take a look / listen 
Check out the new track from entitled
The band’s tenth album Who Killed Sgt. Pepper? is due on February 23rd, with their U.S. tour kicking off May 28th in Minneapolis.
BJM tour dates:
5/28: Cabooze, Minneapolis
5/29: Turner Hall, Milwaukee
5/30: Metro, Chicago
5/31: Grog Shop, Cleveland
no detroit date fuck!!!!
6/02: Phoenix Concert Hall, Toronto
6/03: La Tulipe, Montreal
6/04: Paradise Rock Club, Boston
6/06: Webster Hall, New York
6/08: TLA, Philadelphia
6/09: 9:30 Club, DC
6/10: Mad Hatter, Cincinnati
6/11: Off Broadway, St Louis
6/13: Bluebird Theater, Denver
6/14: Urban Lounge, Salt Lake City
6/15: Knitting Factory, Boise
6/17: Crystal Ballroom, Portland
6/18: Commodore Ballroom, Vancouver
6/19: Neumos. Seattle
6/21: Fillmore, San Francisco
6/22: Henry Fonda Theater, Los Angeles
Download Savoir Adore "Bodies" now!
In The Wooded Forest, Savoir Adore’s debut, is an impressive foray showcasing Deidre Muro and Paul Hammer's songwriting abilities with intricate rhythms, layers of sound and a multitude of instruments. They have come into their own and are ready for you to discover them.
The launch of the Cake Shop residency presents a special opportunity for both Savoir Adore and French Horn Rebellion, who work closely together in and out of the studio. Since Savoir’s Deidre is featured on vocals on some beloved French Horn Rebellion tunes, you can expect her taking hold of the mic for both FHR’s new single "Beaches and Friends" (currently getting a lot of love on BBC1), as well as their last single "Up All Night". Paul drums for French Horn Rebellion, and David Perlick-Molinari (from French Horn Rebellion) plays in Savoir Adore's live line-up. Obviously, the Savior Adore residency will be a special treat for fans of both bands!
The band is currently crafting their own video for live favorite"Bodies", the fashionable tune seeing love from the likes of Marc Jacobs and Urban Outfitters. Dates will soon be announced as they embark on a US tour this March in selected markets with friends Mon Khmer before hitting up SXSW.
New Hardcore Project Find Steve and Bob
Going Back to Their Roots!
Free MP3 of “Sperm Donor” here!
Rifoki is the New Punk Hardcore project of Steve Aoki & Sir Bob Cornelius Rifo, better known as The Bloody Beetroots. Recorded in Italy with Giulio Favero (ZU), Franz (Il Teatro Degli Orrori) & Rocco Rampino (La Quiete, The Death Of Anna Karina), Rifoki is the maximum level of expression of a lifestyle that has brought them to be two of the most recognized DJs & producers in the world.
But before they were DJs and producers, before electro, and before the rocked the clubs, Steve Aoki and Sir Bob Cornelius Rifo were punk rockers.
Rifoki is a return to their roots: hardcore punk, pure and simple. The EP features artwork by Mark McCoy, a visual artist and vocalist for numerous punk and metal bands including Das Oath, also part of the Dim Mak family. Dim Mak will also celebrate the release of Rifoki with a special edition tee shirt.
MP3 of “Lady in the Hall” HERE
Limos Were Cool In The ’90s HERE
Emerging from a thick haze of hallucinogenic rhymes and vintage beats comes Rich Hil,
the latest ground-breaker riding the next wave of hip-hop.
Since bursting onto the scene, Rich has made his mark with a series of mixtapes that show off his raspy croon and stream of consciousness narratives. An East Coast transplant now living in L.A., Rich Hil ambitiously fuses classic pop influences with hip-hop rhythms and blunted West Coast cool. On Limos Were Cool In The ’90s, he doles out frank rhymes about the highs of fame, power, and money — as well as that epic comedowns that come hand-in-hand with the lifestyle. Tracks like “Until We Bleed” and “All the Hippies Say” are spaced-out, down-tempo synth jams that walk the line between R&B and rap and delve into love and loss. On “Getting In Them Thangs” Rich wraps slinky verses around a hook featuring fellow artist Phlo. Rich is inspired by a variety of artists ranging from Memphis Bleek to Jimi Hendrix, and his sound draws from everything from classic soul to West Coast electro. It’s this idiosyncratic style that Rich Hil has dubbed “hippie,” a mix of vintage beats, unabashed tributes to drug culture, and a laid back flow that reflects his rejection of hip-hop’s blinged out, bottle-service past, embracing instead a back-to-basics lifestyle not unlike his indie rock counterparts.
Rich Hil and his distinctive croon have already caught the attention of artists like Lil Wayne, Kid Cudi and Swizz Beatz, and earned him praises from The Smoking Section, Nah Right, and OnSmash. His latest mixtape, Limos Were Cool In The ’90s was produced in collaboration with Atlanta’s legendary producer Don Cannon, and is a prelude to Rich’s upcoming debut full-length, set for release later this spring via Limo Life Records. The album will feature “Trippy”, Hil’s psychedelic collaboration with Kid Cudi.
www.myspace.com/quadronquadron
Orenda Fink Offers Album Invisible Ones for Download to Encourage Haiti Relief Effort Donations
Saddle Creek recording artist Orenda Fink has made her album Invisible Ones available for download on her website now through the end of January in an effort to encourage relief effort donations for the current crisis in Haiti. In a very personal letter posted to her site that recounts her time in Haiti spent making music, art, and - most importantly - friends, Orenda asks that people make a donation to a relief effort organization in return for downloading the album. Invisible Ones, her solo debut, was inspired by and mainly written during her travels there in 2003.
Orenda's letter - as well as links to multiple humanitarian organizations that accept donations
- can be read and linked to here.
MP3: Internet Warrior
Oh No Ono is an experimental pop quintet from the tiny Danish town of Aalborg. Their music, intricate and other-worldly, defies conventions and expectations (and some-times gravity). The ten dense, hypertextured sour-sweet- sad opuses found on their US debut album, Eggs, are truly breathtaking to behold; the band creates bewitching pop symphonies that unfold themselves more with each successive listen. Already stars in their home country of Denmark, Oh No Ono (which consists of Aske Zidore, Nicolai Koch, Kristoffer Rom, Malthe Fischer, and Nis Svoldgård) has capitalized on a wave of Scandinavian press, touring extensively, and receiving surprising amounts of radio and video airplay for a group so focused on an aesthetic of capriciousness and experimentation. After receiving the "Breakthrough of the Year" award from the DR (the Danish equivalent of the BBC), the band jumped into the Scandinavian festival circuit, drawing the attention of, among others, NME, who said of the band: "[T]hey sound like Devo sticking their fingers in a powersocket... at a helium balloon factory... on the moon." But the members of Oh No Ono were always trying to attack something bigger. And Eggs, their US debut on Brooklyn-based Friendly Fire Recordings, is nothing if not bigger - it is nothing short of virtuosic. To record the album, the band locked themselves away in a small country house on the Danish isle of Mon for nine months. And yet Eggs is the anything but claustrophobic; reaching beyond traditional guitar/bass/drum textures, the band weaves myriad environmental sounds, samples, and nonstandard instrumentation into the mix. The sound of bird flocks taking flight are followed by woodwind players. Percussion is played on a water-filledtub. Elephants are heard, being elephants. A massive choir of Oh No Ono's friends sing along with the organ in a 300-year-old church. Which is not to say the band spent all nine months cuddling trees and Pinking their Floyds. Like their contemporaries Animal Collective, the propulsive yet fundamentally beautiful pop Oh No Ono creates ties together all the ear games. Eggs' vivacious, even lusty approach to songcraft is the trademark of a band determined to approach pop music via the hard road, without ever losing track of the fact that they are creating pop music. From the shimmering textures of "The Wave Ballet" to the operatic splendor of "Icicles", from the cacophonic underwater pop of "Eleanor Speaks" to the falsetto singalongs of "The Tea Party," this is a band whose command of melody is superlative, and whose ability to channel and transform their myriad musical influences into something genuinely unique and entrancing is thrilling. Other talented artists have begun to take notice of Oh No Ono - the packaging for Eggs, lovingly crafted by Malene Mathiasson, features embossed, egg-shaped artwork and a series of darkly sexual, mix-and-match paintings that would do Francis Bacon proud. And the aesthetically beautiful - albeit slightly disturbing - video for lead single "Swim," directed by rising Danish director Adam Hashemi, managed to top Pitchfork.tv's charts (Tobias Stretch, whose video credits include Radiohead's "Weird Fishes/Arpeggi," is already hard at work on a new video for the band). But ultimately it's the songs on the album - bizarre, melodic, catchy, beautiful - that make Oh No Ono shine. There are wonderful hatchlings waiting to emerge from Eggs.
www.myspace.com/ohnoono
LOOK MEXICO TO RELEASE SOPHOMORE ALBUM TO BED TO BATTLE
MARCH 23rd ON SUBURBAN HOME RECORDS
To Bed To Battle was written and recorded this past summer in Look Mexico's former hometown of Tallahassee, FL. With the converted basement of a local pizza shop dedicated as their studio space, the band was able to take their time throughout the recording process, experimenting with and expanding their sound, and adding new instrumentation such as electric piano, organ, pedal steel, violin, cello, and horns. The resulting album - which deals with struggle and pressing on in the face of adversity - is an incredibly catchy, diverse yet cohesive set of ten songs. To Bed To Battle ranges musically from anthemic pop/rock and explosive ballads ("You Stay. I Go. No Following," "Until The Lights Burn Out?"), to alternately edgy and dreamy math-rock ("No Wonder I'm Still Awake," "Time For You To Go Do Your Own Thing"), to blistering, barreling modern rock ("I Live My Life A Quarter Mile At A Time," "They Offered Me A Deal (I Said No, Naturally"), and even acoustic, chamber pop-laced Americana ("Take It Upstairs, Einstein").
An exclusive stream of "You Stay. I Go. No Following."
can be heard now on AbsolutePunk.net here.
http://www.myspace.com/lawrencearabia
As evidenced by The Times of London saying that [Arabia’s], “stock trade is classy, intelligent pop-rock,” and Mojo commenting on an, “effortless way with melody, harmony, multi-tracking and forlorn lyrical romance,” in their four-star review, Lawrence Arabia continues to rack up critical British praise for his album Chant Darling (Bella Union, 3/9).
Q Magazine says the album, “will charm your socks off,” and compared him to, “a Flaming Lips without the increasingly brittle kookiness, Gradaddy’s Jason Lytle without the fear of technology’s cold march, or the Eels’ Mark Everett where the happy drugs do work.” In another four-star review, Uncut says Chant Darling has, “Abbey Road ambience,” and The Sunday Times calls it, “bright harmony-rich pop.”
Despite the well-deserved praise, Lawrence Arabia is more than a collection of superlatives. The New Zealand popsmith is all about the music. Touring tirelessly in the UK now and through the spring, he’ll make is proper U.S. solo debut - Arabia was formerly in bands The Ruby Suns and The Brunettes as well as Okkervil River’s touring band – at this year’s SXSW Music Festival, March 17-20 and will be announcing more U.S. dates soon.
Last week, NPR All Songs Considered tastemaker, founder and host Bob Boilen gave the U.S. its first taste of Lawrence’s “simple but hard to pull off” pop music on the streaming web show and podcast’s latest installment.
Listen here: http://bit.ly/5mvNrJ
"Have You See My Sister Evelyn?"
RELEASE NEW CD 'LOSING ALL'
JANUARY 26 VIA RAZOR AND TIE
FREE DOWNLOAD OF "LATELY" AVAILABLE HERE
GO TO ITUNES AND PURCHASE THEIR LATEST ALBUM 'LOSING ALL'
Nashville-based rock band DAY OF FIRE have just released their third CD LOSING ALL--a powerful hard-rock record that explores the meaning of rebirth--January 26 via Razor And Tie. After four special CD release shows in the Southeast, DAY OF FIRE will join Cold and Nonpoint on the road February 16 for a run of U.S. shows.
LOSING ALL's first single "Lately" is currently at #35 and climbing on R&R's Active Rock Monitor chart. Drummer Zach Simms, who wrote the chorus during a time of turmoil surrounding the band, reveals that the song is about "letting go of the things that have been clouding your mind." He continues, "hopefully it will give people a reason to chase their dream that may have been shattered by someone telling them that they could never achieve it."
DAY OF FIRE features Josh Brown (vocals), brothers Joe Pangallo (guitar) and Chris Pangallo (bass), and Zach Simms (drums). Brown grew up in Jackson, Tennessee, where he picked up songwriting and a serious drug habit at age 15. Two years later he became the frontman for Full Devil Jacket, and at 22, scored a major record deal. The band toured with Creed and Nickelback and made a splash at Woodstock '99, but on his way to success, Brown had a major crash: a heroin overdose in an Orlando bathroom which put his career on hold while he rehabbed and rethought his life.
In a recent feature in Billboard, Brown elaborates: "I was already a drug addict when I got my first record deal, and when someone gave me a pile of money I was like, 'Man, I'm going to do more drugs than I've ever done.' I did, and that lifestyle was killing me. I just came to the realization after OD'ing a couple of times I needed to change. (January 16, 2010)"
After several years out of the spotlight, Brown had a burst of inspiration, re-emerged with a new slate of songs and assembled Day of Fire. The group's first two albums--Day Of Fire (2004) and Cut & Move (2006)--sold more than 150,000 copies combined. LOSING ALL was recorded in 2009 near the band's Nashville home base with producer Rogers Masson (Marilyn Manson, Song Of America, The Early Hours).
mp3: Weapons V
Classically-trained composer Son Lux (Ryan Lott) has kept busy in the wake of praise for his last album "At War With Walls & Mazes", capturing the attention of tastemakers as diverse as NPR, Okayplayer, Pitchfork and composer Nico Muhly. He will release his Weapons EP on anticon. this February while working up his sophomore follow-up. This week, Asthmatic Kitty will release multiple EPs of My Brighest Diamond remixes, one of which is all reworks by Son Lux. Lott also recently spent a good deal of time working on the upcoming These New Puritans album arranging brass and woodwinds. Much of what gave At War With Walls & Mazes its unique appeal was Lott's central objective: to create a body of songs that inhabited the pop spectrum whilst ditching binary form (verse-chorus) for something more akin to chant. On record, rhythms and words moved uninhibited around anchoring melodies; live, this freed Lott to reinvent each track during performances, either reorganizing bits solo via piano or arranging the parts for new ensembles and instruments.In the time since Mazes, Lott has stayed busy composing - among other things - hours of music for dance companies from New York to Paris. But for him, the chant-based concept of the Son Lux debut required further investigation.
The Weapons EP is Lott's self-issued challenge to do just that - to use Mazes standout "Weapons," whose primary melody haunts various points of that record, as a launch pad for a complete EP of material derived from a single source.
To this end, Lott built three new compositions around the original's essential kernel and enlisted three trusted collaborators - Anticon artists Alias and Polyphonic, plus Muhly himself - to do the rest. The result is not only six unique reincarnations of "Weapons," but a fractal work where melody becomes song becomes cycle, with one essence woven throughout.Opener "Weapons II" is a drumless specter of the original - a slowly cresting swell of strings that collapses in squelch just as familiarity sets in. For "Weapons III," Polyphonic leaves an indelible stamp, eroding the original's billowing percussion into a ricocheting set of Matmos-like bloops before dissolving the whole thing in a wash of warm ambience. Muhly is responsible for "Weapons IV," replacing Lott's rich sequencer melody with raw viola, isolating ominous organ tones, and weaving instrumentation through the huge, panning drums. It's a surprisingly beat- based contribution from classical's rising star.Then, on "Weapons V," Lott steps back in.
An orchestral gallop explodes into a completely reworked rhythm that pits its punk rock thrust against sweeping strings. Alias counters with "Weapons VI," where a boom-bap kit (including handclaps and cowbell) is chopped into glitchy bits that flow beneath the glacial keyboards and frenetic rap. Last and perhaps most impressive, Lott's "Weapons VII" wrangles horns, woodwinds and live drums for a six-and-a-half-minute take whose cacophony ultimately slows to an intimate, jazz-inflected crawl beguiling enough to make one forget these songs' common source.
