|
  • Playlist
Title
Artist
Genre
Length
Playlist save clear
Your playlist is currently empty.

Recent Tweets

See AllRecent News
2/22/2017
Agua Mala - A Song For Flint, MI

Pop Matters premieres a new track from Aloud featuring Kendra Jones and Tom Stuart from Cold Blood Club. "Agua Mala," was written in response to the water crisis in Flint, MI. Via Pop Matters: "The resultant tune is told from the perspectives of affected parents watching their children suffer the consequences of drinking lead-tainted water. It opens subtly with a tempered beat and washes of guitar distortion. Quiet verses bubble up to set the stage for the detonation of a refrain. With the urgency that comes from having your voice going unheard, the tune is propulsive and unhinged with frustration. Layered soulful vocals serve to personify the myriad people who suffered the catastrophe’s fallout, blending together in the big gang-style chorus of: 'Fearing for the futures of our sons / And our daughters / From agua mala.'”

2/22/2017
Young Mister in the House

We're excited to announce our new relationship with Steven Fiore AKA Young Mister! Young Mister comes to us via the southeast and has built a fan base spanning both coasts. Together with Dan McCurry of Hearts and Plugs, we're proud to add him to our management roster. Taking influence from classic rock bands like Electric Light Orchestra, Young Mister worked with producer Wolfgang Zimmerman (Brave Baby, The High Divers) to create an album that embodies the ethos of Americana while retaining the distinct, soulful sound that Fiore’s fans know and love. The album ebbs and flows from big band arrangements, such as the brass-filled “The Best Part”, to the catchy and psychedelic “Anybody Out There," before closing on “Pasadena," a song whose lyrics take influence from Fiore’s own past as an artist torn between two coasts. "Gentle, sincere, and built with a strong hook, the track sees him imagining a hopeful future together with his loved one." - Consequence of Sound "Is it early Peter Gabriel or a more articulate Thom Yorke that Charleston-native Steven Fiore conjures on stage? Either way, the force of his expression is vital, passionate, and beyond mimicry." - Charleston Magazine

10/22/2016
New Signing: Leland Sundries

Excited to announce a new addtion to the roster! “Leland Sundries, a band from New York led by Nick Loss-Eaton, is dedicated to storytelling in a way that recalls Woody Guthrie and his Folkways brethren. [Their] scrappy Americana will get you longing for empty two-lane highways and kudzu-encased back porches.” – New York Times “Not only does Brooklyn singer-songwriter Nick Loss-Eaton write richly detailed, sepia-toned tunes that layer America then and now atop one another like a ghostly palimpsest, he’s just as handy at knocking out Johnny Cash-worthy trifles like ‘Giving Up Redheads.’ His quartet has been spending a lot of quality road time lately, so expect them to be well-marinated for this homecoming gig.” – The Village Voice “Excellent.”– iTunes “Reminiscent of Bonnie ‘Prince’ Billy and Elvis Perkins.”– Baeble Music “Oddball storytelling with a lo-fi country sensibility” – Time Out New York “Leland Sundries singer/picker Nick Loss-Eaton’s the-Band-meets-Lou-Reed approach mates gnawing electric guitar and old-time acoustic six-string, banjo, and harmonica melodies with dry-witted, drawling, modern-day ennui.” – Boston Phoenix “[The] narratives of bus rides, trains and bars, windmills, roast beef sandwiches and Russian overcoats are penned with a novelist’s eye for detail and delivered in a wry New York baritone.” – No Depression “What Lou Reed would sound like if he was asked to front Tom Waits’ Mule Variations band… Highly recommended to fans of Leonard Cohen.” – My Old Kentucky Blog “One of the more striking debuts this annum… Let’s hear a full-length, soon.” – Blurt, 8 stars (out of 10) “The whole schmegie has that latter-day Waits/early morning Leonard Cohen vibe about it.” – Philadelphia City Pages Online “A wholly original outfit that just released one of the most exciting musical debuts of the year.” – PopDose Crackling garage rock meets literate indie rock in a sound marinated in the extremes of New York City on Music For Outcasts, the full-length debut and first UK/European release for Leland Sundries. It comes out February 5 2016 on L’Echiquier Records in conjunction with Décor Records, and places Leland Sundries in the context of bands that combine literacy with overdrive such as Silver Jews, Deer Tick, Jack Oblivian, Wooden Wand, The Hold Steady, Johnny Thunders, The Modern Lovers and Ezra Furman. Leland Sundries is the portmanteau under which frontman Nick Loss-Eaton and an ever-evolving roster of Brooklyn, NYC musicians produce the kind of careering, scrappy garage rock which has -via nascent EP releases- already earned the band nods from The New York Times and Timeout. Music For Outcasts itself was shaped by the fall out from two particularly pivotal events in Loss-Eaton’s life, the last few years of which have seen him not only recover from alcohol dependency, but go on to survive emergency open heart surgery. Fairly white-knuckle, stare-down-your-mortality fare for anyone, never mind someone barely out their twenties, and a live-it-out experience which bears its blackly humorous mark across Music For Outcasts. Ironically, the surgery itself presented Loss-Eaton with the opportunity for his first ‘holiday’ in over 4 years- a chance which took him (not entirely to his doctor’s ease) to the UK & Europe for several weeks, to begin work on what became Music For Outcasts. He says, “I hooked up with UK artist/producer Alexander Festival Hall to demo the songs in his tiny East London studio.” Studio recordings were then made in an unheated loft studio in Nick’s old neighbourhood of Greenpoint, in a former creamery building nestled next to a bridge between Brooklyn and Queens, much of it recorded on analogue tape. Around half of the tracks which comprise the record were written prior to Loss-Eaton’s recovery from alcoholism, rendering them – as Nick wryly noted during subsequent recording sessions – ‘time capsules back to a time of desperation’. For evidence of this pressure-cooker effect in microcosm, look no further than the surf-rock wash of ‘Greyhound From Reno’, which zeros in on the pill-hazed, midnight exodus of a shady character skipping town. Whilst the track lampoons its sleazy, washed up protagonist, Loss-Eaton delivers its underlying inference direct to the mirror, written as it was at the tail end of his addiction; ‘It’s impressionistic, non-linear, but that sense you can’t outrun yourself is palpable’. The track came eventually came together in aptly chaotic fashion during late-night recording takes; ‘We turned out all the lights in the studio and it got weird. I sang and screamed until I went hoarse, and it felt like an exorcism of panic’. Elsewhere on Music For Outcasts, Loss-Eaton turns the microscope on his own scars with a similarly unflinching candour. ‘Freckle Blues’ (written whilst New York was holed up during Hurricane Irene) equates the elapse of time since a relationship’s demise with his own date tally of sobriety, and ‘Maps of The West’ traces an ill-advised foray into dating whilst in the early stages of abstinence. ‘They recommend against this, and I soon saw why’ recalls Nick; ‘I fell hard for her. Should have known it wouldn’t work out when she took me to a bar. She drank whiskey. I drank seltzer.’ That said, the song nonetheless taps the fledging stability that his recovery brought to proceedings; ‘I found a measure of hope in being sober that wasn’t there in my life or my writing before’. And yet beyond the more personal scorched earth the record rakes over, there is a wider resonance within the world of misfits and missed connections that Music For Outcasts inhabits. Fittingly for one who snatches fragments of lyric ideas from overheard conversations & glimpses into the lives of others, the characters and vignettes which Loss-Eaton summons here are so vivid as to become almost tangible. ‘Stripper From Bensonhurst’ mines far beyond the attendant stereotypes to chart the push/pull between a grim domestic semblance of normality far more intolerable to this woman than her nocturnal ‘other life’, whilst the taut, Spoon-esque snap and swivel of ‘Radiator Sabotage’ paints a world of burnt-out glamour as palpable as any of Lou Reed’s succinct dispatches. Even the track titles themselves – ‘Studebaker’, ‘Wallace ID’ – function almost like projector slides, brief flashes of narrative which demand conjecture. Two studio EPs, a vinyl/digital 7” single, three music videos, and national US touring have already earned Leland Sundries praise from Pop Matters, New Yorker, Magnet, American Songwriter, Village Voice, Time Out NY, Baeble Music, No Depression, Blurt, and Boston Phoenix. The band has performed at Campout Fest (Joshua Tree, CA); taped a Daytrotter session; and shared stages with Spirit Family Reunion, Todd Snider, Marah, Eef Barzelay (leader of Clem Snide), Taylor Hollingsworth (of Conor Oberst & The Mystic Valley Band) and Cracker.

9/20/2016
Leslie

"It is an homage to artists everywhere and a reflection of the pain, sacrifices, and the condescention we can get from other people because we're following our passion. It's a film about the obstacles we face every day and the decisions we make whether they are right or wrong. This movie means a lot to me." - Alejandro Montoya Marin, Writer/Director Mother West music supervised this short film supplying music by Aarktica, producing a cover of The Magnetic Fileds "Book of Love" by Peppina, and acquring rights to use songs by Yo La Tengo and Brendan Canning (Broken Social Scene). Watch for it at the festival circuit in 2017. See more at lesliefilm.com.

See AllFeatured Tracks
PlayAddDownloadSynchShareLicenseAdd To Project
Album: Young Mister
PlayAddDownloadSynchShareLicenseAdd To Project
Genre: Alternative, Glam, Pop
Mood: Aggressive, Attitude, Driving, Energetic, Rebellious
Instrumental: Yes
PlayAddDownloadSynchShareLicenseAdd To Project
Album: Music For Outcasts
Genre: Folk
Mood: Cheerful, Comical, Heartfelt, Laid Back, Mellow, Positive
Instrumental: Yes
See AllFeatured Artists
Lost Leaders

When we left off the first Lost Leaders record was just released. This was in 2014 before the country went mad. That record did things for us. Our song “I’m Gonna Win” was on radio stations around the country and on several year-end top song lists. We played many an on-air concert singing into foam cylinders suspended on desk-lamp arms under florescent lights. It got us into some great publications like Relix, No Depression and The Huffington Post and on A-sides with John Chattman so we got our origin story down pat. And we’re sticking to it. Most importantly it got us in front of thousands of people including a sold out show at The Capitol Theatre. It consumed tires and gasoline and Spotify playlists. It also got us looking forward. And got us writing. Much about this new E.P. mirrors the creation of the previous release. We have a thing for barns that are like churches. Where the first record was recorded largely at Levon Helm’s barn which feels like a church, this set of songs was recorded in a barn built out of an actual church, taken apart and reassembled, cathedral ceiling, stained glass and all. Here in the Hudson Valley we holed up and worked on six new songs with a great crew of new players. Byron brought in some beautiful finger picked guitar songs with great harmonies and I brought in more cynical yet optimistic rockers. Some of the original contributors came back. Jared Samuel (G.O.A.S.T.T) contributed some synth weirdness on April Snow and Clark Gayton (E. Street Band horn section) gave us an awesome trombone choir on Gienevieve. This time around the songs are from a more immediate place. We didn’t have as much time to write them. So they are drawn more sharply. They are brighter, more concise and hit a little harder. Lost Leaders grew from a collaboration that has lasted through years of weirdness and magic. It has lasted through Byron’s time in Ollabelle and their time on Columbia records touring with Ryan Adams, Diana Krall and others. It lasted through my time in Lava Baby and our strange NYC power-pop journey with a record label whose president was convicted of money laundering. For all we know he is still in prison. It lasted through years of touring with bands and artists from all the dark corners. The partnership became Lost Leaders during Byron’s tenure in The Levon Helm Band and is now continuing through his time playing with The Lumineers on their current record and tour. Lost Leaders continues to stay off the boards and push its way onward. It continues to make much from little. But despite the self generating energy that propels us ever forward we’re calling this new E.P. “Heavy Lifting”. That’s just how it is.

The Ton Ups

Regarded by many as the original Williamsburg Band. Hey, somebody had to be. The Ton Ups still live and roam the streets of Williamsburg Brooklyn. The Ton Ups play driving garage rock.

Harper Green

Harper Green is a New York based artist with a haunting, sultry voice. With her first EP "Cannibals", Harper has created her own unique brand of indie-pop, tying subversive lyrics to ominous melodies and edgy production. Her songs leave you on edge, wanting more and with a foreboding sense of anticipation.

Soft News

The self effacing title of Soft News’ debut album, Used Melodies, belies its true nature as an innovative cover album of reimagined 80s pop songs. Each song, from Billy Idol’s “Dancing With Myself,” to “Love Touch” by Rod Stewart is completely stripped of the decade’s trademark glitter and bombast. In contrast, the sound that pervades Used Melodies is intimate, exposed, and soothing. From the first track to the last, Erik Laroi (the man behind Soft News) inspires trust in the listener. His pitch perfect production, crooning voice, and nuanced arrangements deliver the sense that you’re listening to indie renditions of the Great American Songbook. The collection of songs that Soft News covers on Used Melodies weren’t so much diamonds in the rough as diamonds covered in rhinestones, glitter, and neon-colored feathers. Laroi tenderly stripped them of their shimmer and glue to reveal the true gems sparkling beneath. Used Melodies was a passion project. Over the past four years, he’s been recording covers in his home studio, selecting songs as the inspiration strikes. He was grocery shopping when “Separate Ways” by Journey came on over the sound system. Laroi couldn’t shake the melancholic alternate version that was cycling through his head and so he recorded it. He did this with approximately 30 songs from the 80s and early 90s (there are two exceptions: a gorgeous version of Big Star’s 1975 classic “Holocaust” and a complete re-interpretation of Pulseprogramming’s 2003 IDM-inspired track “Blooms Eventually”). Laroi enlisted Charles Newman (The Magnetic Fields, Jon DeRosa) to mix them. Laroi had no commercial intent for the project but while mixing, Newman heard an album in the works. Laroi and Newman picked their twelve favorite covers and Used Melodies was born. It will be released on Newman’s label, Mother West, in fall 2014. If you hear a hint of Kings of Convenience in Laroi’s rich, clear vocals, it may be because they are his Norwegian countrymen. Originally from Norway, Erik Laroi spent much of his childhood in Detroit and London. This is where he soaked up 80s pop culture, making weekly trips to the record store with his older brother to pick up the latest album by New Wave cult bands like New Order, The Cure, Depeche Mode, and The Smiths. As he got older, Laroi’s tastes broadened, discovering bands like Red House Painters and Low, as well as singer-songwriters like Nick Drake and Joni Mitchell. This wandering path of musical exploration led him to create Used Melodies, an album that takes a decidedly grown-up approach to childhood nostalgia – resurrecting it to fit the present. Used Melodies by Soft News was recorded and produced by Erik Laroi in his home studio in New York. The album was mixed by Charles Newman and Ray Ketchem (Elk City, The Mendoza Line). The tracks feature backing vocals by Lorraine Lelis (Mahogany, Aarktica) and Margaret White (Sparklehorse) and string arrangements by Perry Serpa (TV On The Radio, The Sharp Things) and Jean Cook (Ida, Mountain Ocean Sun).

The Ritualists

The Ritualists is NYC-based dark psychedelia. Fronted by lyricist and multi-instrumentalist, Christian Dryden, the group's fusion of classic glam rock, post punk and modern Brit-pop has raised more than a few eyebrows, earning them comparisons to legends such as David Bowie, Echo and The Bunnymen and The Verve, and the praise of Sex Pistols founder, Glen Matlock. The Ritualists' live show combines aspects of traditional rawk theatricality and classical surrealism. They have awed audiences up and down the east coast, from The Highline Ballroom, NYC to The Masquerade in Atlanta. They were recently one of only 25 other artists chosen to participate in the All About Music festival in Nashville, TN. They have played alongside notable artists such as Lady GaGa, The Fiery Furnaces, Earl Slick, and Love & Rockets. They have performed live for 107.7 WACC in Connecticut and 90.3FM WMSC Radio in Montclair, NJ. The Ritualists are also featured regularly on 107.1 FM, "The Peak" and 93.30 FM in Argentina.

Aloud

Aloud is a four-piece rock n’ roll band fronted by songwriting team Henry Beguiristain and Jen de la Osa. The two have written songs together since their teens growing up in Miami, Florida. Beguiristain and de la Osa moved to Boston shortly after high school to form Aloud. Over the years, they have created a catalog of songs wide in range, but always influenced by the 60s soul and rock music they grew up on—with a particular affection for harmonies. While the two each have their own distinctive vocal style they are at their best singing together. The two married in 2010. Aloud's music has been featured on NPR's Innovation Hub where it has the honor of being the show's theme song, ESPN, FOX, TV and just recently on a national TV spot for Ashley Furniture. The band has been written about in the Huffington Post, Elmore Magazine, Impose, the Boston Globe, and Time Out to name a few. They play regularly in the northeast, have done two national tours and have been invited several times to the CMJ and SXSW music festivals, and have shared the stage with acts such as Lady Lamb, Lake Street Dive, Cage the Elephant, Alpha Rev, and Hunter Valentine. Recorded at Boston's Q Division studios as part of the Converse Rubber Tracks series and produced by Benny Grotto, the band currently has a new double A side single and video in the works for release early next year with national tour plans to follow in the spring.

The Come On

The Come On is the brainchild of songwriter Sam Barron and producer Brian Speaker (Jeffrey Lewis, The Fem Doms); an irreverent new wave rock concoction of overdriven Telecaster, vocal harmonies and sparse synth strokes. Their sound merges The Modern Lovers garage rock with a Devo geometry, and honors above all the spirit of T. Rex. In fact, it was after emerging from a T. Rex-induced coma, Sam began to write a new set of songs for the band he and Speaker had envisioned. In the fall of 2016 with drummer Lou Cozza (Darkwing, Looms) and singer/keyboardist Mimi Oz, Sam took the material on the road and after feeling the updraft of the response to the songs, Speaker recorded The Come On live off the floor at his SpeakerSonic Studios right after they returned to Brooklyn. Additional production was added by Charles Newman (Magnetic Fields, Motopony)

Jon DeRosa

Influenced by vocal standards of the 1940's, teenage jukebox anthems of the 50's, and the mod and girl-group sounds of the 60's, DeRosa combines them all to create a cocktail of song-driven atmospheric chamber pop. __________________________________

Shyan Selah

Classic early 2000's style hip-hop with hard hitting lyrics cascading in a smooth flow. Shyan Selah embodies the essence of the most trendsetting music icons from his hometown of Seattle. Inspired by the likes of Ray Charles, Jimi Hendrix and Kurt Cobain, Shyan is a master at blending the classic with the cutting edge. A bold singer/songwriter and recording artist, he’s at the forefront of ushering in a new era of modern musicians with his band, The Republic of Sound – an act that is designed to fully embody Shyan’s specialized fusion of rock, soul and hip hop music as the perfect backdrop to his throwback soul-rock vocal and eclectic rhyme style. A creative force in both music and business, Shyan has led a series of unprecedented arrangements with some of the world’s biggest brands including Starbucks, Apple, Barnes & Noble, and Universal Music; and has had his music licensed by FOX, CBS/Paramount, along with special projects featuring the NBA and NFL. An artist and entrepreneur who strives to reach the youth, Shyan has been on the speaking circuit for years, working with various middle schools, high schools, and colleges around the nation. His music and outreach has led to him being invited to act as an ambassador for musicians and music entrepreneurs from around the globe for the World Affairs Council’s International Leadership Conference series at the World Trade Center in Seattle, WA; it is also the driving force behind his unique collaborations with international brands.

The Davenports

“Klass writes melodic confections that seep into your psyche and stay…and does so with wit and intelligence” (PopMatters). Brooklyn’s Scott Klass makes music that’s “steeped in pop/rock—Weezer meets Ben Folds…leading you to sing along to songs you’re hearing for the first time while stories unfold of relationships gone awry….” (The Deli). He puts it out with a rotating cast of great musicians—the core of which is now Erik Philbrook, Rob Draghi and Cheri Leone—and calls it The Davenports. The cast includes regular appearances by Claudia Chopek (Springsteen, Moby), Garo Yellin (The Ordinaires, Pere Ubu), Danny Weinkauf, Dan Miller (They Might Be Giants) and many more. After a string of pop projects, including playing alongside Chris Collingwood in the Fountains of Wayne frontman’s previous band, Klass conceived of The Davenports in 2000. Well-known for “Five Steps,” the theme song to A&E’s Emmy-nominated Intervention, he’s licensed numerous songs to TV in addition to putting out three critically acclaimed records—Speaking of The Davenports, Hi-tech Lowlife and Why the Great Gallop—which set tales of love, lust, mean, money-dangling mothers, superstitious panic attacks and the like to a torrent of guitar-driven, melodic rock. The Davenports recently contributed renditions of Wham! and Randy Van Warmer songs to the compilation series’ Drink a Toast to Innocence (covering the ’70′s) and Here Comes the Reign Again (covering the ’80s)–records which also featured Mike Viola, Freedy Johnston, Rachel Yamagata and Chris Collingwood. Starting in January 2015, Klass and the band will release a new single every month, the first of which, entitled “Don’t Be Mad at Me,” will be accompanied by The Davenports’ first official music video.

Cottage Sounds Unlimited

Born in Los Feliz and residing in Brooklyn, Cottage Sounds brings together a widening group of friends and collaborators to this continually growing collection of music and songs.

The Kick Drum People

The Kick Drum People are an anonymous UK Urban-Electro duo living in Bushwick, NYC. An ideal evening for The KDP is lurking the streets of Brooklyn in search of that one, perfect, post-industrial musical inspiration… but never to find it. The probability of a live DJ/laptop performance ranges from ‘highly unlikely’ to ‘never’: it’s your job to coax them out of hiding. They’re dark, gritty, bumping & cinematic… and, to their preference, below your radar.

Tom Shaner

Tom Shaner writes and plays what he dubs "ghost songs, songs, waltzes, and rock and roll." From rockers to ballads, the songs can be somber or humorous, story songs, or new cinematic folk tunes.

Ceramic

Brooklyn Based Acoustic Folk, rock and blues band with catchy rustic dream ballads.

Ape Shifter

Prog-Metal ensemble APE SHIFTER will be releasing their debut album early 2017! APE SHIFTER is all instrumental and reaches from rockin' 70's riffs played with punk rock ferocity to creeping metal grooves. Intense Simian Instrumental Rock from the nasty pits of the Hellabrunn Zoo.

Aluminum Babe

"Aluminum Babe elude simple comparison. They yank the bittersweet guitar song violently into funky disco terrain and then gently lick it with a creamy female falsetto. Driving dance-punk energies, making for a fascinating sonic journey that is highly recommended." - Amy McGill Rock Sound.

Emiliano Melis

Emiliano Melis is a music designer and versatile artist based out of New York City. His works are a mixture of dreams, hallucinations and aesthetics expressed with sound installations and poetry. Performance becomes a particular moment, each time played in different ways. A music journey to the deepest part of the soul running through darkness, passion, sensuality, fear, desire and redemption. He collaborated also with many musicians as a remixer and producer, and with international artists as a composer for videos and sound installations in art galleries in Europe and US.

Jane Telephonda

With the sweeping Icelandic landscapes that surround them, the backdrop for Jane Telephonda’s new video and single for Into the Light We Go was there for the taking. “We took a 30 minute drive out of Reykjavik City on a tranquil and beautiful but bitterly cold day in January. We only had six hours of daylight to work with, as the sun sets at four o'clock in the afternoon this time of year. The next day, still shivering from the cold, we woke up to the devastating news that as we had been shooting the video, David Bowie had died,” says Ivar Jonsson, one half of the husband-and-wife duo. “It broke my heart. The world will never be the same,” he adds. “Into the Light We Go deals with the fact that we don’t know the answers to the most fundamental questions in the universe; the meaning of life or its purpose. What we do know, however, is that love is the answer. It makes everything worthwhile,” continues Ivar. “So, we must go on, with love and empathy as our guiding light.” Based out of Kopavogur City, Iceland, Jane Telephonda are husband and wife Ivar Jonsson and Asdis Rosa Thordardottir. Inspired by the sounds of the the classics to the contemporaries including Bowie, Sufjan and Wilco to Grizzly Bear, Of Montreal, and Queen, Ívar began writing music at age 16. Songwriting quickly became an addiction to him and a way of life, as he spent hours each day with his guitar and four-track recorder. During the next 15 years, he wrote on average a song a day, providing him with the practice necessary to hone his songwriting skills. In 2011, he started writing his first ambitious release, the 2014 concept album Revolution in the Elbow of Ragnar Agnarsson Furniture Painter. Subsequently he received a nomination for the 2014 Icelandic Music Awards and the album was received with rave reviews in the US coinciding with its theatrical stage adaption at the Minetta Lane Theater in NYC in the summer of 2014. Asdis was featured on the Revolution as well, and with the birth of the couple’s third child last year, making music at home became a necessity. Says Ivar: “In a way our hectic family life became an inspiration and a motivation for recording and writing songs, because we didn’t want to abandon our passion for music. Certain time had to be allotted for anything that did not involve dirty diapers, and that provided us with the frame necessary to get things done.” Into the Light We Go is Jane Telephonda’s second single on Brooklyn indie label Mother West. Jane’s first single, Transmuted Saltness, was out worldwide last November.

Aarktica

Either solo or with a revolving lineup of guests – Jon DeRosa has been releasing music as Aarktica since 1999. Beginning with his debut album No Solace In Sleep (Silber, 2000), DeRosa’s work has continuously evolved and transformed over the years, from ambient/drone, to shoegaze, to electro-pop, and coming full circle to his more minimal ambient works to date. Ceremony is the first new Aarktica release since 2009’s In Sea (Silber Records) and its subsequent remix album In Sea Remixes (Silber Records, 2010).

Motopony

While reading a book called "The Spell of the Sensuous" by David Abrams, Daniel Blue came across a shamanic tradition that suggested that animals, plants, tools, and even stones have a kind of perception and they echo what they are offered. It was suggested that a life lived in poor relationship with the world around oneself was perhaps the cause of all the sickness, war and suffering in the world. Seeing the earth burning and taking this to heart, Blue decided to experiment with the theory and attempt to "have a relationship" with his (rather small) motorcycle. He called it "pony", spoke to it as if it were alive and tried his best to respect it as a living thing or at least as a part of life as a whole. Of that time he said, "It changed me forever riding my bike that way. It was undeniably more enjoyable to coax and caress the machine like a friend rather than take it for granted like a meaningless gathering of extruded metals, rubbers and gasses. For the first time, I began to see myself as part of the world and not just a user of it." The resulting joy and empowerment of that moment was infectious and thrilling to Blue, and he coined the term "Motopony" in celebration of the revelation. From then on he began to use the word Motopony to define any tool that he used respectfully with a relational intention of healing himself and the world. A dark night not long after, mourning an anniversary of the early death of his late mother Kathleen Antoinette, Daniel reached for a broken guitar he had purchased some years earlier and leaned into it with all of his soul. "I had a great need for that guitar to release me from the despair and doom that I was feeling. Somehow I believed that this guitar also needed me to strip it of its extra strings and tune it in triad to the timbre of my untrained voice. We had a conversation, and in my grief, we fell deeply into love." That night he sang a poem he had not yet written, "Hero's Lullaby" and came to call the guitar "Old Blue". From that moment on Daniel threw everything he had and everything he was into song and music. He closed his event space and warehouse, sold his burgeoning fashion design business, disavowed himself of nearly all possessions and began to couch surf so that all of his time could be devoted to learning the craft of music. Within a year Daniel had partnered with a local hip hop producer named Buddy Ross and an eponymous "glitch-folk" album was already finding itself on noncom airways all over the world. Motopony was born. The band immediately found home on the road with multiple US tours and dates all across the UK. An EP with a full-length followed owning its roots to the iconic Abbey Road studios. Jetting to Indian festivals and entertaining their international fan base, the band grew with their popularity. Wrapping up their third full-length release Daniel believes that he is perhaps just now hitting his stride as a musician, a businessman-by-proxy, and a leader of a band. "The system that surrounds music and the industry that we have created to sustain musicians and the people who work to support them; it is also a tool that can be used with intention. It's complicated, but I still believe that it's possible to be in a respectful, intentional healing relationship with the music industry. It is, after all, a thing we ourselves have created, and therefore a part of the whole that is life. It can be loved." Perhaps this is what he means when he sings "I still believe in the magic babe" in the upcoming song "a little death" "I will probably never stop looking for the magic that I found reaching into that broken guitar for help and for a friend. The effort, intention and desire were not wasted. Something...some third party came along and allowed it. To me this third party is Love and that is my God. This God and the recipient of my worship is that what allows relationships to produce this kind of fruitful beauty." What may seem foolish to some, that leap into “hope in love”, this is what Daniel sings of in the single off the upcoming record "when we were young" when he says, "we were dumb enough to try." Daniel took this idea of “playing dumb” and being willing to throw yourself in harms way for the sake of a dream to Timothy Graham. Together the two created the song, “When We Were Young,” which they felt was important both to them as career musicians and in regards to what they wanted to say to the world. “I remember texting my management team and saying something like "mark my words, game changer". Timothy gave me that awesome feeling that my strengths were matched well as a writer. It's a hard to thing to come by to be understood and joined by another musician, the result being greater than either of you could do alone.”On their third full-length "50 Katrinas" the new band echoes this seeker’s journey with long wistful interludes woven between sharp and neat trippyfolk inspired rock gems. Like living quartz crystals growing out of flowing canyon walls, catchy inspired and distinctively Pacific Northwest psyche-pop singles hide amidst the foliage of a free-spirited kaleidoscope of unhinged compositions. Biting lyrics mock the information age while admitting their home in it, and love and relationships are a carefully crafted theme. When asked about the environmentalist overtones and rather ominous title Blue says, "In a way this is my warning to the people of earth (or at least the people of USA) but many of these songs feel like I'm listening to them 150 years from now...like when people look back to this time and say, "what the fuck were they thinking letting everything go so long?" I want them to hear in this record that some of us weren't blindly following or distracted by what some idiot tweeted that morning. We called out. We resisted. We tried to turn things by loving the machine and not just using it. We raised our voices in dissent. I also see the sentiment behind “50 Katrinas” as adorably hopeful in two ways: my fantasy that people on the earth will be around in 150 years, and that our music will still be, you know....out there."