"Finishing this EP has been a long process and I am very excited to finally release it. I had to get through some frustrating times to finish the recording, but I'm happy with how it all came together in the end. I decided to self title this EP because it is debuting a new, more mature sound for me and it really shows more of who I am as an artist. I had to stand on my own a lot and get things done to finish this EP, and self-titling it highlights my strength through completion. I hope you all enjoy it!" - Amanda Markley
Nosebleed Weekend kicks off with “Perfume”, a song that marries sultry pop vocals with toothy guitar riffs in a manner that would make Ann and Nancy Wilson proud. It’s hard to imagine The Coathangers writing a song this accessible in their early years, but in 2016 it fits perfectly into their canon. From there the band launches into “Dumb Baby”, which harkens back to the gritty neo-garage rock of Murder City Devils. Longtime fans who still clamor for their brash post-punk angle will be immediately satiated by “Squeeki Tiki”. And after hearing the noisy loud-quiet-loud bombast of “Excuse Me?” it’s no wonder that Kim Gordon has become an outspoken fan of the band. It’s an eclectic album inspired by life on the road, lost loved ones, and Kugel’s recent move to Southern California. “We always say that each record is a snapshot of our life at the time,” Kugel says. “As far as style… it’s just what came out of us at that point.” So whether it’s the foreboding garage rock of the title track, the post-punk groove of “Burn Me”, the stripped-down pop of “I Don’t Think So”, or the dynamic grunge of “Down Down”, The Coathangers command their songs with passion and authority.
The biggest departure for Nosebleed Weekend was the recording process. While all their previous albums were recorded in Atlanta at The Living Room with Ed Rawls, their latest album found the band out in California’s North Hollywood at Valentine Recording Studios with Nic Jodoin. “The Beach Boys and Bing Crosby both recorded there!” Kugel says excitedly. “It was an amazing experience, not to mention a ghostly one too. The studio had been custom built by Jimmy Valentine and he was very protective of his passion. It sounds weird, but his spirit was there, checking in on us and fucking with us a bit.” Nosebleed Weekend was the first session at Valentine Recording Studios since Jimmy’s professional interests were diverted elsewhere in 1979. The studio doors were shut, capturing a time capsule of the LA music industry back in the ‘70s. Thinking back to the early years of The Coathangers, it’s hard to imagine the scrappy Southern ladies ever recording in a historic studio in the San Fernando Valley, but it’s a classic demonstration of what can happen when humble young punks stick to their guns.
Tour Dates
05.21.16 – Denver, CO @ Project Pabst
05.26.16 – San Francisco, CA @ The Fillmore w/ Refused
05.27.16 – Los Angeles, CA @ The Fonda Theatre w/ Refused
05.28.16 – Pomona, CA @ The Glass House w/ Refused
The Tambourine Girls released their new single "Police". The track is from their upcoming debut album. Check it out below.
A circus on the edge of town....outlaw ridden landscapes...'Police' evokes nostalgic twangs of simpler times, employing psychedelic riffs and reverb ridden vocal tones. Vintage hues prove the perfect accompaniment in a black and white washed lyric video for the track.
Living somewhat isolated in the NSW Southern Highlands, creator Simon Relf (formerly of Deep Sea Arcade) drew inspiration from his solitary lifestyle outside the hustle and bustle of the big city. Recorded with producer Tim Whitten (Powderfinger, The Go-Betweens, Hoodoo Gurus & Augie March) 'Police' marks a distinct new chapter for the Chugg Music signees.
Chaos Emeralds released their new single "Animal Kingdom" on April 8. Check out the video for the single below.
They are scheduled to release their full length debut on August 2016.
Born from a mutual affinity for soaring melodies and woozy synthesizers, Nashville’s Daniel Ellsworth (of Daniel Ellsworth and the Great Lakes) and Kyle Andrews combine soulful falsetto, rich production, and often heart-wrenching lyrics in this new collaboration.
“We wanted to make dreamy, sexy, sad, evocative pop music that sounded like it was dipped in gold,” says Ellsworth.
Hello Ocho released their new album, In Portuguese on April 1. Check out the video for the track "Tear Wagon" below.
The rich and varied story of Hello Ocho stretches back to 2010, when the band was a trio comprised of Chris Yonker (vocals, guitar), John Gregg (drums) and Clinton Callahan (bass). At that time, though, the band still had a fourth unofficial member - the computer. On their 2013 self-titled debut, the songwriting process consisted of each member finding a niche within a backing track used to set the mood, but the group has since ditched the relative comfort of computers and backing tracks in favor of newer members Chris Childs (vibraphone/percussion) and Christian Shepherd (synths, vocals). In Portuguese also features frequent collaborator Peter Webb on the Rhodes piano. The inclusion of Childs and Shepherd led to more organic compositions, and it opened the floodgates for the wild, tuneful experimentation that has become a hallmark of their sound.
Hello Ocho's members have all come a long way since their humble beginnings - Yonker and Shepherd now run the prominent Atlanta art gallery and venue Mammal Gallery, and the other members perform in a dizzying array of other groups (Faun and a Pan Flute, Small Reactions, Aalborg Group, Palm Lines). Childs even conducts his own 28-piece chamber orchestra, the aptly named Chris Childs Orchestra. For all the changes, though, the one constant has been the calculated (yet somehow still reckless) abandon with which the group approaches songwriting.
Rudy De Anda is set to release his new album, Delay, Cadaver of a Day on June 24 via Porch Party Records. Check out "Hunger Cloud" from the upcoming album below.
Delay, Cadaver of a Day was recorded at Jazz Cats Studios (Crystal Antlers, Day Wave, Hanni El Khatib) and is a brutally honest, gritty, and loud representation of Rudy De Anda's auditory range. It weaves sweeping melodicism with a dynamic interplay of soul and punk-rock and showcases the darker side of the Californian musician.
Inspired by The Velvet Underground, dissonance, and shoe-gaze, Delay, Cadaver of a Day conjures up imagery of Fellini stumbling upon the city of Long Beach, and goes from optimism to mystery almost immediately. "It's like a black and white film shot in present time," offers De Anda about the album. "It's the soundtrack to a Criterion Collection piece based in LA with more surrealistic notes, feelings, and vibes."
