Thursday, June 9
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Today sees the releases of a new video for recent single, Little Uneasy which Amelia explains is a song; "about trying to be ok with uncertainty, and being kind to yourself in those times while you figure out what the heck you’re even doing. So with that, I quite like how I’m not too confident on the skateboard, I'm a bit unsure of myself and I feel that works with the song lyrically."
Two minutes and thirty seven seconds is probably the perfect length for a pop song. Eleanor Ring Me could well be that song. Revolving around a riff that will stick in your brain, a voice that rasps out the words and a beat that walks along the sidewalk this is the sound of a band about to embark on their next musical journey.
Stage Republic produces Pop music with a little bit of the eighties and a lot of now.
From their home in Amsterdam, their music is reminiscent of eighties superbands like Duran Duran or Peter Gabriel, underpinned by strong Dutch beats and Raven's trademark voice.
The new radio edit of 'I’ll Be' was recorded in Westland Studio in Dublin with engineer Colm Finnegan produced by Dermot Lambert (Blink) And mixed by Tim Martin. It comes from Niamh’s eponymous EP which features 'Little by Little', 'Origins' and new track 'Painkillers'.
|Pictured Film: The Fits - it will be presented on May 31. Photo credit: Paul Yee and Oscilloscope Laboratories|
About Rooftop FilmsRooftop Films is a non-profit organization whose mission is to engage and inspire the diverse communities of New York City by showcasing the work of emerging filmmakers and musicians. In addition to their annual Summer Series – which takes place in unique outdoor venues every weekend throughout the summer – Rooftop provides grants to filmmakers, teaches media literacy and filmmaking to young people, rents equipment at low-cost to artists and non-profits, and produces new independent films.
|Photo credit: Charles Lanceplaine|
Gypsy & The Cat's Xavier Bacash explains the video concept was created by the duo's director and friend Thom Lawrence, who was ultimately conducted by the song itself. "The video highlights escapism in all of our quotidian days. We all at some point want someone else’s car or house or hair or job or life; it’s a very normal mental process in the everyday," he says.
"At the golf range, we felt it was important to show how people are so close to each other and out for the same thing, but at the same time they are like islands that won’t ever touch or speak."
Their third album sees Augustines experimenting and traveling down new roads. Drummer Rob Allen elaborates: “we wanted to spread our wings a little bit on this record. We had in the past flirted with samples and what-not, but never really on the percussive side. We had great fun messing and experimenting with older analog instruments like 808’s and 909’s as well as more modern instrumentation, like the Roland Spd-SX and Maschine. For me it’s clear. This record shows we’ve tried to grow as musicians and not stay in our comfort zone. To grow as people. To improve”
The 11 songs on They Moved in Shadow All Together focus conceptually upon the symptomatology of trauma, a pattern of experiences marked by a fragmentation of the self. These songs contend with the impact of trauma on individual and collective identity – the shattered pieces within the psyche left to cope after tragedy, and the dissociative co-habitance of belief and disbelief that results. White wrote “The Black Dove” in support of the anti-racist struggle against police violence. In “Womankind,” she mourns the continuing epidemic of violence against women, and the silences that suppress the truths of survivors.
White’s new body of work recounts for us the terrain of her empathic inner world. The breadth and depth of her maturing voice are evident. Her layered vocals effect a sense of camaraderie, a space populated with voices, angelic perhaps, definitively ethereal. She studied classical singing while working on this album, which enabled her to broaden her vocal range.
|Photo credit: Butch Hogan|
|Photo credit: Jimmy Fontaine|
|Photo credit: Joseph Cultice|
|Photo: Tajette O’Halloran|
A lot of the songs on Monday to Friday speak to the contrast between the vast and the minuscule, the profound and insignificant, facts and feelings; growing up and realising how fallible our beliefs, memories, and aspirations are in a post-Santa reality, and where to look for that wonder we all seem to need once we realise we're just monkeys wearing runners. We didn't want to explain it as we're no closer to knowing, but it was good to let ourselves hang out there for a while.”
Lead track Signals emerges draped in mystique, blending an intricate guitar loop with whispered intimacy and a dash of dance-floor ambience. Displaying the band’s careful hybrid of intimate song-craft and chugging grooves, Signals weaves a beguiling spell. B side Moon Juice ascribes to their deeply melodic and psychedelic aesthetic with guitar licks and fleshy bass-lines building into a deep and charming press-repeat lullaby.
The black and white photos, some hundred in all, are shot on the sly. The photographer is present, invisible, her camera a silent instrument. The focus is on details of what is happening inside the studio or on stage as musicians work together. "Capturing these particular moments was very special for me. I can remember each one," says Adriana. "They represent a bond I form with these artists."
Hanging was one of the first songs we wrote collaboratively. Spencer was working with this cool 3/4 groove when I heard the sideways breakdown section. We ended up with this sort of psychedelic doo-wop number about things turning upside down.
|Supergirl -- "Worlds Finest" -- Pictured (L-R): Melissa Benoist as Kara/Supergirl and Grant Gustin as Barry/The Flash -- Credit: Robert Voets/Warner Bros. Entertainment Inc. © 2016 WBEI. All rights reserved.|
"We made the video whilst on tour in Europe on a day off in Lisbon. We wanted a video that was very graphic and represented the different textures throughout the track. We really like Peter Pint's previous work, he had a real strong connection with the track and we're real happy with what he's done."
"We've wanted to do a cover of an older song for a while. Nothing was really coming to us until last Friday when we were a few drinks deep and ended up at a Thai karaoke restaurant at 3AM. This young Thai man was doing an electric guitar cover of 'Cocaine' by Eric Clapton, but he wasn't singing, so we jumped on stage and sang along with him. It must have been in the haze of vodka and pad kee mao that we decided we should cover it as well." - Phantoms
Mariya May’s new album Call Me Back if You Can Dig the Music finds the soulful, Portland based songstress helming a deft concoction of lush neo-soul, rafter-rattling dub reggae, and verdant folk addled adages to love and loss, all shot through with a keen pop sensibility and strident lo-fi attitude.Call Me Back if You Can Dig the Music manages to listen as both vintage and modern at once, familiar and yet fully in its own element. This album is definitely not short on either vision or listenability, and many of the tracks here are well worth some repeat uptake into your earholes. With Mariya’s strong vocal presence and haunting flute lines, the total musical package comes off with an ease and timelessness that is a giddy, memorable listen and yet another great addition to the Ten Dollar Recording Company catalogue.
Backing up Mariya’s vocal, flute, and piano duties herein is her husband and longtime co-collaborator Ryan Michael Block, who produced the album and takes the reins on guitar, bass, and percussion. Peter Qualtere-Burcher’s soulful and omnipresent tenor sax pulls it all together and lends a smoky, jazzy air to a unique record that employs the added dynamic to great effect. Segueing from May and Block’s previous work in What in Your Heart Can Put You in a Trance, May’s recent solo work is at its most soulful and infectious when borrowing from and building on themes established in the couple’s previous project(s), taking their earlier sultry, earthy dub-soul-pop-folk experiments and transposing them to a further level of refinement and easy cool. Add in a generous helping of some serious golden era Motown throwback and the added competence that comes with years of collaborative effort, and you’ve got Call Me Back if You Can Dig the Music, May and Block’s most comprehensive and mature musical expression to date.