of album collecting and the neo-folk music resurgence. Even with YouTube and the spirit of independence in the film community, and the art scene at large.

I want people to come in and be inspired. To pick up something that is a conversation piece and that has a story to tell. And to get the desire to create, to find that artist inside.

Do you have a predominant philosophy when it comes to design?

I’m pretty open and enjoy so many different things – I have the philosophy that if you love it, then that’s all you need. I have collected amateur art from thrift stores for years – I love finding something that someone else may find hideously ugly and would never put on their walls, but i am drawn to that. Someone created it with a part of themselves, and poured a part of themselves into it. I love that idea and that spirit. So, I guess my philosophy is, I have no philosophy. If you like it, like it

What niche do you believe this fills in your community?

I am hoping that it draws people from other parts of town, and that people find a place that is fun and creative in my little shop. I want people to feel like a part of the store – doing the work with the ACPA students is part of this idea. (I will have a space dedicated for students to show and sell their work and learn the “business” of being an artist). I want a little bit of the Short North on the East side, and I hope that maybe more businesses that share this idea will come this way that share this same idea. I had a customer come in just today that voiced her hope that Revolution Design “isn’t too sophisticated for Pataskala”. I hope it’s not! I think people here are “sophisticated” enough to enjoy art and offbeat things and have a desire for that in their town and their lives.

What does the city do to help small business owners be successful?

Well, the mayor stopped in on the first day I was open! He asked to schedule a ribbon cutting ceremony when the weather thaws a bit, and introduced me to the woman who runs the Chamber of Commerce. He set me up with the reporter for the Pataskala Standard/Newark Advocate. So, it seems like a lot! I feel the support from the community and have the gut feeling that they want it to succeed.

I mentioned to him my idea of pulling the Short North out here, and he seemed receptive to that.

What pieces are you currently selling that are your favorites and what kind of home do you imagine for them?

I have a dining set and buffet that was my Great-Grandmother’s from the early 1900′s that my parents just brought in. It’s not my “style”, but I love it for it’s history. When I was cleaning it up, I was reminded of the chore of dusting it on Saturday mornings as a child – it has these intricate carving designs that are perfect for little fingers to clean … my Mom was smart to give me that job. I imagine it being in someone else’s home, for a new family and generation to enjoy, to create their own stories and history around it. Maybe they will paint it funky colors, or eat dinner at it every night – the idea of someone just loving it excites me.

Right now, I am loving creating the Writer’s Blocks for people. They are bricks that I paint as a sort of trompe l’oeil book, which serves as a hefty bookend or can be used as a doorstop or in a garden. I am a huge reader and book nut, so thinking of designs and getting to hear other people’s favorite books brings me great joy. I had a woman order two sets for her friend’s wedding gift and one of the books was Margaret Atwood’s THE HANDMAID’S TALE, which is my favorite book, and I just got so thrilled about it, because I’m also a nerdy dork.

Since we’re predominantly a music blog, we’d love to know what you’re listening to. What are you playing in the shop?

I listen to a lot of the same stuff I always have, anywhere from 80′s and 90′s stuff, to the Beatles and Joni Mitchell, REM, Elton John. On my iPod and Spotify rotation are Ben Folds, Aimee Mann, Shakey Graves, Mika, Damien Rice, Nirvana, Hole … I don’t know a lot of the newer artists – my sons help me to stay informed – and my oldest son, Omri, actually made the set list for my opening and I play that in the store. It has a variety of things, old and new: Ray LaMontagne, the White Stripes, Talking Heads, Nick Drake, Modest Mouse, Bowie, the Pixies, Vampire Weekend, The Violent Femmes, Radiohead, Shovels and Rope, Simon and Garfunkel, Future Islands, Dismemberment Plan, D’Angelo, Cloud Nothings, Animal Collective, St. Vincent, My Bloody Valentine, Neutral Milk Hotel.

(Revolution Design is open from 11 a.m. to 4 p.m. Wednesday and Thursday, 11 a.m. to 7 p.m. Friday and Saturday, and noon to 5 p.m. Sunday. It is closed Monday and Tuesday. The shop might offer expanded summer hours.

Customers also can call to make off-hour appointments. It is located at 22 E. Walnut Street in downtown Pataskala.  Call 614-398-9348 or email revolutiondesign6@gmail.com.

Visit Revolution Design online here: www.facebook.com/revolutiondesign040.)

Album Reviews: Bad Suns, The Jazz June, Manchester Orchestra, Woods and more

Bad Suns
Language & Perspective
Los Angeles four-piece Bad Suns aren’t the first retro-rockers to land on Vagrant Records as they’ve continued to diversify their catalog away from the emo bread and butter that made the label such a formidable presence in the early 2000s.  Not long ago I was singing the praises of California Wives, and the label has also delivered records by Stars.  Again the label delights me by uncovering a versatile, groovy act that are dynamic, dancey and infectiously fun . Produced by Eric Palmquist (The Mars Volta, Wavves), the 11-track effort follows the group’s Transpose EP, which arrived earlier this year and greased the skids for an indie pop banger of note.  Frontman Christo Bowman has a broad tenor/baritone range that allows him to slip in and out of silky, arresting falsetto with ease, and the title track owes a debt to like-minded, Las Vegas ’80s pop worshippers The Killers, especially the cooing “Ooooos” at the track’s end.  If the band plays their cards right they should be able to capture some of the same commercial success enjoyed by Bastille or The Killers, but fans of Police and dance punkers who had their heart strings pulled by Bloc Party or Foals would be doing themselves a disservice to overlook the record.  It is sprawling, funky and monumental in scope and by the time next Summer hits, I fully expect that these guys will be festival circuit darlings. (Vagrant Records)

Cheatahs
Cheatahs
A band that splits the difference between shoegaze. alt rock, and fuzzy, blissful guitar rock is already 80+ percent postured to be a success in my book. So proudly does the band wear their influences on their sleeves, and the hot ones are present here including Dinosaur Jr., Sonic Youth, Swervedriver, The Replacements, Sugar (see their “The Swan”), My Bloody Valentine, and one of my unsung ’90s favorites, Drop Nineteens. If emulation is the name of the game, the guitar histrionics displayed here are at once exhaustively studied and completely on point. As a product of the ’90s myself, I appreciate the nods; a band like this can really do no wrong in my book. Sleek vocals, brief divergences into Tears For Fears-like ’80s new wave territory (as evidenced on “Mission Creep”), and layered, nostalgic guitar flavors will check boxes at the top of to-do lists for the most astute ’90s alt-rock audiophiles. They certainly have for me, as I keep an ear to the east, waiting for what the London-based band will do to advance ’90s guitar-rock and shoegaze in the current climate next. (Wichita)

Electric Youth
Innerworld
With their swooning collaboration with College, “A Real Hero”, featured in Nicolas Winding Refn’s universally acclaimed neo-noir Drive, fans of film, or more likely Ryan Gosling, will already recognize Electric Youth.  As a bigger fan of Eric Stoltz and Molly Ringwald, I recognize that Electric Youth would have easily been the musical scene stealers of the brat pack movies had they been in the right place at the right time just decades earlier.  But in this decade, recording for Innerworld took place between the duo’s Toronto studio and their home studio in LA; in Toronto Electric Youth made use of an extensive vintage synth collection, and in Los Angeles the duo recorded vocals.  The result is a wide-eyed record where songs unfold into sprawling and wondrous narratives with breathtaking scenery.  Rockers can think of it this way, Explosions In The Sky, but with synths and Chvrches-like vocals (particularly on “The Best Thing”).  Fans of this kind of audible fare, like your critic, should find a lot in common with ’80s stalwarts like Erasure and Orchestral Maneuvers In The Dark, and more recently M83, who would be a prime future collaborator for the group.  And like the first time I set eyes of Mary Stuart Masterson’s Watts character, I’m deeply and unwaveringly enamored. (Secretly Canadian)

Fujiya & Miyagi
Artificial Sweeteners
It comes with great hesitance and soul-killing gravity that I have to admit that Pitchfork’s review is probably right about the latest album from Fujiya & Miyagi. Although they started out at the head of the electro-pop meets Kraut-rock trend, and are sufficiently adequate in the pursuit of their preferred sound, Their latest LP is a bit meh to my ears and proclivities. Whether it is the abundance of dynamic and captivating electro-leaning acts on the current landscape, or whether this effort is just OK, isn’t easy for me to surmise. Long-time fans of Depeche Mode and the like with appreciate their effort and merit, and the group isn’t terrible by a long shot. That said, when I’m lacing up dance shoes these days, I’d prefer a little Cut Copy or Wild Cub and that isn’t where this band treads water. Perhaps their strength is in the live show, or a couple of luke warm critiques will provide the perfect storm for growth. I’m leaning optimistically towards the latter that their next effort will be something that encourages repeated spins and a fist-pump or two from my personal dance floor. (Yep Roc)

The Jazz June
After The Earthquake
Like many other aging emo-diehards desperately trying to hold on to the nostalgic sounds of youth as they near 40 and find it less and less acceptable when they squeeze into tight jeans and a black band t-shirt while their peers have long since transitioned to polos and khakis (a phenomenon the record’s producer, Into It. Over It’s Evan Weiss, has described as mid-life puberty), I’ve been chomping-at-the-bit for this record since The Jazz June reunited a little over a year ago.  With the exception to the contribution to last spring’s split with Dikembe, the album marks their first proper studio album in a dozen or more years.  And it’s not what I expected.  And while I was busy lamenting the loss of “When The Drums Kick In” the sequel, I fell in love with the LP and the poppy earworms living inside it. After The Earthquake finds a mature, studied band with as far more in common with Built To Spill and Pavement than with Christie Front Drive.  The songs are purposeful, catchy and the appropriate next chapters for a band relaunching their musical career.  The prevailing theme of the record seems to be that life goes on and change is unavoidable, and while I can’t bring myself to listen to this while sporting a pair of Dockers, I am with great joy welcoming the band back into constant rotation in my older, and perhaps hairier, middle-aged ears. (Topshelf Records)

The King Of Prussia
Zonian Girls
After his trip to Barcelona, Athens, Georgia’s Brandon Hanick returned a changed and ambitious man, and assembled a troupe of collaborators (including members of Elf Power, REM, The B-52s, etc.) to create the 20-song double album Zonian Girls…And The Echoes That Surround Us All. King of Prussia’s first release for Minty Fresh, this is largely a breezy baroque indie pop album that veers into Phil Spector-informed ’60s rock, as well as ’90s alt-pop territory, in its melodies and arrangements.  Equally informed by Americana and Brit-pop (especially Hanick’s Morrissey-like vocal inflections), the album showcases a songwriter with the best of intentions. “Go big, or go home” is an approach that I have a tough time poo-pooing… That said, the flavors here don’t always appeal to my taste sensibilities, and at times I wonder if he hasn’t bitten off more than he can appropriately execute or if the band has failed to demonstrate quality control. But that’s my baggage, not Hanick’s or the band’s, and I recognize that he shouldn’t suffer from a writer’s personal preference. I don’t always get Sufjan Stevens either, an admission that is sure to illicit deserved groans from the peanut gallery. In the hands and ears of another more appropriate listener, this will probably garner best-of status in a hurry. In mine, songs like “1,000 Leagues” resonate as a bit over-wrought. But again, it’s not them, it’s me. I know a dozen of people that will go unflinchingly bonkers for this. (Minty Fresh)

 Kingsbury Manx
Bronze Age
Pastoral folk pop for that ass…said no one ever.  I imagine this damning observation is responsible for direction changes as this time-tested band  veers more-than-slightly from satisfying, low key rock music into new wave, synth-driven territory.  There’s nothing particularly offensive about this approach typically, and it has worked for others as they drop woozy, analog keyboards into the mix. I’m just not sure it works for this band.  For The Kingsbury Manx, whose trademark sound has navigated ’60s touchstones like The Band it defies reasonable expectation in most cases.  There is one exception though, “Lyon,” in which the keyboard gives them a Bob Dylan feel.  They still deliver some beautiful and heartbreaking acoustic cuts, like “Concubine” and The Beatles leaning, title inspiring “Glass Eye,” but their willingness to drift across double yellow lines misses their elegant sweet spot, which has landed the band in close company with Sufjan Stevens and Matt Pond previously.  The Cars and The Romantics have never been in their close company, and should continue not to be.  If the Carrboro quartet is looking for a reinvention, I’m not sure this is hitting the right marks. (Odessa)

Kool Stuff Katie
Self-Titled
The Portland, Oregon dude guitarist/lady drummer duo had me smacking my head as I poured over their press photos.  I imagined another White Stripes, Black Keys or The Hussy.  Was I wrong…the 10 pop-perfect tracks on their eponymous release are a bird of a completely different feather.  The power pop savvy Kool Stuff Katie, Shane Blem and Saren Oliver, revel in complex things that sound simple.  Combining pop, garage, punk, and new wave sounds the band hopscotch through territory once navigated by Dramarama, The Buzzcocks, The Rave-Ups, Cheap Trick and hundreds of other good bands, in the most confident and capable ways.  The sweet nostalgia offered here is a dash of Tegan and Sara, a pinch or Mates of State, and a teaspoon of The Bangles.  And when fully-baked, as they are, it is 100 percent Kool.

Manchester Orchestra
Cope
Cope is the fourth studio album from the Atlanta-based indie rock collective, who self-produced the effort alongside longtime collaborating partner Dan Hannon and was admittedly the band’s rafter-swinging try at delivering an unrelenting and unapologetically rock heavy album. They’ve certainly accomplished what they set out to undertake, and the album’s first singles “Top Notch” and “Every Stone” are representative of the success of this undertaking. Perhaps the most interesting characteristic of the band comes via the vocal approach of lead singer and songwriter Andy Hull who tempers a perhaps accidentally emo-revivalist approach (imagine Weezer’s pop and singalong sensibilities tempered with Balance and Composure’s vitriol) with prominent influence from the indie camp, most noteably Band of Horses (especially on “The Ocean”) and My Morning Jacket, leaching in. What does it mean? Fans of sweeping and expansive rock (most likely bearded dudes who can unapologetically admit an allegiance to Foo Fighters, indie cred be damned) are going to eat these alt-rock bangers up. This one is meant to be played loud, so turn it up. (Favorite Gentlemen/Loma Vista/Republic Records)

Move Home
…and so it begins
Columbus, Ohio rock quintet Move Home deliver guitar-driven, ’00s era emo sounds with rock undertones and grunge flair; the kind of sound midwestern bands have long claimed as their own.  In the interest of full disclosure, the album was recorded and mixed by Micah Carli, who also recorded the debut EP of my band, Arms Race, at his Popside studio and I suspect Move Home called on him for the same reasons we did.  Better known as the lead guitarist of emo mainstays Hawthorne Heights, Carli is in his wheelhouse as the Move Home treads some of the same water that he pioneered.  The band make use of their own skill sets, ringing guitars, call-and-response vocals, and pounding drums, especially on songs like “Kings Are Killed” and “Loaded Question” to great effect.  Vocalist David Ramsey may have taken a note or two from Sense Field and Further Seems Forever vocalist Jon Bunch, while those members wielding instruments make it clear that they’ve heard a Brand New, Taking Back Sunday and Hawthorne Heights album or two.  Like a roller coaster, the effort peaks in the middle, and comes to a close on “Midnight Thoughts,” which is an Alice In Chains Jar Of Flies-like ballad that drives home the band’s grunge influences.  With an energetic live show and a solid-effort like this one under their belts, the band are off to a formidable start. (We Want Action)

Pink Frost
Traitors EP
In the mid-nineties I attended a Red Hot Chili Peppers concert at Cincinnati Gardens.  The openers were Pearl Jam, who I immediately disregarded as a flash-in-the-pan (could I have been more wrong?), and Smashing Pumpkins, whose debut Gish I procured almost immediately upon returning home. In dropping this EP on a platter, I can’t help but be transported back to that place and time, and truth be told, I’m pulling on a “ZERO” shirt to write this. 
Awash in head-spinning reverb, swirling melodies and soaring, anthemic refrains, while Traitors owes a tremendous debt to the path less travelled forged by Chicago forefathers like the Pumpkins and Hum, it also shows that shoegaze-leaning alt-rock is desperately missed and maintains relevance still today.  Unsurprisingly, the band enlisted veteran producer and engineering guru Steve Albini behind the boards, recording at his Electrical Audio.  This is the right sound, right producer, and right band to deliver rock fans back to the nineties.  And I’m still more interested in this than anything Pearl Jam does. (Smart Like Virus)

The Rentals
Lost In Alphaville
Friends of P can rejoice as former Weezer bassist Matt Sharp returns from a lengthy hiatus with his alt-synth project.  Although,
a couple of splits, a solo album and a year-long audiovisual art project called ‘Songs About Time’ delayed this LP, it is a formidable comeback worthy of high-fives from LL Cool J. The first proper album in 15 years, the project continues to collect MVP collaborators to deliver a pleasure cruise of synthy pop sounds that revel in childlike indie nostalgia.  Black Keys drummer Pat Carney is in the mix, as well as Jess Wolfe and Holly Laessig from Lucius.  Sci-fi themes and retro-gazing continues to be the modus operandi and predominant marching orders.  In short, this is a sugary audible treat that Bob Moog would be proud of, and that middle-aged dudes will find much joy in.  So excuse we while I follow my bliss to Alphaville. (Polyvinyl) Tim Anderl

St. Lenox
“That Old Time Religion” Maxi-single
Columbus, Ohio’s Andrew Choi creates slick, indie-cognizant R&B that I easily put a finger on, but find difficult describing.  Like he says during this maxi-single’s track “To Be Young” it shouldn’t be hard if I do it right, so here goes…Andrew Choi is the amalgam of LCD Soundsystem, Gavin DeGraw, and Har Mar Superstar.  I know it sounds terrible, but it is way better in practice.  Readers who are intrigued should probably just buy this rather than reading as I fumble through the next 50 to 100 words.  OK, let me try another description…the douche nozzle from Maroon 5 actually does something cool for once — something that you’d find equally likely to drop on at a Pecha Kucha event as you would during twilight hours of a frat party to encourage coupling rituals.  That sounds terrible too.  I give up, but St. Lenox shouldn’t and I’m sure he won’t as his resume reads “graduated from Julliard, studied in Princeton, and pursuing JD in NYU.”  Really looking forward to a full-length and more references to Crystal Pepsi and flying cars. (Anyway Records)

A Sunny Day In Glascow
Sea When Absent
Recorded over the last year and a half with Jeff Zeigler (The War On Drugs, Kurt Vile), the Philly based shoegaze/dream pop collective’s latest effort delivers on their characteristically lush, dense and welcoming songwriting approach, which continues to result in a dual backward and forward thinking LP that is as provoking as it is digestible. Simply, their sound is the long-fought-and-won graduation of the yesteryear sounds of ’90s shoegaze pioneers like Cocteau Twins, Sundays, and My Bloody Valentine, and thier marriage to an approach made popular by more current and epic pop patron saints like Ellie Goulding and M83s Anthony Gonzalez. Blissful, bright, and cathartic, Sea When Absent is an epic record that throws a myriad of synth and guitar sounds at the wall…and everything that sticks is breathtaking. As an aside, this creative combination has been a long time coming — Tegan and Sara hit the Billboard charts with a similar approach on Closer just a year or so ago. Unsurprisingly, the cream will rise to the top, and with a record like this in their belts, it makes it easy to see why A Sunny Day In Glascow’s previous efforts have consistently delighted buzz makers the internet over. Don’t expect different from You Indie, because we’re loving the absolute shit out of this. (Lefse)

Woods
With Light And With Love
For those not in the know, Brooklyn-based folk rockers Woods’ back catalog consists of a myriad of impeccable LPs that would give both DIY fetishists and jam band enthusiasts, well, wood. Additionally, the band runs their own label, and organizes a celebratory musical gathering in Big Sur each year. This LP, the first recorded in a proper, professional studio showcases Jeremy Earl’s trademark falsetto (which is something akin to the angelic voice of celebrated indie folk troubadour Elliott Smith) as well as a hungry and prodigious band with a healthy respect for their ’60s and ’70s psych-folk and pop forefathers. For me it is as simple as the record’s title track, a trippy and solid Byrds worshipping opus complete with “Eight Miles High” guitar solo flourishes. It is just good, thoughtful songwriting at its best and most progressive. So, are they are a festival-ready experimental psyche folk troupe that will delight the unwashed masses at some Bonarroo-like gathering? Yes. Are they studied and accomplished pop songwriters who will be endlessly scrutinized, and ultimately celebrated, by indie hipsters on coffee breaks from the Guided By Voices fan forums? Uh huh. Does it need to be that complicated? Probably not. But as long as people are taking about these dudes, which is much deserved, I relish the debate. (Woodsist)

Bad Religion announce tour dates with Plague Vendor (2015)

Bad Religion will be touring the northeast U.S. and Canada this June. They will be taking Plague Vendor on the tour.

Date Location Venue
6/9 Brooklyn, NY Music Hall of Williamsburg
6/10 Brooklyn, NY Music Hall of Williamsburg
6/11 New York, NY Bowery Ballroom
6/12 New York, NY Bowery Ballroom
6/14 Sayreville, NJ Starland Ballroom
6/15 Boston, MA Paradise Rock Club
6/16 Boston, MA Paradise Rock Club
6/18 Burlington, VT Higher Ground
6/19 Montebello, QC Amnesia Rockfest
6/20 Toronto, ON Phoenix Concert Theatre
6/22 Chicago, IL Metro
6/23 Chicago, IL Metro
6/25 Winnipeg, MB The Burton Cummings Theatre
6/26 Saskatoon, SK O’Brien’s Event Centre
6/28 Calgary, AB Flames Central
6/30 Vancouver, BC Commodore Ballroom