Album Title: Waking the Dead
Featured Tracks: “Waking The Dead” & “I Had a Dream About Nuclear Attack”
Record Label: Equal Vision
Website: http://www.myspace.com/placesandnumbers
Bio: Places and Numbers is the new project from Bobby Darling, former guitarist for critically-acclaimed rockers Gatsbys American Dream. Recorded while traveling through Italy, WAKING THE DEAD is a welcoming blend of reverb-drenched effects and Darling’s engaging vocals. The finished product pulls musical influences from acts as diverse as the Postal Service, Talking Heads, the Strokes and Kanye West, and showcases a musician who’s finding new meaning in life through writing songs.
Album Title: Fun and Laughter EP & Some are Lakes
Featured Tracks: “May You Never” & “Some Are Lakes”
Record Label: Saddle-Creek
Website: www.myspace.com/landoftalk
Bio: Land of Talk arrive with Some Are Lakes, the much-anticipated debut full-length and their first recording for Saddle Creek. Led by singer/guitarist Elizabeth Powell, Some Are Lakes was recorded in the band’s hometown of Montreal with Justin Vernon (Bon Iver) and is the follow up to their acclaimed 2006 EP Applause Cheer Boo Hiss (Rebel Group). Some Are Lakes continues to showcase Powell’s vocal convictions, which Time Out NY called “a voice that flits between come-hither and go-fuck-yourself.” Powell’s voice and roaring guitars take center-stage alongside bassist Chris McCarron and drummer Andrew Barr (The Slip). The album is born of an artistic sensibility that digs its heels into the present, and yet is entirely tied to the ashtray fumes of its past and the jet turbine whine of its future. Some Are Lakes is as much an album about where Land of Talk have been, and where they will be, as it can ever be about where they are now.
Bio: The Federals are a force to be reckoned with we reckon. “Take It From Me” is a rough edgy anthem in the making! Proper thrashy, rowdy, fuzziness. The earliest brattishness of The Who dragged helplessly kicking & screaming into the 21st Century!
Bio: For a band whose lineup has only really been cemented this year, The Soft
Pack – formerly known as the Muslims – have already accomplished a breathtaking amount. Born and bred in San Diego but currently based in LA, the quartet, which features Matt Lamkin on vocals, co-founder Matty
McLoughlin on guitar, David Lantzman on bass and Brian Hill on drums, create a fresh, razor-sharp, no-frills sound that draws in influences from acts as varied as the Stooges, Jonathan Richman, Wire and The Velvet Underground, resulting in fiercely infectious, stripped-down songs which have eagle-eyed A&R types and critics alike falling over themselves with praise. Proof that the band have well and truly arrived was their frenzied reception at this year’s CMJ, as they played 11 packed out shows at a range of venues, from intimate places like Pianos and Don Pedro’s to larger venues like Williamsburg Music Hall and the Bowery Ballroom. Adulatory pieces in the New York Times, Wall Street Journal, Rolling Stone, Fader and Billboard quickly followed suit, as did hotly coveted support slots with the likes of the Last Shadow Puppets and the Breeders this fall.
In addition, their untitled 12-inch debut EP (which came in one of a kind
jackets with bullet holes shot through by the father of a friend, a former
NYC cop) sold out almost immediately and is being re-pressed this year,
complete with brand new tracks, hand typed inserts and silk screened
sleeves. And excitingly enough, the UK will get their first blast of the Soft Pack’s potent rock and roll when their double A-side, “Nightlife/Bright Side” is released through Caspian Records in February 2009, with their debut UK shows to follow; the very first of which, in fact, is for the famed NME Brats. The perfect opportunity to listen to these perfectly formed mini-classics in waiting and get acquainted with the sound of the Soft Pack before the rest of the world inevitably does…
Bio: More than clever verses and catchy choruses, truly timeless albums offer listeners the keys to another world; they catapult you into another frame of mind and jostle your soul a little bit along the way. Broken Side of Time, Alberta Cross’ ATO Records debut, is one of those albums.
A cathartic, kaleidoscope of influences, from Depeche Mode to The Band, it’s also the sound of Alberta Cross’ two principals—frontman/guitarist-vocalist Petter Ericson Stakee and bassist Terry Wolfers—going for broke and stumbling across the sound of their dreams in the process.
Broken Side of Time took root in an April 2008 jam session, Stakee and Wolfers’ first with three players they would quickly enlist—guitarist Sam Kearney, drummer Austin Beede and keyboardist Alec Higgins. With the aid of a little drink and a little smoke, the five jammed on a group of Stakee’s then-new songs, giving birth to Alberta Cross’ second incarnation almost immediately: “I remember thinking that night, ‘This is gonna be insane,’” remembers Stakee.
It was a time of upheaval for Stakee and Wolfers, ex-pat Brits living in Brooklyn. They had moved to a new, tough city, lost the major-label record deal they had moved there with, and were in the midst of reinventing both their band and their sound, while sleeping on friends’ couches. Their well-received debut EP, 2007’s The Thief & the Heartbreaker, was a modest, folk-minded, acoustic-based disc that garnered glowing reviews. But, for Stakee and Wolfers, it was a baby step.
Broken Side of Time, meanwhile, is a giant stride ahead, one that marks the band’s official introduction to America. Grand in volume and vast in vision, it’s an inspired set of electric songs that finds the intersection of The Verve, My Morning Jacket and Neil Young (with or without Crazy Horse). Recorded in Austin, produced by the band with Mike McCarthy (Spoon, Dead Confederate, Heartless Bastards) and mixed by John O’Mahony (Depeche Mode, Coldplay, Kasabian) at Electric Lady Studios, the album melds propulsive, throbbing bass lines and crashing waves of guitar to a haunting, impassioned voice that can sound ancient and Appalachian.
Something of an about-face from The Thief & the Heartbreaker, the album, says Stakee, bears the influence of years of frustration logged in the shadow of Manhattan: “It’s kind of a desperation album, a darker album; it’s definitely angrier. We’ve been in a crazy place during the whole album, and you can hear that.” Appropriately, Stakee was listening to Nick Cave, Leonard Cohen, and the grimmer, gospel songs of Depeche Mode while writing the songs of Broken Side of Time. On songs like “Rise From the Shadows” and “Ghost of City Life” he speaks directly of their situation and surroundings.
Despite any struggles, Wolfers and Stakee in many ways have had a charmed career thus far. Born in Sweden—where he spent a childhood on tour and in studios with his musician father before moving to London in his late teens—Stakee and Wolfers—a Brit charmed by everyone from Prince and My Bloody Valentine to Metallica and Ride as a teen—were playing in a guitar-rock band in London’s east end some four years ago, when Stakee brought some new songs and ideas to the band. When all were roundly rejected, Wolfers invited his bandmate to record those humble, acoustic songs on the makeshift equipment in his apartment.
“Right then and there I instantly realized that he was an extremely talented fellow,” Wolfers says. “That’s when I realized I had found someone who I could create some really great music with—after just jamming on a few things.” Those demos would become The Thief & The Heartbreaker—featuring Petter’s brother, John Alexander Ericson, on keyboards—released via Fiction in the U.K. and re-released by popular demand on the bands new U.K. label, Ark Recordings
Bored with the scene in London and in need of a burst of energy, Stakee and Wolfers moved to New York, where they immediately created a buzz, playing spellbinding acoustic shows at venues like The Living Room, en route to capturing a new deal with ATO Records. Seeking to create more of a band vibe—“and we wanted it to be a family,” says Wolfers—they added Beede, Higgins and Kearney and a louder, grittier sound was born. “We had a show at The Mercury Lounge [in New York] like two days after that first jam,” says Wolfers, “and, without really any real time to rehearse, I remember being onstage that night thinking, ‘This is the best I’ve heard the material.’”
Alberta Cross has toured extensively through the U.K., sharing the stage with Oasis, The Shins, Bat for Lashes and Simian Mobile Disco, among others. “If we weren’t playing for people every night, we would be going mad.” Stakee says. Adds Wolfers, “We do it, because we have to.”
“I remember going to see The Verve on the Storm in Heaven tour, and I stood right in front of [guitarist] Nick McCabe the whole night,” the bassist continues. “I remember walking out of that show feeling like I had just seen a group of people pour their heart and soul out, and I felt it. It changed my life. And that’s what we want to do: We want to give people something honest, and move them, make them feel.”
Echoes Stakee, “We’re trying to give people truly soulful music, which is hopefully inspirational. I want to ease their minds and give them a little break from reality.”
Bio: Queens Club, formed in 2008 by ex-members of The Chariot, are unashamedly accessible, with a dash of attitude. Ok, more than a dash. A ton of attitude. In fact, one can’t help but call to mind the energy found in bands like Franz Ferdinand or Bloc Party upon listening, but comparisons aside, QUEENS CLUB brings plenty of originality to the table. With Nightmarer (the band’s debut EP with Tooth & Nail Records), QUEENS CLUB are destined heirs to the rock throne and are ready to rule the hearts of music lovers worldwide.
Skeptical? When the full length releases in 2010 you can borrow my extra pair of dancing shoes. Fans who have already had a chance to hear the band know exactly what I’m talking about, and those who don’t will most assuredly join the Club.
Fun is what happens when three extraordinarily talented musicians come together to create something altogether new and wonderful. Nate Ruess, late of The Format, has teamed up with ex-Anathallo multi-instrumentalist Andrew Dost and Steel Train’s Jack Antonoff, resulting in their ingenious debut, “AIM AND IGNITE.” The trio melds a stunning array of diverse inspirations – spanning Broadway to The Beach Boys, “NILSSON SCHMILSSON” to “PINKERTON” – into an irresistible collection of freewheeling pop songcraft. Songs like “Benson Hedges” and “All The Pretty Girls” are fit to burst with richly prolix lyricism and intricate melodic twists and turns, which provide plenty of room for Ruess’ distinctive vocals to soar. With “AIM AND IGNITE,” Fun have crafted something special indeed, a contemporary rethinking of classic 70s pop, where ornate arrangements and inspired orchestrations meet present-day rock ‘n’ roll.
Bio: In 2002, while still in their teens, Anaheim natives Richie James Follin and Jessica Reynoza formed the Willowz. Their music was a mix of brash rock ‘n’ roll, soul, and instinctive raw punk. They recorded a 7-inch for legendary Posh Boy records produced by Follin’s stepfather Paul Kostabi (White Zombie, Psychotica, Y.G.M., Detours). They then toured relentlessly across America, and in 2003 recorded their debut self titled album for Dionysus records. Songs from that album were featured in Michel Gondry’s Oscar winning film “Eternal Sunshine of the Spotless Mind”. Two songs were included on the Grammy nominated soundtrack as well. Gondry also directed a video for the band featured on the directors label box set and was quoted as saying, “I wish to be to the Willowz what Warhol was to the Velvet Underground.” Willowz then released a 7-inch for XL records and toured the U.K.
In 2005 the Willowz recorded and released their highly ambitious second album “Talk in Circles” on Sympathy for the Record Industry. The album was ranked as one of the “Top 50 albums of 2005″ by Rolling Stone magazine, graded “A-” by Spin magazine, and ranked on many of the year end lists throughout the country as one of the best albums of the year. The album also features a guest vocal appearance by Keith Morris (Black Flag, Circle Jerks). Songs from the album were featured in Gondry’s film “The Science of Sleep” as well as on the soundtrack. The Willowz followed up “Talk in Circles” with “See in Squares”, a dvd accompany to the album with a video for every song (27 videos total and live footage of the band playing a catholic school summer camp in Oklahoma). They were nominated for Rock band of the year by the LA Weekly.
In 2007 the Willowz signed to Dim Mak records and released “Chautauqua”. This album featured a heavier sound rooted deeply in rock and psychedelic music. The album was named “#1 Rock Album of the Year” by the O.C. Weekly. The Willowz toured world wide for this release playing over 300 shows in 2008. They also released numerous 7-inches on labels such as April 77, Contaminated, Acid Bird, and SFTRI.
In February of 2009 the Willowz went to Dallas to record their 4th full length album entitled “Everyone”. The album was produced by Stuart Sikes and is the best Willowz album to date. Their latest album contains the raw energy they are known for, mixed with strongly crafted pop hooks. “Everyone” is set to be released Fall 2009 on Dim Mak / Downtown records.
My name is Marit Larsen and I compose pop music with no rules.
My everyday life revolves around making my songs. I find songs everywhere. In between two words of a conversation. Waiting for the bus. Watching myself in the mirror wearing a good dress. Reading phenomenal books. Walking up the five flights of stairs to my apartment.
I’ve always been obsessed with music. Most of my memories, good and bad, have their own soundtrack (which is, by the way, by far the best thing about music).
I play the piano, the guitar and sometimes the mandolin. When I write, I usually use them all. To me, different instruments show me different paths in lyrics and melody. It works out well.
It wasn’t until I was nineteen I decided to be a solo artist. A few years prior to that I was part of a duo that released records on a big American record label and travelled the world for four years. It was all absolutely overwhelming and exciting. I learned a lot.
Especially this: When I was constantly travelling, going from one place to the next, talking about myself so much I almost forgot who I was talking about, always thinking about tomorrow and never today – I almost stopped writing songs. It sounds vain, but I almost lost my music.
I feel humble and privileged being able to compose and perform music for a living. As long as I have stories to tell, I will keep writing, and as long as I keep writing I will continue this surreal way of life.
Album Title: Cœur De Pirate
Featured Tracks: “Commes de Enfants,” “Printemps”
Record Label: Dare to Care Records
Website: www.myspace.com/coeurdepirate
Bio: Cœur de pirate is Béatrice Martin, a young woman who has played the piano since she was 3. After five years of conservatoire, she felt the urge to write her own songs to express her feelings, emotions and experiences and was quickly recruited by band Bonjour Brumaire as keyboard player. However, in Spring 2008, she decided to concentrate on her solo project, Cœur de pirate, inspired by the music she grew up to (French and folk music). With only 4 shows on her tour book and a little help from Myspace, she signed with Grosse Boîte (Dare To Care) and spent the summer recording her first album and playing festivals such as Les Francofolies de Montreal and Osheaga. Her first album was released on September 16th and acclaimed by critics (including superstar blogger Perez Hilton).
Album Title: Waking the Dead
Album Title: Everyone
