“[‘Slow Motion Thugs’] sounds influenced by the sparkle-electronic whimsy from Of Montreal and emulates the light-hearted yet authoritative vocal stylings of St. Vincent.”
“[‘Motion Sickness’ is] a vivid, catchy tune that pairs singer, Laura Patiño’s candy-colored vocals
with a thick, buzzing rhythm track and whorls of synthesizers.”
– The Wall Street Journal’s Speakeasy
“Accompanying the uptempo tunes and energetic stage presence is a David Bowie–esque level of
pageantry that involves home-sewn outfits, glittery makeup and lots of Manic Panic hair dye.”
- Austin Monthly
“It’s okay to be who you are, dance hard even when everyone is looking at you, and fuck the haters,” exclaimed Holiday Mountain’s 23 year old front woman Laura Patino to a packed club during SXSW 2014. Those words perfectly encompass the energy that radiates from the Austin, TX based psych-dub trio. Holiday Mountain is a vibrant celebration of individuality, movement, sweat, glitter, and community. Patino formed the group in 2011 while attending Berklee College of Music in Boston with fellow alumnus bassist/synth player Bradley Will and drummer Zander Kagle. Brought together by a common desire to push musical boundaries, they skillfully mix unconventional melodies with danceable grooves and beats that are only enhanced by Patino’s wild yet ethereal vocals.
For the forth coming You Be You Holiday Mountain collaborated with Grammy nominated producer CJ Ericksson to help blend genres and create a completely unique sound. “We wanted to make a record that doesn’t sound like anything we’ve ever heard before” says Patino “Unconventional in all the right ways.”
Ishi was born as an experiment between friends. In 2006, JT Mudd & Brad Dale set out to create a sound that would help redefine the pop sensibility of modern day music. Their vision was to blend the classic, soulful story-telling and organic instrumentation of traditional folk music, with the infinite sonic possibilities offered through electronic production. Experimentation quickly evolved into a journey of sound that would ultimately lead to the songs that comprised Ishi’s award-winning , “Through the Trees”. 2010 & 2011, Best New Act & Best Electronic/Dance Act by the Dallas Observer.
Ishi’s ability to successfully walk the line between an ambitious studio act and a multi-sensory live experience allows them to engage their audiences in an uplifting celebration of life and universal awareness. High-energy dance floors combined with the subtle undertones of inner-exploration combine to create a concert experience that is unequivocally one-of-a-kind. Each night, Ishi intends to create an entirely unique environment of mysticism, awareness, love and acceptance. Adored by fans and critics alike, there is no denying that “Ishi” is an immersive experience that everyone should discover.
Today, Ishi continues to tour the country in support of their soon-to-be-released sophomore album, “Digital Wounds”. They have appeared at major festivals such as SXSW, Meltdown Music Festival, Wicker Park Festival, and Halfway to Forecastle; and they continue to share the stage with some of the most widely known and respected Indie and Dance acts on the touring circuit including: New Order, Of Montreal, SBTRKT, Phoenix, Chromeo, Passion Pit, Pretty Lights, Big Boi, Neon Indian, Toro y Moi, Bright Light Social Hour, Boombox, Twin Shadow, The Toadies, El Ten Eleven, Marina & the Diamonds, & Matthew Dear. Ishi’s highly anticipated second album, “Digital Wounds”, will be released nation-wide Spring 2013.
Tigers Jaw makes the kind of music that does strange things to people. In the few years they’ve been together, the group and its ever morphing lineup (with Adam McIlwee and Ben Walsh as the two constant members) has established itself as one of the most creative in the Scranton scene (creative bands in Scranton being few and far between these days notwithstanding). We fell in love with them from the start. Beginning with the excellent Belongs To The Dead on Summersteps Records, they have astounded us with a series of releases—including mysterious side projects like Buona Pizza and Jewish War Veterans—containing one incredible song after another. That these songs came to us buried in tape hiss and murk only added to their mystique.
Without a distinguishable understanding of the pop and intensity, a silent video of a Lemuria show would appear to be that of a blistering hardcore trio. To the viewers surprise, turning the audio on they’d find the stage diving mania and screamers are really chanting “Maybe I should wear lipstick too” or “You fit in my skin, softest I’ve let in” as guitarist/vocalist Sheena Ozzella’s dynamic, melodic voice guides the unlikely chorus.
Lemuria might not sound like they are from Buffalo, NY, but the band was proudly birthed there, following the legacy of an oddly eclectic, if not eccentric, music scene. When you loosen your ears to the sugary indie-pop, you’ll discover discordant notes, odd time signatures, and brutal riffs creating menacing yet catchy music.
Releasing their early 7″ EPs and splits on drummer/vocalist Alex Kerns’ label ‘Art of the Underground’, they landed their debut full length ‘Get Better’ on west coast pop-punk label Asian Man Records. Following their debut, and worked into an ambitious DIY touring schedule, they sprinkled 7″ releases around on labels such as Hex, No Idea Records, and Suburban Home. Eventually, they would settle in with the Boston-based, notoriously hardcore oriented Bridge 9 Records with their 2011 sophomore album, ‘Pebble’.
Since 2004, Lemuria has developed a cult following of fans who have found a branch to grab onto. Their lyrics have been carved into their fans skin permanently. Their songs have become personal anthems, game changers, wedding vows and breakup manifestos
Entering the studio soon, expect a triumph from indie darlings Lemuria in 2013.
A Chelsea Grin in soccer hooligan terminology is the act of cutting a rivals mouth with either a credit card or blade and then kicking them in the crotch so their mouth muscles split into a bloody grimace. Chelsea Grin, the band from Utah armed with THREE guitarists use a foundation of hardcore grit combined with death metal technicality and grind speed to produce as much aural harm as the back alley jaw split. The band is the premiere artist on Artery Recordings, a new imprint of Razor & Tie Entertainment, and are releasing their debut full-length Desolation Of Eden this February. The album will hit in the midst of the band’s two month run with The Red Chord and My Children My Bride (dates on following page). Artery Recordings is the recording arm of The Artery Foundation who are the management team responsible for jumpstarting the careers of Whitechapel, The Devil Wears Prada, A Day To Remember, Attack Attack! and Impending Doom. Speaking on why Chelsea Grin get the Artery seal of approval, Eric Rushing, President of the company says “The first time I saw this band I was completely blown away and the crowd interaction was just as intense, it reminded me of the first time I saw Whitechapel. This band is very young and the kids are already loving them coast to coast. Very excited about their debut!”
Desolation Of Eden was tracked at Lambesis Studios owned by Tim Lambesis of As I Lay Dying and bares the hallmarks of Chelsea Grin’s devastating live show. Songs like the title track and Sonnet Of The Wretched utilize the double bass drumming, three guitar attack, ultra low bass frequencies and wraith-like vocals into a wall of sound to devastating effect. Brutatlity aside what separates the band from many of their contemporaries according to Jaek (guitar) is “obviously our age, we are a very young band being mostly 18 and 19. I know a lot of people have an impression on metal bands is that they are big, burly dudes with beards and not very approachable. We pretty much are the opposite of that, we are always hanging out with the fans at shows because we are them! Teenagers that like heavy music and hanging out.”
Age aside Chelsea Grin is made up of Alex (vocals), Michael (guitar), Andrew (drums), Dan (guitar), David (bass) and Jaek, and have completed feats that bands existing twice as long have not. Forming from the ashes of Ahaziah, Chelsea Grin got active in March 2008. “Right after we formed we recorded our first EP made up of five songs and started playing local shows. Soon after we signed to a small indie called Statik Factory and released a single called Recreant and did a small west coast tour in June of that year. The following month Statik Factory released our EP. Very quickly after that our Myspace page was getting hits from around the country and we found ourselves not only being established in Utah but kids all over were writing us and listening to us.”
Speaking on the obvious development between the earlier songs and the audio crushing output of Desolation Of Eden Jaek comments “Lyrically we have matured quite a bit, when we wrote the EP a lot of our early lyrics dealt with betrayal by females that we didn’t think very fondly of. A lot of younger males could relate those lyrics to ex-girlfriends, friends whatever. However after our experiences of freedom within this band, I find a lot of our songs are about breaking away from voices of authority and ultimately living life the way you want to live it. We also re-recorded our older songs Recreant and Cheyne Stokes so the brutal songs will still be there (laughs).”
Chelsea Grin has completed tours with Arsonists Get All The Girls, A Plea For Purging, American Me, Dr.Acula, Attila and Within The Ruins and shared stages with Suicide Silence, Parkway Drive, My Children My Bride.
A full-length debut is a pivotal moment for most bands, but for Phoenix, AZ natives the Word Alive, it’s a battle-tested triumph. Considering the countless miles the band has traveled since their 2009 EP release, Empire, and the obstacles the six-piece has had to overcome along the way, every track of Deceiver pulsates with the passion and fury of a conquering army, and is the very definition of “shock and awe.”
After traveling to Ocala, FL to record with up-and-coming producer Andrew Wade (A Day To Remember, VersaEmerge), The Word Alive resurfaced from the studio armed with debut album Deceiver, a challenging, genre-bending opus that fully showcases the considerable abilities of one of heavy music’s true rising talents. Mastered by Alan Douches and featuring guest performances by Dave Stephens from We Came As Romans and Levi Benton of Miss May I, the album offers fans all that they love about The Word Alive and so much more.
The Word Alive truly made their impact in 2009 when they released their debut EP Empire, which sold more than 20,000 copies and spent time on Billboard’s “Heatseekers” chart. Quickly winning over listeners with its scorching musicianship and singer Tyler “Telle” Smith’s hyperkinetic vocals, the EP set the stage for an even deeper, more innovative full-length to follow.
“On Deceiver, we wanted to take everything that we did on the EP and boost it times ten,” says Smith. “We got to do everything that we feel represents us on this album. In some parts it sounds like you could almost be listening to an ambient/indie band because of the electronic influences, in other parts it’s dark and almost creepy. We spent a lot of time before writing the album thinking of how we could sample other instruments to really add depth—either keyboard parts that Dusty [Riach, keyboardist] would do, or cello, violins and different percussion instruments.
“One thing’s for sure,” Smith adds. “On this album, when we’re heavy, we’re way heavier.”
A major difference to note among Deceiver’s blistering instrumentation is the hefty contributions of new drummer Justin Salinas, formerly of My Children My Bride and Scars of Tomorrow. With Salinas now in the fold, TWA is ready to take on the world.
“Deceiver is not a concept album, but it’s got a lot of heavy theme stuff that goes along with the title,” explains Smith. “Over the past year, we’ve gone through some big changes, and we poured those experiences into this album.”
The group kept the road ever-present in mind when writing much of Deceiver, knowing that massive touring would be in the immediate future. Their intense touring schedule in support of the album has included a summer run on Warped Tour 2010, as well as tours with Bleeding Through, A Day To Remember and Underoath. 2011 is poised to be their biggest yet, with U.S. and European tours with We Came As Romans and a full summer on Vans Warped Tour, followed by a slot on Soundwave Revolution in Australia and a U.S. run for the fall.
“We really wanted it to be an experience when you come to our show,” says Smith. “What I think a lot of musicians forget is that people are paying to be entertained. With this album we definitely thought of the live show, and how we could make every fan, or even a person who’s never heard of us, think, ‘Man, it sounded like there were 15 people up there, and it was just awesome.’”
The Word Alive’s debut album Deceiver is available now. The Deceiver: Deluxe Edition featuring two new tracks, remixes and videos is also now available digitally.
LIKE MOTHS TO FLAMES have set the underground music scene ablaze in just a few short years, thanks to a decidedly unique, fresh and original take on an otherwise well-worn genre. Stomping sing-a-long anthems, pulverizing metal chaos and crystal clear/soaring shiny pop dance together with delicious freedom within the band’s sound. Bring Me The Horizon, Devil Wears Prada and Miss May I are some of the only bands doing it at the same level of intensity, precision and passion as Like Moths To Flames, who have taken their rightful place alongside their scene counterparts while steadily maneuvering a career that is uniquely their own.
Upon the band’s arrival, fans quickly became as passionate about the group’s songs as the young men who composed them. When We Don’t Exist took the early promise of the group’s debut EP, Sweet Talker, and expanded upon all of its ideas. When We Don’t Exist is broader, catchier and more fired up than the vast majority of the likeminded genre records being downloaded, streamed and otherwise consumed around the world. One listen to the group’s output is all the evidence one needs to understand why the Like Moths To Flames has dominated on the road on The AP Tour with Miss May I and The Ghost Inside, the Scream It Like You Mean It Tour with We Came As Romans and Attack Attack! or supporting groups like DRUGS. The two newer songs on the deluxe edition – “Learn Your Place” and “Shapeshifter” – inch even further toward that proverbial “next level,” looking toward the future.
Vigilant fans of the metalcore sound were well aware of vocalist Chris Roetter before the band began. Like Moths To Flames is the culmination of all of his travels, experience and relationships from the years he spent fronting Emarosa and Agraceful. The rest of the band cut their teeth in smaller acts as well. Guitarist Eli Ford was formerly in My Ticket Home. Drummer Greg Diamond came from The Air I Breathe, while bassist/backing vocalist Aaron Evans (who started LMTF with Roetter) and lead guitarist Zach Huston played in TerraFirma together.
“Aaron and I were in bands that had seen the bad side of the music business,” Roetter explains of the group’s formation. “This time around, we wanted to make sure that we were playing music that we had a good time with. We wrote music that we liked that we knew that we would like to play live. We knew we wanted to go out and have fun we want to do it our way, however we wanted.”
The band found their footing with their debut EP and then really developed their sound with their first full-length, which is chock full of angry bile and exposition reflective of a singer with plenty to get off his chest.
Like Moths To Flames embarked on the “A Metal Christmas” tour to support their inaugural EP on Rise Records, together with Texas In July and A Hero A Fake. After a lineup reshuffle that resulted in the current incarnation save for the drummer position (which shifted shortly thereafter), the band recorded their first full album, which was released in November, 2011. In the following January, they hit the road on the S.I.N. Tour with D.R.U.G.S., Hit the Lights and Sparks The Rescue. Next they found themselves back on tour with their friends in Texas In July. Next came the summer’s Scream It Like You Mean It Tour. The year wrapped up with Like Moths To Flames joining The AP Tour.
In an era of verse/chorus/verse screaming and singing, Like Moths To Flames aims for a more organic blend of the two styles that serves the song rather than a formula. Even as people continue to discover When We Don’t Exist, Like Moths To Flames are putting their eyes toward the bigger prize of album number two, which the band intends to make even “darker” and “more eerie.”
Spending ten months out of the year on the road, the group is fully committed to making music their long-term lifestyle. At the end of the day, the band’s raison d’etre is simple. “I want to be able to connect with people through writing songs,” Roetter says. “That’s something that I’ve been able to do since I was younger and that’s something that I want to continue to do. We want to be able to meet fans and people and play our music. More time out on the road playing shows for more people is going keep lighting the fire under the band to keep it going.”
Sylar is a metalcore band from Queens, NY formed in 2011. They released their debut EP Cutting the Ties digitally via iTunes on November 1, 2011. Lead vocalist Jay Panesso has been selling merch for Emmure since 2011. The band is currently finishing up their second EP produced by Caleb Shomo of Attack Attack!.
“With great power comes great responsibility.” Surely a meaningful quote, but who can take credit for it? Thomas Jefferson? Sigmund Freud? Socrates? Nope. Spider-Man. It goes to show how something sort of profound can spring from an unlikely source. Any reluctant underachiever can make a difference: nerdy dude who gets bit by a mutant spider or awkward bipolar kid in a vaguely “indie” punk-pop band. That is the premise behind the band and the new self titled record Say Anything – we are in danger and any one of us has the power to save us. It’s a fitting concept for a cult-favorite band who, on November 3rd, will release a definitive artistic statement aimed at the masses.
Like the origin of any unlikely hero, Say Anything was forged from conflict: a feisty young punk band from Hollywood formed during the birth of “hipster” elitism, always out of place. In that day any group of rich kids with a penchant for the Velvet Underground and enough five o’clock shadow could be paid millions of dollars to be walking billboards for “anti-culture” consumerism. Say Anything shunted pretension, choosing initially to play sincere and nervous rock music and opening locally for the touring bands they closely identified with (The Weakerthans, Rilo Kiley, The Promise Ring). A few years passed and songwriter Max Bemis continued to feel alienated from the collegiate “scene;” He witnessed young rebels devolve into the counter-culture clichés they sought to avoid in the first place, “reverse psychology” victims of homogenized humanity. By identifying this mass-marketed “hip” lie, Bemis found his “arch villain” and, imbued with purpose, Say Anything’s music became a new monster – as theatrically pop-based as it was angular and dark. Influenced by bands like Fugazi, The Who, Botch and Smashing Pumpkins, Say Anything dually expressed its irreverence through sing along punk and almost awkwardly confessional Woody Allen-esque lyrics.
Cymbals Eat Guitars
“Wanna wake up wanting to listen to records / But those old feelings elude me / I raise a toast to the rock n’ roll ghost,” sings Cymbals Eat Guitars frontman Joseph D’Agostino on the hyper-adrenalized “XR,” which sounds like a Tonight’s the Nightouttake recorded at triple speed, with its braying harmonica and spitfire vocal delivery. It’s the track that perhaps best captures the spirit of the band’s third LP, LOSE, one of coping with abject loss and grief by rediscovering what you’ve always loved, as difficult as it may be—the redemptive power of music. For D’Agostino, this entailed coming to terms with his best friend and musical collaborator Benjamin High, who passed away suddenly seven years ago, just as Cymbals Eat Guitars began recording in earnest.
LOSE is a very apropos title because it refers not only to losing Ben, but also it’s about a sort of nostalgia, a longing for a time when music meant everything to you and your friends, and it seemed like one great rock record could change everyone’s life the way it changed yours,” says D’Agostino. “It’s about being in mourning for your long-held belief that music could literally change the world. That’s the contradiction at the heart ofLOSE… You’re disillusioned, but somehow you can do nothing else but rail against that feeling mightily and try, once again, to make a record that makes you and everyone else ‘wake up wanting to listen to records’.”
And indeed, the band, rounded out by bassist Matthew Whipple, keyboardist Brian Hamilton, and drummer Andrew Dole, alongside producer John Agnello, do little wallowing. This is a raucous affair, an Irish Wake, ultimately rooted in nothing less than a celebration of just being alive.
“Jackson” kicks off the album in prototypical Cymbals fashion—all allusions to suburban ennui, drugs, and geography, as D’Agostino reminisces, “We’re riding through Jackson Pines / Towards Six Flags to wait in lines,” with an agoraphobic romantic companion whom he directly addresses, “You’re taking two Klonopin / So you can quit flipping / And face our friends.” Yet, this is a leaner, more sinister Cymbals. The vocals are crisper, the drums more dynamic, the bass more melodic, all buttressed by a sensational see-saw guitar figure that blossoms into a lacerating yet anthemic rocker.
“I think this one is obviously more accessible than Why There Are Mountains or Lenses Alien,” says D’Agostino, referring to the band’s first two LPs, their debut having been awarded Pitchfork’s coveted Best New Music. “The first two had a lot more stop and start,” he continues. “This one has a ton of momentum. It’s got fluidity and grace. I think I gave the lyrics more room to breathe, so you can kind of follow what’s going on.”
The record also features some radical stylistic departures for the band. “We just got tired of playing mathy, ponderous songs every night,” laughs D’Agostino. This sea change is exemplified by the tranquil, gorgeous Velvets-esque ballad “Child Bride,” and the soulful slow-burn of “Laramie,” that finds D’Agostino crooning in a near Prince-esque falsetto, “I’ll do the Kev and you can do the Charles,” slyly referencing band favorite The Wrens, before admitting with contrition, “We were both in need of rescue / So who saved whom?”
And that’s what’s perhaps most impressive about LOSE—the manner in which D’Agostino comes clean with his emotions, tackling seemingly ineffable mourning without equivocation. “There are no $5 words that you’ll have to pull up dictionary.comfor… some of the lyrics are directly confessional. Very open, no obfuscation,” he explains. “I lost my dear friend a while ago and I’ve sort of been addressing it in song for most of my career, though you probably couldn’t really tell until now. It’s just a direct expression of grief. I figured if I confronted it head-on on record it’d make for some interesting music.”
But this is more than interesting—LOSE is a headlong rush of regret sublimated into a grand catharsis.
“These songs are a joy to play, and hopefully they will be a joy to listen to,” says D’Agostino. “I know I still get chills from every song on this record, so that has to mean something. You have to trust that feeling.”
Much like the science fiction and philosophy books into which they are known to delve, Hard Girls explore the wondrous and sometimes dark paths of human existence with a seasoned honesty that belies the unbridled energy of their songs. For their second full-length record (A Thousand Surfaces), this San Jose, CA based post-punk trio recorded with producer Jack Shirley (Deafheaven, Joyce Manor) to capture their alternately desperate and introspective sound, recalling early post-punk pioneers like Wire and Mission of Burma, while also drawing a clear lineage from the earnest, everyman indie rock of Sebadoh and Built to Spill. Plus they just fucking rock.