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Divider imageOUT THIS MONTH: Free the Robots Presents “Ctrl Alt Delete” On Alpha Pup Records


Low End Theory staple and The Crosby owner readies new album for Alpha Pup Records due March 30th

MP3: Orion’s Belt Buckle via LA Record

“LA’s Free the Robots has slowly been crafting one of the more unique sounds to come out of the West Coast beat scene, pairing futuristic basslines that could fit into a dubstep set with chunky, dusty beats that sound straight out of the mid-’80s.” – XLR8R

“Free the Robots doesn’t as much assert a new vision as much as add a different angle, one occasionally angular and overly stiff, but often sleek and punishing, closer to traditional dubstep but unorthodox enough to dig up some dirty Levantine psych to make a beat called “Turkish Voodoo.” I gave the weed dispensaries six weeks to add this sativa.” – Passion of the Weiss

“Alfaro is a savvy cratedigger who applies his vast knowledge to creative productions that stand out from the hordes of sampladelic beat scientists.” – The Stranger

Alpha Pup Records is proud to announce the release of Ctrl Alt Delete, the debut album from Free The Robots. A staggering work of mind-warping electronics, fuzzed-out psych and devastating hip-hop beats, the impending release of Ctrl Alt Delete will catapult Free The Robots to the forefront of the world renowned L.A. beat scene.

Initially started as a side project by Chris Alfaro in 2003, Free The Robots has quickly garnered a worldwide audience. Combining dusty swap-meet samples, futuristic synthesizers and live instrumentation, Free The Robots has created a unique harmony of past sounds and future ruminations. Much like his L.A. contemporaries Flying Lotus and Nosaj Thing, Free The Robots knows no genre boundaries.

Ctrl Alt Delete, which also features Ikey Owens of The Mars Volta, has been a long time coming. Originally signed to Alpha Pup over two years ago, Free The Robots has put his heart and soul into this album. Meticulously constructed, the album is a culmination of countless late nights at Low End Theory Club, combined with a spirit of fearless experimentation. The result rattles with grit and swagger — a firm proclamation of Free The Robot’s sonic arrival.


Ctrl Alt Delete




Divider imageThe Splinters Premiere “Mysterious” Video On The Fader, Hold Record Release Party In SF Tonight


Berkeley’s The Splinters ready their debut LP, get set to tour the West Coast & Texas

WATCH: “Mysterious” video via The Fader

TONIGHT March, 4th @ Amnesia San Francisco, CA (record release party) with Hunx and His Punkettes and Magic Bullets
March, 17th @ Red 7 Austin, TX (Terrorbird/Forcefield SXSW day party) w/ Neon Indian, Matias Aguayo, Real Estate, Oh No Ono, and more.
March, 18th @ TBA Austin, TX (SXSW)
March, 19th @ Club 1808 Austin, TX (SXSW)
March, 20th @ Domy Books Austin, TX (KVRX SXSW day party)
March, 23rd @ Hideaway Lounge El Paso, TX *^
March, 25th @ Trunkspace Phoenix, AX *
March, 26th @ Origami Records in-store Echo Park, CA
March, 26th @ The Smell Los Angeles, CA *#
March, 27th @ Beauty Bar Las Vegas, CA *#
March, 28th @ Bar Pink San Diego, CA *#
March, 30th @ Biko House Santa Barbara, CA *#

*w/ Jeff The Brotherhood
^ w/ The Coathangers
# w/ Ty Segall


The Splinters present Kick
Out March 9th, 2010 on Double Negative Records

“The Splinters mix silliness, sincerity, and sarcasm so much that it can be hard to tell them apart.” – SF Weekly

“Girl-group sounds-meets-90s punk attitude.” – Gorilla Vs. Bear

“They perfectly channel the devil-may-care, DIY, girls-in-the-garage sense.” – The FADER

“Playing a Raincoats-esque brand of shambling post-punk, the four ladies from Oakland rocked a pretty bass-heavy sound that was interspersed with lots of cutely loud yelping.” – Portland Mercury

The Splinters may have only been a band since 2008, but the girls actually began palling around four years earlier as freshmen at UC Berkeley. In the waning months of their college careers, Ashley Thomas (guitar), Lauren Stern (tambourine), and Caroline Partamian (guitar) began messing around with music and cranked out a few silly, lo-fi garage-pop songs. Quickly realizing that a few of the songs were actually pretty good, they recruited their friend Courtney Gray (whom had previously played with Ashley in a short-lived Misfits cover band called The Skullfuckers) to round out the group on drums.

Within a few months, The Splinters found themselves playing a bevy of shows and writing one insanely catchy song after another, their ramshackle rock n’ roll sound and multipart vocal harmonies earning them comparisons to ’60s girl groups like the Shangri-Las, artsy post-punk outfits like the Raincoats and the lo-fi grrl-pop stylings of early ’90s K Records bands. The band tossed together a limited-edition, hand-decorated CD-R release, which quickly disappeared, and eventually followed that up with the Splintered Bridges 7″ on Double Negative. Splinters tracks are also set to appear on upcoming compilations from UK label Germs of Youth (alongside Frankie Rose, Cold Cave, and Veronica Falls) and the hotly tipped YETI magazine.

In the meantime, the girls have worked hard honing their craft-writing new songs, turning heads at SXSW, and playing shows with the likes of Mika Miko, The Mae Shi, The Coathangers, Explode Into Colors, Ty Segall, Nodzzz, Brilliant Colors, The Fresh & Onlys, The Strange Boys, Yellow Fever, Sleepy Sun, and countless others.

Now Double Negative is dropping the The Splinters’ first full-length, Kick, a 12-track collection of delectable indie-pop tunes recorded and mixed by Maus Haus frontman Jason Kick. Set for release in March, Kick is one of those infectious albums destined to be played again and again.




Divider imageDaedelus Preps Righteous Fists of Harmony EP for Flying Lotus’ Brainfeeder Label

Daedelus

MP3: Order of the Golden Dawn ft. Laura Darlington [via XLR8R]

Daedelus‘ newest release, Righteous Fists of Harmony, will be coming out on Flying Lotus‘ outstanding Brainfeeder label. Bridging the demise of the magic-inspired martial arts fighters of the Boxer Rebellion to the post modern malady of technology and imagination, Daedelus constructs a soundtrack-of-sorts to the struggle of both 19th century China against colonialism and modern man’s inevitable hurl towards an unknown future.

After seventy years of China’s opium-related subjugation by Queen Victoria and her allies, a force of resistance fighters — termed “Boxers” by the British — rose to the challenge in 1898. Calling themselves “The Righteous Fists of Harmony,” this secret society of martial artists felt they held magical powers: they believed themselves bulletproof, able to fly, and capable of raising the dead (who would then fight alongside them). And so began the brief Boxer Rebellion; three years later 100,000 Boxers had fallen, their magic helpless against the cutting-edge machinery of war. The British prevailed only to face ultimate defeat, as their empire rapidly declined.

Daedelus endeavors to compose a requiem for the end — of beliefs, of lives, and of an era. This elegy for a bygone battle sheds light on our own contemporary conundrum: will our faith in modernity be our downfall? Are we blinded by this age of wonders, doomed to be destroyed by our ingenious inventions? Although Daedelus’ music has always juxtaposed organic and electronic elements, they war as never before on Righteous Fists of Harmony, a portrait of a tumultuous era that came crashing to a close.

Daedelus “Righteous Fists of Harmony” from DestroyRockMusic Inc. on Vimeo.

Posted by Jay on February 25th, 2010 in What's Next, and tagged with , , , , , . | Leave a comment



Divider imageThe Splinters’ Debut Full-Length “Kick” Set For March Release On Double Negative

splinters_photo

Listen to lead-off track “Mysterious” via The Fader
Tempo No Tempo reviews “Sorry” via The Bay Bridged

The Splinters may have only been a band since 2008, but the girls actually began palling around four years earlier as freshmen at UC Berkeley. In the waning months of their college careers, Ashley Thomas (guitar), Lauren Stern (tambourine), and Caroline Partamian (guitar) began messing around with music and cranked out a few silly, lo-fi garage-pop songs. Quickly realizing that a few of the songs were actually pretty good, they recruited their friend Courtney Gray (whom had previously played with Ashley in a short-lived Misfits cover band called The Skullfuckers) to round out the group on drums.

Within a few months, The Splinters found themselves playing a bevy of shows and writing one insanely catchy song after another, their ramshackle rock n’ roll sound and multipart vocal harmonies earning them comparisons to ’60s girl groups like the Shangri-Las, artsy post-punk outfits like the Raincoats and the lo-fi grrl-pop stylings of early ’90s K Records bands. The band tossed together a limited-edition, hand-decorated CD-R release, which quickly disappeared, and eventually followed that up with the Splintered Bridges 7″ on Double Negative. Splinters’ tracks are also set to appear on upcoming compilations from UK label Germs of Youth (alongside Frankie Rose, Cold Cave, and Veronica Falls) and the hotly tipped YETI magazine.


Listen to “Oranges” as featured by Nylon.TV

In the meantime, the girls have worked hard honing their craft-writing new songs, turning heads at SXSW, and playing shows with the likes of Mika Miko, The Mae Shi, The Coathangers, Explode Into Colors, Ty Segall, Nodzzz, Brilliant Colors, The Fresh & Onlys, The Strange Boys, Yellow Fever, Sleepy Sun, and countless others.

Now Double Negative is dropping the The Splinters’ first full-length, Kick, a 12-track collection of delectable indie-pop tunes recorded and mixed by Maus Haus frontman Jason Kick. Set for release in March, Kick is one of those infectious albums destined to be played again and again.

“Girl-group sounds-meets-90s punk attitude.” – Gorilla Vs. Bear

“Playing a Raincoats-esque brand of shambling post-punk, the four ladies from Oakland rocked a pretty bass-heavy sound that was interspersed with lots of cutely loud yelping.” – Portland Mercury

Posted by Jay on January 27th, 2010 in What's Next, and tagged with , , , , . | Leave a comment



Divider imageAmp Live Preps Solo Album, Remixes Why?

Amp Live

Child’s Play Records is proud to present Amp Live’s highly anticipated Murder at the Discotech. Best defined as electro-hop, Amp Live melts dubstep, electro, hip hop and indie influences together and has invited a slew of guests– including Mickey Factz, Zumbi of Zion I, Grouch, Eligh, Trackademicks, & Fashawn– to stir up the pot.

He’s also an accomplished remixer, gaining notoriety for his Rainydayz Remixes of Radiohead’s In Rainbows. Now he gives Why?’s Eskimo Snow the rework treatment, available for download here.

Read the rest of this entry »




Divider imageThe Delta Mirror Sign To Lefse Records; “Machines That Listen” Due Out In March

thedeltamirror

Up-and-coming label Lefse Records (Neon Indian, Phaseone) announce the signing of Los Angeles’ The Delta Mirror. Merging brooding songs with boom bap production, their debut Machines That Listen (out 3.16.2010) is a clever, haunting record full of ear-tickling electronics, psych layers, and foreboding storytelling. With plans to tour this spring along with a stop at SXSW, the songs of the Delta Mirror are poised to linger in the ears of new listeners well into 2010. Check out a sneak of the album here via Pitchfork Media.

“Thoughtful and unexpected melodies.” OC Weekly

“An ambient mix of shoegazy guitar and gothic vocals.” Flavorpill

“A trio specializing in epic, drummer-less panoramas perfect for late nights and introspective moments.” Las Vegas Weekly

Read the rest of this entry »

Posted by Jay on January 20th, 2010 in What's Next, and tagged with , , , , . | Leave a comment



Divider imageMan/Miracle To Release Debut LP In February; Begin West Coast Jaunt Today

Man Miracle

SF quartet Man/Miracle are set to release their debut LP The Shape of Things this February on Third Culture Records. The Bay Bridged called it “an infectious collection of nervy songs recommended especially for fans of Talking Heads, The Feelies, and Clap Your Hands Say Yeah.” The band embarks on an eight date tour TODAY sure to build anticipation for the album release and their scheduled appearance at Noise Pop with Rogue Wave & Princeton.

MP3: “Hot Sprawl” [via Pitchfork]

TOUR DATES
1.14 – Origami Vinyl | Los Angeles, CA
1.14 – Downtown Independent | Los Angeles, CA
1.15 – The Crossroads | San Luis Obispo, CA
1.16 – Oasis | Oakland, CA
1.17 – 1921 Collective | Oakland, CA
1.28 – Department of Safety | Anacortes, WA
1.29 – Black Lodge | Seattle, WA
1.30 – Volcano Fun Box | Seattle, WA

Read the rest of this entry »




Divider imageOUT THIS MONTH: Norwegian Black Metal Outfit Shining Ready “Blackjazz”

941
“Blackjazz” out January 25th via Indie Recordings

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Fisheye (TV edit)

“A Study in Coordinated Whiplash” wrote The New York Times October 2008, after one of SHINING’s pounding concerts in Manhattan. It was obvious they were not talking about the neat old-school hair spinning, helicopter era of heavy metal bands in the 90’s; rather referring to the ice cold reality of parallel spinal injuries experienced in a sudden and unsuspected impact of a giant trailer car crash from behind. SHINING is the synchronized launch of attacks of a sci-fi drone military army; the devastating effect of all the world’s raindrops saving up their potential energy and in one co-ordinated instant hitting Earth’s surface all at once. They are an unstoppable force made out of small bits and pieces – just in the right place at the right time – to make an impact so strong you’d think it could jolt the very Earth out of it’s orbit, and spin it on a new doomed path straight on collision course for the Sun. These encounters between unsuspecting (and in recent times, more suspecting) audience and the band’s no-mercy attitude, are what has put SHINING in the very forefront of experimental extreme music.

After four previous critically acclaimed cult albums, it’s become obvious to all, that SHINING have created their own unique musical universe, which fans and journalists alike have competed in trying to name, as yet to no avail. Their 5th album is now complete and their unique universe finally has been given the name it deserves: Blackjazz.

“Shining now pushes deeper into music’s dark recesses with Blackjazz, forging a progressive industrial sound for the young century. ” ALARM Magazine

“Shining keep things brief, subtle, tight, and aesthetically on-the-mark” Best New Music – Pitchfork Media

“Oddly time-signatured jazz rock of the Henry Cow school mixes with electronics, neoclassicism and free jazz in one unholy blizzard of noise.” The WIRE

“Fisheye” live on Norwegian television

Blackjazz
01. The Madness And The Damage Done
02. Fisheye
03. Exit Sun
04. Exit Sun
05. Healter Skelter
06. The Madness And The Damage Done
07. Blackjazz Deathtrance
08. Omen
09. 21st Century Schizoid Man

www.shining.no
www.myspace.com/SHININGofficial

Posted by Jay on January 7th, 2010 in What's Next, and tagged with , , , , , , . | Leave a comment



Divider imageOUT THIS MONTH: cars & trains “The Roots, The Leaves” on Fake Four Inc.

cars and trains
Cars & Trains
The Roots, The Leaves
(Fake Four Inc.)

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Some Lonesome Street Corner (Universal Studios Florida remix)

The Roots, The Leaves is the sophomore effort of Portland, Oregon based multi-instrumentalist Cars & Trains (Tom Filepp), a more personal and emotive foray than his 2007 debut full-length, Rusty String. Tom Deftly mixes out-of-the-box electronics and found sounds seamlessly with a myriad of instruments, woodwinds, banjos, acoustic guitars, strings and glockenspiel, walking a blurry line that makes one wonder where exactly the uncommonly organic drum programming ends and the instruments and lushly layered found sounds begin.

The Roots, The Leaves is cars & trains’ most realized and expressive effort to date, full of energy and intimacy gleaned from Filepp’s intense, energetic, and intricate live looping show that he has steadily developed and gained notoriety for. From the intricate plucking of The Root’s cyclical opening and closing songs, and everything in between, cars & trains carefully journeys hand in hand with his influences, cajoling them into a world all his own.

cars & trains – the leaves from cars & trains on Vimeo.

cars & trains – i know someone who can’t recognize from cars & trains on Vimeo.

*TOUR DATES*
Jan 7 – Portland, OR @ Doug Fir Lounge with Logan Lynn and The Gentry
Jan 8 – Portland, OR @ Mississippi Studios with Lymbyc Systym and Helios
Jan 11 – Seattle, WA @ Chop Suey with Big Spider’s Back and Universal Studios Florida
(Cars & Trains’ album release party!)
Feb 6 – Portland, OR @ The Backspace with Helios, Benoit Pioulard and The Harvey Girls

Posted by Jay on January 6th, 2010 in What's Next, and tagged with , , , . | Leave a comment



Divider imageOUT THIS MONTH: Oh No Ono “Eggs”

ohnoono-photo

Oh No Ono is gearing up to release Eggs, its full-length U.S. debut, January 26, 2010 via Brooklyn-based Friendly Fire Recordings on CD and Digital formats. The album will also see release via Morningside Records in Denmark and worldwide via The Leaf Label. Oh No Ono will celebrate the release of Eggs, beginning with a visit to New York in January. Scheduled appearances include Mercury Lounge on January 27 (with Bear In Heaven), and Union Hall on January 28. The band will then hit the road a few weeks later, for a more extensive tour of North America, which includes appearances at the 2010 SXSW Festival.

“Imagine if the strangest folks behind the sunshine pop records of the ’60s swallowed Syd Barrett’s LSD stash and rocked out underwater with the Electric Light Orchestra while breathing helium. Then envision something even more fantastical.” – SPIN [Review - Jan/Feb]

“Though Oh No Ono does occasionally kick up a herky-jerky new wave ruckus, we suggest starting with the hushed, lovely “Swim,” which is 300 percent winter madrigal – the sound of stirred cider and cinnamon.” – ROLLINGSTONE.COM [Hype Monitor]

“As with every track on the Danish ensemble’s forthcoming album, Eggs, “Internet Warrior” is immense, ornate, and majestic.” – PITCHFORK [Track Review]

“Their album Eggs was recorded in settings ranging from cathedrals to bathtubs, and has as broad of a stylistic range, evoking comparisons to both MGMT and Billy Corgan. But their grandiosity anchors the record. Through the Middle Eastern firq violins in “Eleanor Speaks,” the haunted cathedral bells in the masterpiece “Swim,” and the childish choir in “The Tea Party,” crescendos balloon into a helium delirium. This is psychedelica at it’s cinematic best.” – FILTER-MAG.com [Review]

My Old Kentucky Blog premier of “Helplessly Young”

Oh No Ono Swim from Adam Hashemi on Vimeo.




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