Fools and Foes formed in 2014 with a common genre-interest among the three members of the band (Isa, Migs, and Gabba). Shortly after, the band started writing songs which are inspired by the collective influences of its members. Realizing that another member was needed for a better sound, Ralph eventually joined the fools. https://www.facebook.com/foolsandfoes/
It’s a tale told so many times we might be numb to its magic, but when The Coathangers played their first show back in 2006 at a small house party in Atlanta, the band’s aspirations were little more than a one-off excuse for a few friends to hang out and make some noise. Yet the clamorous racket of that first show was addictive, both for the newly recruited musicians navigating unfamiliar instruments and for the local punks who witnessed the band’s divine birth. Other parties were quickly put on the calendar. Then a few club shows. Then came the records.
Photo: Jeff Forney
The Coathangers’ eponymous 2007 album was a rowdy, ramshackle, and infectious debut. The album’s intoxicating revelry gained traction outside of Georgia, eventually leading to a record deal with Seattle’s Suicide Squeeze Records and the band’s first forays into national touring. Subsequent studio albums Scramble (2009), Larceny & Old Lace (2011), Suck My Shirt (2014), and Nosebleed Weekend (2016) found the band expanding their sound to include elements of golden oldies rock n’ roll, Americana, and Joan Jett badassery, while their relentless touring schedule made their already jubilant live shows transcend into a sweaty, ecstatic, and damn near spiritual events. Over the course of thirteen years, the band hit many milestones—touring in Europe, Japan, Australia, and Mexico, sharing the stage with artists like Minus the Bear, Refused, Janelle Monae, and The Black Lips, appearing multiple times on Last Call with Carson Daly, receiving accolades from luminaries like Kim Gordon, and landing a spot on the Billboard charts with Nosebleed Weekend.
Few bands make it out of the basement and even fewer survive more than a couple of years. The ability of The Coathangers to thrive in their thirteenth year of operation with original members Julia Kugel (guitar/vocals), Meredith Franco (bass/vocals), and Stephanie Luke (drums/vocals) is a testament to both their music and the genuine spirit of camaraderie that drives it. “Our combined strength is much more powerful than our individual powers, which is true of us as a band and further to us as a community and society,” Kugel says. “We’re choosing to be positive, proactive, and vocal about our stories and life experiences, giving up the devil we know. We’re going to uncharted places—looking for truthful existence, one not based on fear of the unknown but one that occurs when you have an open heart to was is real.” It took an extended break in 2018 for the trio to reflect on their accomplishments and regroup with a fresh perspective. This newly restored unity is immediately evident on their latest album The Devil You Know. As a statement on moving forward and abandoning the baggage of the past, The Devil You Know succeeds in capturing the arduous road to maturity while striking a perfect balance between the fiery spirit of their youth and the psychic creative interplay of a musical bond that has held The Coathangers together for over a decade. http://thecoathangers.com/
Baby Shakes are a rock n’ roll-punk band from New York City. Mary on lead vocals and guitar, Judy on lead guitar and vocals, Claudia on bass and vocals, and Ryan on drums. With catchy melodic vocals over dirty guitars and a killer rhythm section, their influences range from The Ramones and Slade to Chuck Berry and 60’s Motown girl groups. Formed in 2005, they’ve released 6 singles, a 10” heart-shaped EP, a singles collection, and 3 full length albums. They have toured the US, Japan, China, Ireland, UK and Europe. Baby Shakes have shared the stage with The Romantics, The Boys, Shadows of Knight, The Undertones, Buzzcocks, Barracudas, Protex, Black Lips, Rubinoos, Flamin' Groovies, Paul Collin’s Beat, Derv Gordon (The Equals), Iggy Pop, among others.
Photo by: Sean Waltrous
Baby Shakes will release their fourth full-length album, titled Cause a Scene, in Fall 2019 to be followed by a national & international tour.
Mary - lead vocals/guitar
Judy - lead guitar/vocals
Claudia - bass/vocals
Ryan - drums
Pinky Pinky have good gut instincts. During an era of limitless distractions, societal pressures and sonic trends, the three best friends are focused on being happy and blissfully on the outside of all that noise. The trio grew up together in Los Angeles and there's a shared understanding of what makes them all tick. Together with her punk cohorts Anastasia Sanchez (vocalist/drummer, 20), guitarist Isabelle Fields (19), and bassist Eva Chambers (19) have a clear understanding that Pinky Pinky's modus operandi is in not overthinking their decisions. You can hear that on their debut album,
'Turkey Dinner' due on Innovative Leisure (June 14th). It follows their two prior EPs, most recently 2018's 'Hot Tears'. Their first full-length, however, is even freer than their previous efforts. It's a patchwork quilt of garage rock and oddball indie. It's rooted in classic bass, drums, guitar, but it's bolstered by the perspectives of a trio of LA youths writing about their everyday observations, anxieties and passions. https://pinkypinkytheband.com/
Crinkle Cut is a soul quartet formed in Kuala Lumpur, Malaysia in 2011 and a staple of the city's independent music scene. The members are vocalist Frances Thomas Tsen, guitarist Melissa Sasa, keyboardist Grace Foo and percussionist Ashley Choong. Crinkle Cut's debut album b_tt_rsw__t, is released in 2018.
German new wave quartet Ideal were formed around the talents of Annette Humpe, Ernst Ulrich Deuker, Frank Jürgen Krüger, and Hans-Joachim Behrendt. They released their debut album self-titled album on Tangerine Dream's Klaus Schulze's record label in 1980. Several more albums followed including Der Ernst des Lebens, and Bi Nuu, before disbanding in 1984. ~ James Christopher Monger, Rovi
Comprised of two husband and wife teams, Blushing is an Austin TX based dream pop / shoegaze quartet that originated in the summer of 2015 after Michelle Soto (guitar, vocals) shared her songs with long-time friend and classically trained vocalist Christina Carmona (vocals, bass). Picking up the bass, Carmona helped to fully flesh out tracks and the two incorporated their spouses Jake Soto (drums) and Noe Carmona (guitar). Their debut EP "Tether" was self-released in 2017, followed by their EP "Weak" on Austin Town Hall Records in January of 2018. Gaining infectious momentum, Blushing have since been asked to play official SXSW showcases in 2018 and 2019, Athens PopFest and have shared stages with the likes of La Luz, Snail Mail, Sunflower Bean, BRONCHO and many more.
They released the single "The Truth" (b/w “Sunshine”) on October 26th both digitally and on 7" pink vinyl via The Nothing Song Records. Recorded, mixed and produced by Elliott Frazier of Ringo Deathstarr both "The Truth" and "Sunshine" showcase a growth in the band's expansive, cascading sound laden with ethereal vocals and fervent guitar, simultaneously capable of reining in with emotional and melodic space. Their single comes ahead of their debut full length slated to be released in early 2019. https://www.blushingmusic.com/ https://weareblushing.bandcamp.com/album/blushing
A mix of Folktronica/Downtempo/Ambient makes 凹與山 Our Shame, a Taiwan-based Duo, one of the uprising bands of the millennium. After the break-out success of “理查（Richard）” on Indie Music Site, StreetVoice, bandmates Estelle H(vocals/guitar/producer) and Isan(percussion) started to work on their debut EP, Good Things Happen(2019).
The record honors the sublime emotions of human being through rattling beats, contemporary instruments, and crystal clear acoustic guitar sound. Our Shame creates melodic, evocative soundscapes that comfort souls of all sorts, bringing out the one and only message, “Good Things Happen”.
Music: The Fur.
Co-producer: Bo Sheng Fang, Chen Hsuan Lee
Recording: Bo Sheng Fang, The Fur.
Mixing: Chen Hsuan Lee
Mastering: Brian Elgin
Drum: Chia Chen Tu
Cast: Beni Usakura (avandoned)
Video direction & Camera: Yuta Sekiyama (LAFH)
Assistant direction & Styling: Mari Sakamoto (LAFH)
Hair & Make-up: YUKA (MINT)
SASAMI (Sasami Ashworth) has been making music in the Los Angeles area, in almost every way you can, for the last decade. From playing French horn in orchestras and studios and playing keys, bass, and guitar in local rock bands (Dirt Dress, Cherry Glazerr), to contributing vocals/string/horn arrangements to studio albums (Vagabon, Curtis Harding, Wild Nothing, Hand Habits, etc.) and producing on tracks for other respected artists (Soko), she has gained a reputation as an all-around musical badass.
After graduating from the Eastman School of Music in 2012, SASAMI spent her time scoring and making orchestral arrangements for films, commercials and studio albums, as well as being a deeply committed music teacher in Los Angeles. She spent the previous two and a half years touring the world non-stop playing synths in the band Cherry Glazerr and is now taking a turn to focus on her own music. SASAMI's first ever self-released single "Callous" was given Pitchfork's "Best New Track," and this year she has already shared bills with the likes of Japanese Breakfast, Liz Phair, The Breeders, and Blondie. https://sasamiashworth.com/
Giraffe Eat Fish 吃魚的長頸鹿 | 再 沒 (Official Music Video)
Giraffe Eat Fish is a Hong Kong based power pop band. Their debut demo "sing a song for our soul" is available on YouTube.
They are impressed by the music style of power pop / punk with emotions expression.
Giraffe Eat Fish wants to do the best to spread their music and plan to performs in different places. https://www.facebook.com/giraffeeatfish/
Say Sue Me - 'George & Janice' / 'Don't follow our van ' Single
We are indie rock band Say Sue Me from Busan, South Korea. Since we started in 2012, we have released our first album [We've Sobered Up] and an EP [Big Summer Night]. We play surf rock and like a variety of 90's indie rock.
Damnably Records of London, England released a compilation album of the bands previous output with a bonus track on CD called [Say Sue Me], released April 2017 available from Damnably (Europe/North America), Electric Muse in Asia and Tugboat Records in Japan.
A limited edition RSD2017 4 track 7" EP entitled 'semin' was released on transparent neon pink vinyl and is also available from both labels.
1st Album [We've Sobered Up] (2014)
EP [Big Summer Night] (2015)
Compilation Album [Say Sue Me] w/ bonus track (2017)
7" 4 Track RSD Special EP [semin] (2017)
7" Split Single 'Good for some reason' (2017) Oct 6th release & also
on Electric Muse's 10th birthday compilation Tape
2nd Album [Where We Were Together] CD/12" Vinyl/Digital April 13th 2018 on Electric Muse/Damnably
EP [it’s just a short walk!] one-sided clear 12” vinyl for RSD 2018.
7” [Just Joking Around/B Lover] clear & black mixed vinyl (2018)
releases September 27, 2019
Concept & creative direction by Becky Sui Zhen.
Design by Mogollon NYC.
Photography by Agnieszka Chabros.
Costumes by Annie Wu.
Lyrics by Becky Sui Zhen.
All songs written and produced by Becky Sui Zhen excluding tracks 2 (Becky Sui Zhen & Cayn Borthwick), 5 (Becky Sui Zhen & Alec Marshall) and 6 (Becky Sui Zhen & Luke Hodgson).
Recorded by Becky Sui Zhen, Todd Dixon and Haima Marriott.
Additional recording and production by Haima Marriott.
Mixed by Haima Marriott.
Mastered by Lachlan Carrick at Moose Studios Sui Zhen – Perfect Place (Official Video)
Throughout her discography and performances, experimental pop and performance artist Sui Zhen has zoomed in on the intersections between human life and technology — how to exist in the digital age, as well as the ways in which we risk losing true sight of ourselves in the process. Sui Zhen’s third album, Losing, Linda, pairs her signature inquisitiveness with a surreal electronic pop that possesses a dreamlike quality: vivid, uncanny, and upon close examination, revealing of deep emotional and personal truths. It’s an album that examines loss on multiple levels — from the death of our loved ones, to our widespread societal tendency to disappear within the ones and zeroes of modern life's tech-driven rush.
Losing, Linda is the latest chapter in Melbourne artist Becky Sui Zhen's musical journey, which has, to date, included involvement in the Red Bull Music Academy, and spanned collaborations with dance and electronic artists like NO ZU, Retiree and Tornado Wallace (featuring on the producer’s standout “Today” from 2017’s Lonely Planet). She’s also been commissioned for scoring and composition work in the ambient sphere, such as creating a “spatially aware soundtrack” to an exhibition at the Art Gallery of NSW, and providing the live score for Chris Marker's 1983 documentary Sans Soleil. This year alone will include performances at Dark Mofo, Meredith Festival, and Inner Varnika, plus collaborations with Møzaika and a track on an upcoming compilation for Munich’s Public Possession label.
Sui Zhen released her debut album, Two Seas, in 2012. Beguiling and enchanting, the record proved to be an early indication of her fascinating melodic structures and compelling lyrical themes — but it was 2015's Secretly Susan that would be her breakthrough. Drawing on dub, lounge, and bossa nova influences, Secretly Susan presents as a synth-pop simulacrum, exploring digital life's myriad intersections with the real. “Brilliant and uncanny,” Pitchfork writes, the album “radiates humor and charm.”
The story of Sui Zhen’s latest album, Losing, Linda, began in August of 2016, when she took up an artistic residency in Sapporo, a Japanese city on the northern island of Hokkaido. Sui Zhen originally came to the residency equipped with demos conceived in the wake of Secretly Susan — but real-life tragedy intervened, as her mother was diagnosed with pancreatic cancer. Sui Zhen’s family insisted she continue with the residency as planned, but the experience proved indelible and she abandoned the demos to start anew.
In the process, a sense of overall mortality was unmistakably infused into the thematic structure of Losing, Linda. It’s apparent across the lyrical sentiments of the swingy, bossa nova-laden "I Could Be There,” as Sui Zhen sings with straightforward zest, "When you show me that you know all that's left to be/ That's the only way you knew to raise our family." It’s a powerful sentiment turned askew, delivered with lightness over pitter-patter drums and rubbery bass lines; a characteristic duality of Sui Zhen’s work. Elsewhere, “Mountain Song” describes a traumatic and potentially fatal hiking expedition on Mount Asahidake — a memento mori, subtly and stealthily rendered with a bossa nova lilt and soft orchestration.
After the residency came to a close, Sui Zhen's band members — instrumentalists Ashley Bundang (Zone Out, Hot Palms, Ciggie Witch) and Alec Marshall (Hot Palms, Emma Russack) — joined her in the Tokyo-adjacent city of Matsudo to track full-band demos for the material she'd written back in Sapporo. The new locale also inspired the gentle oscillations of "Matsudo City Life," a throbbing synth-pop slice of effervescence that practically sounds like steam rising off of a nocturnal city street.
Sui Zhen eventually returned to Australia to be with her family, with work on the album becoming more sporadic as her mother's health declined, leading up to her passing in February 2018. “Looking back it was pretty intense,” Sui Zhen says. “There’s moments that occurred that haunt me still. And some of those moments have been recreated in my video project – turned into art, memories of memories.”
After some time away from the album, Losing, Linda was completed near the end of 2018. "I finally felt ready to return to the album," Sui Zhen explains. The resulting record pushes the fascinating sounds and ideas of Secretly Susan further and deeper, drawing equally from the plush realms of Sade, Japanese city pop, the early electronic music of the 1980s, and the mournful swing of Tracey Thorn's early work. Sui Zhen cites a range of forward-thinking artists from past and present as inspiration, from Lizzy Mercier and Laurie Anderson to Holly Herndon and Suzanne Ciani. The lush body-moving pop of "Being a Woman," for example, finds Sui Zhen's personal experience colliding with her own self-investigation, as she sings about her relationship and struggles with femininity: "When I grew up/ I thought I had to be/ Somebody's mother/ Or somebody's daughter." It's a striking example of the personal, political, and societal themes at the center of Losing, Linda, packaged as an infinitely listenable pop song.
Much as Secretly Susan was constructed around a titular character, on Losing, Linda Sui Zhen takes the theoretical form of "Linda," a digital doppelgänger and avatar invoking the e-learning channel Lynda and its founder Lynda Weinman, as well as the humanoid robot BINA48. The character of Linda is personified on the album's cover by choreographer and colleague Megan Payne, whose literal embodiment of Linda interrogates the disembodiment of online life, and calls into question the possibility of death in the digital age. "It’s an album about missing people after they are gone and trying to pre-empt loss — not only loss of life, but memory and information," Sui Zhen explains. "I see it mirrored in our increasing need for data storage. Why are we collecting and documenting so much, anyway?”
“It’s also a simple ghost story about being haunted by our other versions and our past selves,” she continues. “Our mothers, fathers, ancestors — that possibility that another may exist, intangible in the physical realm, but ever present in memory, so long as memory functions."
The album will also be accompanied by a digital ecosystem, aiming to create an online world for listeners where they can interact in real time with Linda. “It’s somewhere between a ghost, a memory, and a digital assistant" Sui Zhen explains. In other words, a perfect evocation of what Losing, Linda represents thematically and musically: a trip through the real and the uncanny. Losing, Linda is a lovingly personal and humanistic document of our ever-changing world, the things we lose along the way, and the insights we gain from loss itself.
- Larry Fitzmaurice http://www.suizhen.com.au/
Means To Me is the second full-length under Leslie Bear’s moniker, Long Beard, and her first since 2015’s Sleepwalker. Throughout the record, Leslie explores what constitutes a home—how it extends beyond the physicality of a roof over your head to the comfort of another person. A sense of self, stability or security.
Photo by Nathan Bajar
Long Beard - Getting By (Official Music Video)
From the album Means To Me
Out September 13th 2019 via Double Double Whammy
Preorder "Means To Me" http://smarturl.it/MeansToMe
Directed & Edited by - Tara Bayat
Director of Photography - Adam Kolodny
The last four years between records mark a particularly significant and transitional time for Bear. A career move led her back to her hometown in New Jersey long after her friends and peers moved away, resulting in feelings of stasis and nostalgia that shape the album. Reflections on the past are evident in tracks like album single “Sweetheart”, in which Bear considers a past love, where they are now, and her life in relation to theirs.
Bear’s sophomore album shows a growth and maturation in sound from her debut. Co-produced with Craig Hendrix (Japanese Breakfast), the record occupies a dreamlike space that weaves between shoegaze-tinged guitars and upbeat, jangly pop. While still loyal to Leslie’s signature ethereal, melodic guitars and haunting whispered vocal delivery, the fully realized arrangements demonstrate a stunning clarity throughout the album.
The perfect amalgamation between Bear’s ambient-textured loops met with the pristine production and pop stylings of Hendrix’s playing can be heard in album standout “Snow Globe.” The combined reversal effects, seamless transitions, and heartbeat percussion are the language of Means To Me.
What Bear has created with Means To Me is not only a mirror for herself, but also a means for the listener to reflect on what home means to them. Whether Bear has defined a home for herself is left to wonder, as she leaves us with these final lines before the album crescendos into an explosive distorted instrumental and slowly fades: “driving down through our state lines while you dream, I’m thinking of a name to go by.”
Harsh n' hectic hardcore punk with great scraping vocals and guitars so sharp they make my eyes water. For the most part things are fast and ragged, peppered with stubby little bass notes and a manic sense of attack, though the track 'Upset' bucks the trend with wavering melodic vocals and a blearily detached indie or post-punk vibe. While pretty damn good I'm not exactly sure where it sits within the wider punk milieu - no bad thing of course, and suffice it to say that if you dig Good Throb, The Comes or Exotica then you certainly won't go far wrong here. @ Alex Deller
