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  • YOWLTOUR2018-PLEASECREDITLUISKRAMER1-9900000000079e3c.jpg

    Single release: 'John the Collector' by YOWL
    Release date: Out now
    More info: Band Facebook

    Today, Peckham five-piece YOWL have announced their new single 'John the Collector'. The single follows the release of YOWL's third single for ‘Warm (In The Soft White Fire Of Modern Living)’ and is being released with DIY for Jäger Curtain Call ahead of their headline show, which will be taking place on 15th November at The Lexington, London (with support from Sister Talk and Lumer) - Tickets available here.

    The single was recorded at London’s Tileyard Education Studios and you can see a video of YOWL in the studio here via DIY. Speaking about the single, singer Gabriel Byrde says: “It’s a loose delve into the male psyche. It’s about a guy who tries to open up a little more and realises the only way he can do that is to murder his friends and stick their faces onto his walls so he has someone to talk to at all times.”

    Listen to 'John the Collector' here.

    Following Jäger Curtain Call the band have two more shows lined up for 2018 including a show at Rough Trade Bristol on 8th December alongside Hotel Lux, Squid and more, as well as a sold-out end of year IDLES AF Gang Xmas party at Record Junkee in Sheffield on 15th December with John, Heavy Lungs and an IDLES DJ set from Joe Talbot.

    'John The Collector' serves as a taster for what's to come from the YOWL in 2019 - Further details TBA

    With an EP and three singles behind them YOWL have earned some impressive critical acclaim from the likes of NME, DIY, Clash, The Line Of Best Fit, AnOther, Loud & Quiet, So Young, The Most Radicalist and more. Following the release of 2016's Before The Sleep Sets In EP YOWL released debut single 'My Headache Likes To Speak' in May 2017. Across its noir-laden four minutes, the band marry gnarled razor-wire guitars and a swaggering rhythm section with the sick croon of vocalist Gabriel Byrde. 'My Headache Likes To Speak’ was the second release from London's Big Score imprint, after recently putting out material from Bristol's LICE. The label comes from the minds behind Golden Arm who have watched over the likes of HMLTD, Goat Girl, and The Big Moon.

    Nobody’s happy putting up with poor job prospects and a city pricing out the poorest, but the Peckham-formed YOWL capture a frustration of the 9-to-5 London grind like few others. And in frontman Gabriel Byrde, they have someone who can spin poetry on songs about alienation and exhaustion. YOWL are often viciously loud, but Byrde’s fanciful delivery gives them an edge.

    Previous praise for YOWL

    “YOWL take the mundane and make it sound like a never-ending thrill" – NME

    "Cool as hell, a completely natural, unforced slice of post-punk noir reminiscent of everyone from The Fall to Wire to The Birthday Party while retaining its own individual path." – CLASH

    "ravaged, poetic and pissed-off rock." – DIY

    "The Peckham five-piece perfectly capture anger, cynicism and hilarity in one fell swoop." – THE LINE OF BEST FIT

    “YOWL are a band who make Peckham sound like New York City 2002” – LOUD & QUIET

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  • Foxwarrenself-titledalbumartwork.jpg

    Single release : ‘To Be’ by Foxwarren
    Release date: 30 November 2019
    Label: Anti-Records
    More info: Band website

    As college friends, Foxwarren - Andy Shauf (guitars/keys/vocals) and his childhood friends Dallas Bryson (guitar/vocals) and brothers Darryl Kissick (bass) and Avery Kissick (drums & percussion) - initially bonded over Pedro the Lion and drew influence from The Band and Paul Simon.

    ‘To Be’ was one of the first songs written for the project – listen to it here.

    “We tinkered with it for ages and ended up drastically reworking it the weekend it was recorded, but we knew early on that it was going to be the opening song on the record,” Darryl said.

    “It was a guitar riff that I'd been playing for a few years at least, trying to figure out what to do with it,” adds Shauf. “It went through quite a few versions if I remember correctly. Foxwarren have a bad habit of never finishing vocal melodies and lyrics before we finish the music, so it made it a bit tricky and ended up being overhauled at the last minute.”

    Growing up in scattered small towns across the Canadian prairies, Foxwarren is comprised of singer songwriter Andy Shauf (guitars/keys/vocals) and his childhood friends Dallas Bryson (guitar/vocals) and brothers Darryl Kissick (bass) and Avery Kissick (drums & percussion) who eventually found themselves in Regina, Saskatchewan. The initial sessions for their self-titled debut – coming out November 30th via ANTI- Records – began ten years ago in the Kissicks’ parents’ farmhouse while they were away on vacation. Upon their return, Foxwarren was forced to relocate and recording resumed back in Regina in a rented house where the members lived as roommates. The band's name comes from the Kissick brothers’ family home in Foxwarren, Manitoba.

    The four-piece previously released its first song 'Everything Apart'; the driving krautrock, drum machine backbone of the song evokes a ticking clock – a race against time. “Combined with Andy’s existential lyrics, the song’s propulsive feel reminded us of the noir-ish tension of classic spy thrillers like ‘The Conversation’, ‘Three Days of The Condor’, and ‘Tinker Tailor Soldier Spy’,” explained the video’s directors, the Ft. Langley Production Company. “With the band’s blessing, we set to work on creating our own micro cold-war thriller, paying homage to era tropes like zoom-heavy camerawork, trench coats, and analogue tech.”

    Now a decade into the project of Foxwarren, Shauf reflects on their debut release: “So much time and effort went into making this album; it's something I think we're all really proud of. My touring and recording schedule got pretty wild over the past three or four years, so it put the Foxwarren album on the backburner. Making the album was such an enjoyable time - the collaboration and frustration of it all. All of us trying to make something better than we previously had. I'm excited to get it out into the world and have other people listen to it. We've been a band for 10 years or so and never properly released an album, so this is special for the four of us.”

    Foxwarren video ‘Everything Apart’ on YouTube

    "...recalls classic pop songwriters in the vein of Harry Nilsson or Randy Newman, coupled with the plainspoken timbre of a Paul Simon, albeit with a laconic Canadian drawl." - NPR Music

    "...one of the single most promising voices to emerge from Canada in recent memory." - Flood Magazine

    "...Shauf has always had a way of portraying characters and telling their stories in the most delicate and piercing ways." - The Line Of Best Fit

    "Expect his voice to be by your side for years to come." - DIY Mag

    "...a gleaming eye for detail and a kind of subliminal richness that seems to bring a golden light to whatever situation you find yourself listening to it in." - Gold Flake Paint

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  • FONTAINESDCJULYPICS3WEB-9900000000079e3c.jpg

    Single release: ‘Too Real’ by Fontaines D.C
    Release date: 21 December 2019
    Label: Partisan Records
    More info: Band website

    Following their recent signing to Partisan Records and the announcement of their support slot on both the forthcoming Shame tour in the UK and Ireland, and next year’s IDLES tour in the US, Dublin’s Fontaines D.C. have now shared a video for their new single ‘Too Real’. The single was premiered by Steve Lamacq on BBC 6 Music who called it "poetic and powerful".

    Watch the video for ‘Too Real’ here.

    Speaking about the visuals in the new accompanying video, director Hugh Mulhern, says it is made up of "low-brow visuals inspired by Buster Keaton, James Joyce, The Dubliners and Jim Henson to discuss high- brow ramblings of some stout swilling stereotypes.”

    The band will be releasing the single on a double A-side single including ‘Too Real’ and ‘The Cuckoo Is A Callin’’. The single will be released on 21st Dec and can be pre-ordered here.

    Fontaines D.C. met as a quintet in Dublin, influenced and driven in equal measure by the rich history of their hometown’s counter-culture, their response has been to make concise and immediately authentic post-punk, channeling often-unassumingly poetic lyrics with a distinctive gritty Irish brogue that has done anything but fall on deaf ears.

    The last year has seen Fontaines D.C. release three hotly received double A-side singles, all of which were named as singles of the week by Rough Trade, and garnered early support from the likes of Steve Lamacq and others on BBC 6 Music where they have previously been b-listed with their latest single ‘Chequeless Reckless’ (self-released) for 4 weeks, presented 6 Music Recommends and played live in session. Similarly, they have also earned plaudits from DIY, Dork, Stereogum, KEXP, Fred Perry Subculture, London in Stereo, So Young and every major Irish publication. The band have also played a number of sold-out shows across Europe, Ireland and the UK earning a reputation for their brooding and trenchant live performances, supporting the likes of IDLES, Metz, The Horrors, Girl Band and The Lemon Twigs, as well as playing festival slots at Primavera Pro, The Great Escape, Dot to Dot, Electric Picnic, London Calling, Hard Working Class Heroes and Simple Things Festival.

    This month the band will be embarking on a full UK/IRE tour with Shame and in December will play a short series of headline dates, which have already begun to sell out. They have also announced further European and UK tour dates as well as main support on the IDLES US tour and a SXSW appearance for 2019 - Full dates can be seen here.

    Fontaines D.C. have gone from strength-to-strength with each release, and with a vast array of critical acclaim, renowned live shows, a series of sold out releases behind them and their recent signing to Partisan, the new single and forthcoming dates stand as a huge statement of intent, which is not to be ignored.

    The band entered the studio this autumn to record their highly anticipated debut album with estimable producer, Dan Carey (Kate Tempest, Bloc Party, Bat For Lashes, Black Midi, TOY, Goat Girl and more) - More details to be announced.

    Previous praise for Fontaines D.C

    "The best encapsulation yet of that surrealist, lyrical approach to noisy punk." - NME

    "With one foot in the shambolic anarchy of The Pogues, and the other in a Las-esque lilt, Fontaines D.C are messy but melodic in the best way possible" - DIY

    “Ireland’s latest greatest export” - DORK

    “"Snarling, Swaggering Post Punk” - STEREOGUM

    "I've played this about 15 times since yesterday. It's a little bit like hearing Idles for the first time. I really think there's something here" - STEVE LAMACQ

    “The energy, the urgency and the emotion of these brilliant new songs made me stand up and take notice that this is the band I've been waiting for” - KEXP

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  • paul smith.jpg

    Tour announcement: Paul Smith
    Tour dates: November / December 2019
    More info: Artist website

    Paul Smith's new solo album Diagrams is out now, and already riding a wave of positive reviews, including being made BBC 6 Music’s Album of The Day. Diagrams sees the Maxïmo Park frontman continues to sharpen his skills via a keenness to step out of his comfort-zone, and an ever-present desire to digest culture in all its forms. Most recently he found himself performing alongside folk star Rachel Unthank for Lauren Laverne’s Great Northern Soundtrack, and he is currently a host for publisher Penguin’s podcast alongside David Baddiel and Konnie Huq, discussing the latest book releases.

    Smith gave songs from the album their first live airing at a sold-out launch show at The Waiting Room in Stockton last month. Full-band live shows begin next week, continuing into December. Full details can be found here.

    With each Paul Smith release we expect an evolvement, and on Diagrams he remains committed towards expanding the parameters of his songwriting. From the anthemia of his debut solo outing Margins (2010) to the exploratory minimalistic jazz of his Peter Brewis (Field Music) collaborative album Frozen By Sight (2014) and the spirited, guitar pop record that was Contradictions (2015), Diagrams sets its stall out as a vivid and complex album that binds the obscure and the everyday, searching for romance under stones that not many songwriters would think to turn over.

    As a body of work, it seeks to unite the strengths that Smith has in his canon, drawing on his ability to both write from experience, yet also conjure new stories of unknown protagonists. Sidestepping (but not wholly ignoring) the more autobiographical work that played out through previous releases, Diagrams instead sees Smith further explore his nous for telling these short stories. Alongside co-producer Andrew Hodson, of 6 Music favourites, Warm Digits, he charts a course into the yearning, melancholic jangle-pop of The Go-Betweens, finding himself drawn to the literate, grunge-pop of The Lemonheads, to build a cohesive collection that pulls in his many strengths.

    “I try to absorb information and filter parts that interest me into the songs, while retaining my own, singular voice. I still believe in the power of a pop song to alter someone’s day, and although this record was mostly made in a bedroom, I felt the songs would have a universal appeal.” – Paul Smith

    With his ability to unravel the day-to-day and transform the commonplace into an eloquent turn of phrase, the thread that holds Diagrams in place is Smith’s honesty and empathy. It’s these matters-of-the-heart elements that push and pull at the listener’s emotions. Resultingly, it’s a collection that feels incredibly relatable.

    Album opener The Public Eye sets the tone with a dark undercurrent and was written in the aftermath of the “Hostile Environment” policy adopted by the British Home Office. Taking aim at our climate of suspicion, it shines a light on how vulnerable groups are attacked without factual foundation (“Convictions without proof”). Around and Around similarly details the futile merry-go-round of the news cycle, before Silver Rabbit conjures a story of self-doubt, set against the low-budget romance of the seaside, and channelled through overdriven guitars. Lake Burley Griffin - inspired by the story of Walter Burley Griffin, an American who designed Canberra alongside his wife Marion Mahony Griffin – is the album’s discordant left-hand turn, taking in the post-rock influence of Slint or Tortoise. A love story featuring prominent clarinet, it showcases – along with the saxophone in The Public Eye – Smith’s addition of woodwind instruments to his musical palette. Elsewhere on John he imagines a life that can never be known, inspired by a name scrawled on the back of a toilet door, extrapolating the sentiment and following it into a world where the story unfolds from schooldays to falling in love. It’s in these instances that Smith’s talent is subtly exemplified. He envisages unknowable situations and turns them on their head to evoke truly universal emotions of hope and regret (“what if the first chance, is the last chance?”).

    Through The Beauty Contest and Critical Mass – the former featuring folk royalty, Marry Waterson, the latter inspired by JG Ballard and Cormac McCarthy's 'The Road' - Smith again shows us he can veer into and out of songs inspired by reality. The Beauty Contest plots a late-night train journey, and Critical Mass plumbs bleak and apocalyptic depths, albeit alongside a black sense of humour.

    Diagrams is a collection that further cements Smith’s reputation as a revered songwriter and lyricist, whose skills continue to find new avenues through which to develop.

    "Always an artist doing interesting, exciting and unexpected things." - Lauren Laverne, BBC 6 Music

    "A wealth of strong songs… Shapeshifting between bright guitar pop and darker, introspective tales" - Mojo

    "Around and Around and John pleasingly recall the breezy stylings of early Real Estate or Best Coast" - DIY

    "His way with words is as a poet, and mastery of the English tongue shines throughout" - Dork

    "Around and Around offers fine poetic storytelling" - The i Paper

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  • Album release: Ralph Breaks the Internet original motion picture soundtrack
    Release date: digital album November 16th, physical CD November 30th.
    More info: Amazon


    Walt Disney Records will release the soundtrack for the Walt Disney Animation Studios film “Ralph Breaks the Internet” on Nov. 16. The soundtrack features original songs “A Place Called Slaughter Race” performed in the film by Sarah Silverman and Gal Gadot; “Zero,” written and performed by Imagine Dragons; score by composer Henry Jackman (“Wreck-It Ralph,” “Captain America: Civil War,” “Big Hero 6”), and “In This Place,” a pop version of “A Place Called Slaughter Race,” performed by Julia Michaels. Directed by Rich Moore and Phil Johnston, produced by Clark Spencer and featuring the voices of John C. Reilly, Sarah Silverman, Gal Gadot and Taraji P. Henson, “Ralph Breaks the Internet” hits U.S. theatres on Nov. 21.

    The soundtrack and film feature “A Place Called Slaughter Race,” featuring Sarah Silverman, voice of Vanellope von Schweetz. In the vein of classic “I want” songs in the Disney canon such as “Someday My Prince Will Come” and “Part of Your World,” the song showcases Vanellope’s desire to be part of the world outside Sugar Rush—to grow as a racer and as a person. The song also features the singing debut of Gal Gadot (“Wonder Woman”) as Shank. The music was composed by Oscar®-winning songwriter/composer Alan Menken (“The Little Mermaid,” “Beauty and the Beast,” “Pocahontas” and “Aladdin”) and the lyrics were written by Phil Johnston and GRAMMY®-winning producer Tom MacDougall (Frozen; Executive Vice President, Music at Disney).

    The multi-platinum, GRAMMY-winning band, Imagine Dragons, wrote and recorded the end-credit song “Zero” for the film, embracing the struggle Ralph has with his evolving friendship with Vanellope. According to Imagine Dragons’ lead singer Dan Reynolds, the film’s emotional themes are reflected in the song. “It's a pretty timely movie in a lot of ways in that it addresses some of the issues of identity and loneliness unique to this internet generation,” says Reynolds. “Ralph's internal struggle for self-acceptance really resonated with us, and this song speaks to that.” “Zero” is also featured on the band’s upcoming fourth studio album Origins available November 9.

    Composer Henry Jackman, who scored 2012’s “Wreck-It Ralph,” returns to score the follow-up.

    Jackman’s mission was to create a score that’s reminiscent of the first film, while embracing the new story and the vast, uncharted new world of the internet that Ralph and Vanellope must navigate to retrieve a part to save her game. Says Jackman, “‘Wreck-It Ralph’ is one of the best animated films of recent times and I was really proud of the score. What makes this one different? There’s a clue in the title, ‘Ralph Breaks the Internet’—we’ve moved from the arcade to the internet. While we can retain some of the original material, there’s a new layer we had to create and integrate. There’s a distinction between arcade electronica and internet electronica, which sounds more modern.”

    “There’s so many fun things to enjoy,” continues Jackman. “But I think the universality comes from the fact that it’s an important archetypal friendship story. Hidden behind all of this amazing technology and imagery is something very solid emotionally and narratively.”

    Filmmakers called on GRAMMY-nominated singer-songwriter Julia Michaels to perform the second end-credit song, “In This Place,” a pop version of “A Place Called Slaughter Race.” “I think one of my favorite things about ‘Ralph Breaks the Internet’ is Vanellope,” says Michaels, “because she’s just completely misunderstood. I think a lot of people feel that way—misunderstood—and go through life trying to find their power. And when they find it, it’s really beautiful.”

    About “Ralph Breaks the Internet”

    In “Ralph Breaks the Internet,” video-game bad guy Ralph (voice of John C. Reilly) and best friend Vanellope von Schweetz (voice of Sarah Silverman) leave the comforts of Litwak’s arcade in an attempt to save her game, Sugar Rush. Their quest takes them to the vast, uncharted world of the internet where they rely on the citizens of the internet—the Netizens—to help navigate their way. Lending a virtual hand are Yesss (voice of Taraji P. Henson), the head algorithm and the heart and soul of the trend-making site “BuzzzTube,” and Shank (voice of Gal Gadot), a tough-as-nails driver from a gritty online auto-racing game called Slaughter Race, a place Vanellope wholeheartedly embraces—so much so that Ralph worries he may lose the only friend he’s ever had. Directed by Rich Moore (“Zootopia,” “Wreck-It Ralph”) and Phil Johnston (co-writer “Wreck-It Ralph,” “Zootopia,” writer, “Cedar Rapids”), and produced by Clark Spencer (“Zootopia,” “Wreck-It Ralph,” “Bolt,” “Lilo & Stitch”), “Ralph Breaks the Internet” hits theaters on Nov. 21, 2018.

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  • PressClubPic1-9900000000079e3c.JPG

    Album release: Press Club
    Release date: 25 January 2019
    Label: Hassle Records
    More info: Band website

    • Watch the video for first single ‘Headwreck’ here

    • First UK tour dates set to be announced for Spring 2019

    With Press Club having already risen way out of Australia’s underground punk scene, to become one of the country’s buzziest new bands, today they announce that they have signed to Hassle Records for the UK / EU release of their debut album Late Teens on Jan 25. Support from the influential Triple J radio station has come thick and fast for the band, with a number of singles gaining heavy rotation, and a coveted ‘Like A Version’ session slot generating over 150,000 views. Rolling Stone Australia and Beat Magazine have also touted the band as Ones To Watch, as the first pockets of UK media support have begun to emerge from Kerrang! magazine and the BBC Radio 1 Rock Show’s Dan P Carter.

    Press Club are also sharing lead single and accompanying video for ‘Headwreck’; two and half minutes of frenetic, raw, self-assured and commanding punk, stacked with buzz-saw guitars and brimming with honesty. The track is about a place we’ve all been; in a relationship with someone that doesn’t treat you right, doesn’t respect you. It’s a call to arms to respect yourself, to demand more. The video was shot in a Collingwood warehouse, with the help of two friends, Nick Manuell and Will Maconachie, who have created a video that captures the band’s brash energy, and embodies how the song was recorded: live and in one take. It’s a glimpse at the kind of performances that have won them so many fans in support of the likes of Japandroids, Joyce Manor, Cloud Nothings, The Smith Street Band and Dream Wife on the road in their native Australia.

    Press Club will also play their first ever live shows in the UK this coming Spring, with more details to be announced shortly. Bassist Iain MacRae comments; “Absolutely over the moon to be part of the Hassle posse! It's great to finally have someone we trust in our corner after being independent for so long. Let the Antipodean takeover of Europe commence!”

    Late Teens is what happens when four Melbourne musicians come together to create a body of work entirely devoid of outside influence, being answerable to only themselves. Over six weeks, bassist Iain MacRae’s house was converted into a temporary song-writing sweatshop where the band wrote forty songs that were distilled into the dozen that make up the track list on Late Teens. Relying upon the experiences of their friends and people they know as subject matter, Late Teens thematically approaches displacement, relationships, internal turmoil, gentrification and inequality. Press Club is the musical embodiment of the attitude of a generation experiencing impermanence in every way.

    Pre-order Late Teens on limited colour vinyl / CD / Digital here.

    “A rootsy, passionate emo-punk gem… They’re another band with an incredible frontwoman, Nat Foster, whose voice imbues the songs with passion and yearning.” - Kerrang!

    “One of our records of the year for sure – so great.” - Dan P Carter, BBC Radio 1

    “There’s plenty of buzz surrounding Press Club, with firebrand frontwoman Natalie Foster proving she has one of the strongest set of pipes that we’ve heard in a while.” - Rolling Stone Aus

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  • The new single from Mackenzie Shivers vaults across the piano in a rhythmically triumphant leap. “Tears to Keep Me Warm” combines synth bass with drums and a looping piano that underpins her classical training with an emotional essence that blossom together like bright buds as they bloom atop a proud and prolific tree. “Tears to Keep Me Warm” is the second single off the upcoming album, The Unkindness, out February 8.

    Shivers wrote “Tears to Keep Me Warm” while traveling in New York, with her mind wandering and soul reaching out into the universe for inspiration. She explains, “I remember writing these lyrics when I was waiting for the 7 train in Queens. As they came flooding into my head I had this image of someone crying these big, warm tears. The idea that tears can actually keep you warm is of course tongue-in-cheek, but there’s also truth in this idea that when things are really tough, the pain you feel is very real, and in a way it can become your companion. Vulnerability is a sign of strength, and letting yourself feel upset or angry is an important step to towards making it through to the other side.” The wind-swept melody cradles Shivers’ voice through the cadence of time and punctuates each stanza with a purposeful staccato.


    The Unkindness stands like a powerful army, a collection of songs with resilient soldiers on the battle lines fighting against the “unkindness” that appears in the world. Songs like “Believe,” “The Unkindness” and “Better” were forged in the fires of feminism after major cultural and political shifts including the Me Too movement and the 2016 election. The album as whole pledges a therapeutic commentary on the harsh realities that surface and spread like wildfire on the world. Like coping with the “unkindness” all around us, Shivers conveys the realness and rawness of hands joining in unity and marching forward.


    This is Shivers’ first time being listed as a producer on a project, further injecting more of her own personal creative vision into the heart of each song. Although the album is deeply personal, her production contributions and passion for songwriting allowed for a very specific and cohesive mood. Rather than focusing on making each take perfect, Shivers emphasized the importance of capturing the story being told.

    About Mackenzie Shivers:

    Mackenzie Shivers started writing music when she was four years old and started piano lessons when she was five. She received a degree in music composition from the Blair School of Music, while studying piano, voice, and orchestration. She released her first album Neverland in 2014, and two EPs, Living in my Head in 2016 and Ravens in 2017. While playing in a handful of other New York-based bands, she is now ready for her sophomore album, The Unkindness. Shivers is featured as a producer on the album, which is out in February of 2019, and it was mastered, engineered and mixed by Kevin Salem, who has worked with Rachael Yamagata, Bat for Lashes, and Valerie June. She has been featured in blogs like The Deli Magazine and Ear To The Ground.

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  • Lucio Menegon, AKA Reverend Screaming Fingers, is a musician from Joshua Tree, CA. His upcoming instrumental rock soundtrack album, Music for Driving and Film, vol iii (the desert years) is the sweet spot where soundscapes meet landscapes, making the outside world feel expansive and untouched, the natural beauty radiating. Lucio takes this admiration for nature beyond the music itself, but in his every day life as a musician. Read his fascinating Social Stance which explores how he combats the challenges of being a touring musician by maintaining a small ecological footprint. The experimental album comes out on November 30, 2018!

    Many of us have likely thought about the implication of our energy and ecological footprint as everyday humans and musicians - especially touring musicians. It’s a huge impact economically, environmentally, and philosophically. For 15 years I’ve been proactive in educating myself, and hopefully leading others by example, on making lower impact purchase, transport and living decisions and choices. From learning how to install an off-grid solar powered setup in The Atomic Dream - my vintage 40’ Spartan trailer in Joshua Tree, CA - to cooking more at home and on the road, minimizing plastic in merch and touring/performing decisions.


    One early attempted solution was to do like Paul Motian: live in NYC and only play there, using public transit. This worked really great for a couple of years, but I was soon back on the road and feeling done with the city, then I did a 180 and moved to…the desert. An amazing place, but a BIG problem is all. the. driving. The only option was to offset this in other areas, so I invested in the aforementioned Atomic Dream. With a small off-grid setup, compromise is a necessity, and one becomes very conscious about energy usage. The solar provides electricity for everyday needs and summer cooling (battery power at night), and a sweet little wood stove for the cold months that heats high-quality pallet wood I’ve properly obtained and processed. The only real fossil fuel component is propane from cooking and hot water as electric heating which requires a really big solar/battery setup.


    But since the world runs on oil, no one can avoid playing a part. Staying local, walking, riding a bike, using as much public transit as possible (I truly love trains) are great options, but for most musicians schlepping gear it’s a serious tradeoff, and so is the time factor. Often enough you end up back in the…van (or high mpg car). And then there’s all the flying, which brings me to the next philosophical plateau.


    Touring far and wide, playing exotic places to new audiences, the entire world your oyster, not much feels better! But what a first world perk and problem. No one wants to simply stop, but maybe we can make a difference by being more conscious in the decision-making process. Things like: not taking that out-of-the-way show just to fill an open date, keeping gratuitous adventures and shitty shows to a minimum, and in general, raising the bar. The little things add up. I encourage everyone to think about their impact as part of the planning process and take action. You’ll still have fun and might even find the returns are better!

    Lucio already painted a vivid picture of his eco-friendly lifestyle, but check out these images below of his vintage 40’ Spartan trailer. How amazing!

    Also, be sure to listen to his singles, "No Destination" and Yuma Interlude on Spotify, and follow Reverend Screamign Fingers on Twitter!


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  • 12_dt_twinsweb.jpg

    Album release: ‘Mayonnaise’ by Deer Tick
    Release date: 1 February 2019
    Label: Partisan
    More info: Band website

    On Feb 1st Deer Tick will release a new compilation album entitled ‘Mayonnaise’ – a 13-song companion piece to last year's full-length albums 'Deer Tick Vol. 1' and 'Deer Tick Vol. 2.' Listen to two tracks from ‘Mayonnaise’ now - a cover of George Harrison’s ‘Run Of The Mill’ as well as brand new track ‘Hey! Yeah!’, which is accompanied by a Scorpion Dagger animated visualizer.

    • Check out ‘Hey! Yeah!’ here.

    • Listen to ‘Run Of The Mill’ here.

    The band explains: “On ‘Mayonnaise,’ you’ll find alternate versions of songs from ‘Vol. 1’ & ‘Vol. 2’ that we feel have their own merit and wanted to share. We also decided to record some of the cover songs that ‘Vol. 1’ & ‘Vol. 2’ inspired us to play on our Twice Is Nice Tour. We had such a good time playing these covers live that it felt appropriate to document them here. And, lastly, if we are going into the studio, why not write a few new songs, record them, and give the fans something new to round everything out? So, here you go, this is ‘Mayonnaise.’”

    'Deer Tick Vol. 1' and 'Deer Tick Vol. 2' were the band’s first new material since 2013’s ‘Negativity’ and were recorded at the legendary Ardent Studios in Memphis, TN. The albums earned raves everywhere from Vice Noisey, Consequence of Sound, Mojo, Uncut, Uproxx, as well as a performance on CBS This Morning. The band will be on tour in the UK / Ireland this November, with more dates to be announced soon.

    Praise for 'Deer Tick Vol. 1' and 'Deer Tick Vol. 2’

    "...with Vol. 1 and Vol. 2, McCauley solidifies his status as a modern-day barstool poet...throughout both albums, the band varies its rhythms and arrangements with surprising agility." – Pitchfork

    “Vol.1 is raw, introspective and rootsy… Vol.2 is its noisy yang” – Mojo

    “Vol 1 is reflective and rootsy… Vol 2 is high-class punk thrash” – Uncut

    "...'Deer Tick Vol. 1' and 'Vol. 2' find the Rhode Island roots rockers back and better than ever...Deer Tick's most optimistic effort yet, a masterclass in newfound maturity not losing what made the band so likeable in the first place." – Noisey

    "If the motive behind putting out two albums with contrasting volumes was intended as a demonstration of ambition and range, well, mission accomplished" - NPR Fresh Air

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  • IDLES 2019 world tour

    James Parrish

    Tour announcement: IDLES
    Tour dates: March to May 2019
    More info: Band website

    • Including first ever Australian dates and two headline shows at The Electric Ballroom, London

    After a wrapping up sell-out UK and US tours, IDLES have confirmed a 2019 world tour, headlining their biggest venues yet. The run will include two London headliners at The Electric Ballroom and their first ever run of dates in Australia. Tickets go on public sale this Friday Nov 9th at 10am local time, with tickets available at here.

    IDLES’ new record 'Joy As An Act Of Resistance' debuted at no.5 in the UK charts, breaking Rough Trade’s all-time record for most pre-orders and sales in a day. It is currently the no.1 best reviewed record of 2018 (average rating of 88 across 25 reviews) at Album Of The Year and in the Top 10 on Metacritic. The band saw not only singles but the album itself A-listed at 6 Music and earned major features, amongst others, with the likes of Q, Mojo, The Guardian and covers with DIY, Loud & Quiet, So Young and NME. They’ve arrived internationally too with only last week NPR Music declaring “I am an IDLES addict. It's like mainlining an uplifting and unifying assault on nationalism, racism, intolerance, and class inequality.”

    The band won Best Breakthrough at the Q Awards last month following their Jools Holland debut which NME called “history in the making…incomparably brilliant,” likening it to Arctic Monkeys and Kanye West's first appearances on the show. Watch here. La Blogothèque also just filmed the band performing a couple ‘Joy’ standouts, watch them do stripped down versions of ‘I’m Scum’ and ‘Gram Rock’.

    More key tracks:

    Selected praise for IDLES

    “No hyperbole needed; IDLES are the most important band we have right now." - DIY Magazine (cover story)

    “Everything about Joy As An Act Of Resistance is just so perfectly realised. An instant classic, one that people will turn to in times of need for years to come.”

    10/10 - NME

    “This album is a heart-breaking but jubilant exploration of joy, honesty, fragility and expression as our most powerful means of human resistance.”

    9/10 - Classic Rock

    “IDLES have released the most relevant and at times gut wrenching album of the year.” - Drowned In Sound

    “IDLES make sense of modern chaos on the utterly essential Joy as an Act of Resistance.” - The Line Of Best Fit

    “Idles take their rightful place as not Britain’s, nor Europe’s, but the world’s most vital band. It’s a fist-clenched celebration of the full spectrum of phenomena - inexplicable, crushing and totally joyous - that divides and unites us all.” - The Quietus

    “IDLES deliver a thunderous and sharp state-of-the-nation address.” - The 405

    “Across its 40-odd minutes, Joy As An Act of Resistance makes you want to laugh and cry and roar into the wind and cradle your nearest and dearest. It is a beautiful slice of humanity delivered by a group of men whose vulnerability and heart has become a guiding light in the fog for an increasing community of fans who don’t just want, but need this.”

    5/5 - DIY

    “The power of ‘Joy As An Act Of Resistance.’ is how it shows society itself in a mirror. Sometimes it’s a bathroom mirror in the morning too bright and over exposed, another time it’s a makeup mirror in a car you struggle just to catch a glimpse of yourself and other times it’s a fairground mirror and everything is distorted and grotesque. But each time you have look yourself in the eye and take stock for your actions.

    This is a band to get excited about. Very, VERY, excited about!”

    9/10 - Clash

    “This album announces IDLES as one of the most exhilarating and necessary punk bands of right now.” - Kerrang!

    “…this isn’t good-time, aspirational, radio-friendly pop. But for anyone in need of music that articulates their concerns or helps them to work through their troubles--or anyone who simply appreciates blistering, intelligent punk - they might just be Britain’s most necessary band.” - The Guardian

    “Over a visceral torrent of motorik punk-pop pummels recalling prime Pixies or mclusky, Joe hails his “beautiful immigrant” blood brother “Danny Nedelko” and celebrates his “mongrel” upbringing on “I’m Scum” - in a world run by bullish right-wing sex pests, his aggressive compassion is a potent antidote.” - The Independent

    “This feels indispensable, as both bereavement therapy and Brexit-era protest.” - Q

    “Britain’s most cult-worthy band have a raging vitality.” - GQ

    “Joy as An Act of Resistance is a record that bristles with the political and emotional energy of punk’s very best.”

    9/10 - CRACK

    “One of the most vital albums of 2018.”

    5/5 - Dork

    “‘Joy…’ is a self-confessed parade. It’s a punch-up and it’s a bear hug.” - Loud & Quiet

    “Their follow-up sees them crank everything up to the next level. No band is better equipped to document the here and now, warts and all.” - Mojo

    “This must surely win the award for most intense album of the year. An exorcism of sadness and rage, with a burning commitment to honesty of expression throughout.” - The Times

    “Bristolian punk – brutally loud, brutally honest.” - Uncut

    "IDLES is the best 21st century punk-ish band I've heard.” - NPR Music (Bob Boilen)

    “Visceral, joyous, and honest — lightning rods for collective rage, forged from love.” - Noisey

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