Monthly Archives: October 2014

“ALIVE AT THE DEEP BLUES FEST” LP

ALIVE NATURALSOUND RECORDS TO RELEASE LIVE ALBUM “ALIVE AT THE DEEP BLUES FEST” NOV. 27TH ON CD, DIGITAL & BBQ SAUCE RED COLORED VINYL!
 
ALBUM INCLUDES LIVE PERFORMANCES FROM ALIVE RECORDING ARTISTS BUFFALO KILLERS, LEE BAINS III & THE GLORY FIRES, RADIO MOSCOW, LEFT LANE CRUISER & MORE!

Earlier this summer Chris Johnson (owner of Bayport BBQ in the Twin Cities’ suburb of Bayport, MN) resurrected his popular Deep Blues Festival for three glorious (sold-out) days of great music, Southern-style BBQ and camaraderie between musicians, fans and friends alike. Far from the corporate sterility of many larger modern music fests, Johnson’s Deep Blues Fest instead successfully revived the communal spirit of late ’60s and early ’70s music gatherings, evoking the vibe of a large summer picnic with family, friends, good food and great music.

The 2012 Deep Blues Fest featured 26 bands from four countries & 16 states. Out of these acts there were seven phenomenal performances from the current Alive roster. Alive At The Deep Blues Fest is the document of these incendiary and unforgettable performances. All 13 tracks were mixed by famed Detroit producer/musician Jim Diamond, who managed to capture the loose and spontaneous feel of live albums produced in the Golden Age of rock’n’roll. Buffalo Killers and Radio Moscow turned in super heavy sets soaked in psychedelia and reverb, while Lee Bains III & The Glory Fires fiercely ripped through their show with a blistering set of songs steeped in Southern rock, R&B, soul, gospel and punk from their critically acclaimed debut LP There Is A Bomb In Gilead – an album that has been helping to define the sounds of The New South. Brian Olive and his backing band melded soulful R&B with technicolor garage-pop for their early daytime set, while the Welsh duo Henry’s Funeral Shoe, Left Lane Cruiser and newcomers John The Conqueror perhaps kept closest to the Deep Blues curriculum with their respectively raunchy and heavily amplified modern interpretations of rural gutbucket Delta Blues.

To get a sense of this intimate yet electrifying festival, grab a copy of Alive At The Deep Blues Fest, invite a bunch of good friends over for some food & drink, and PLAY IT LOUD.

Alive at the Deep Blues Fest will be released November 27th through Alive Naturalsound Records in the following formats: CD, Digital and Black Vinyl with mp3 download card & poster, as well as Limited Edition “BBQ SAUCE RED” Colored Vinyl exclusive to the Bomp mail-order.

Chris Johnson and Alive Naturalsound Records will be throwing a special Alive At The Deep Blues Fest Record Release Show featuring Lee Bains III & The Glory Fires on Sat. Dec. 1st at 8:00pm at Bayport BBQ, 328 5th Ave. N., Bayport, MN

ALIVE AT THE DEEP BLUES FEST TRACK LISTING
01 River Water – Buffalo Killers
02 It’s a Shame – Buffalo Killers
03 There is a Bomb in Gilead – Lee Bains III & The Glory Fires
04 The Red, Red Dirt of Home – Lee Bains III & The Glory Fires
05 Traveling – Brian Olive
06 Bonelle – Brian Olive
07 Hold On Me – Radio Moscow
08 Little Eyes – Radio Moscow
09 24 Hour Blues – Left Lane Cruiser
10 Rambling on My Mind – Left Lane Cruiser
11 Three More – John The Conqueror
12 Be your own Invention/Stranger Dig – Henry’s Funeral Shoe
13 Henry’s Funeral Shoe – Henry’s Funeral Shoe

FOR MORE INFO ON ALIVE RECORDS:
http://www.alive-totalenergy.com

FOR MORE INFO ON BAYPORT BBQ AND DEEP BLUES FEST:
http://bayportbbq.com/

FOR MEDIA AND INTERVIEW REQUESTS:
Tony Bonyata
Pavement PR
p: 262.903.7775
e: tony@pavementpr.com
http://www.pavementpr.com

DANGEROUS MINDS INTERVIEWS JAMES WILLIAMSON!

LESS WITH THE RAW, STILL WITH THE POWER: JAMES WILLIAMSON RESURRECTS LOST IGGY & THE STOOGES SONGS

The last five years must have felt like a triumphant return for Iggy and the Stooges’ James Williamson. After a decades-long alienation from the music business, during which he improbably landed a job as an electronics executive—not even a slightly typical afterlife for a proto-punk rager—the man best known for his sick guitar playing on the epochal 1973 album Raw Power reunited with his old band in 2009, and recorded the album Ready to Die with them last year. But with that band on hiatus again after a 2013 world tour, Williamson turned to some long-unfinished business. There was a very very large pile of old songs, dating back to the ‘70s, that he’d written with Stooges singer Iggy Pop for the intended follow-up to Raw Power, but which had never been recorded in a studio. A few were on the live Metallic K.O. album, some had circulated among obsessives as really rough-sounding bootleg dubs, and many of them turned up on the Open Up And Bleed! live collection released by BOMP! Records in 1995. But those were the only traces of those songs; sketchy-sounding live versions.

The Stooges, minus Iggy, have remedied that. With the Stooges’ touring band, that being bassist Mike Watt, drummer Toby Dammit, and saxophonist Steve Mackay, Williamson has recorded Re-Licked, a 16-track collection of those old songs, with a revolving door of singers. The lineup of vocalists is impressive—it HAS to be right? They’re standing in for a young Iggy Pop! I’d love to call it an all-star lineup, but a lot of these people aren’t really quite “stars,” though pretty much all of them kick high ass. The BellRays’ amazing Lisa Kekaula, Jello Biafra, Ariel Pink, ex-Dicks Gary Floyd, former Foetus honcho J.G. Thirlwell, Mark Lanegan, Alison Mosshart, and Primal Scream’s Bobby Gillespie all make appearances. Last April, a Record Store Day 7” teaser single was released, with the gifted Austin, TX blues belter Carolyn Wonderland singing “Open Up and Bleed” and “Gimme Some Skin.” Both also appear on Re-Licked, which saw its release this week.

Williamson was kind enough to make some time to talk to Dangerous Minds about the album.

You joined the Stooges after Fun House, but they broke up. Then when they were reconstituted as Iggy and the Stooges, you played on Raw Power. After that, you appeared on a couple of Iggy albums, and that’s pretty much it, right? What did you do in all the years since then?

After we were unsuccessful at finding a record label, Iggy and I kinda gave up on the Stooges. He went off with Bowie, who’d offered to take him under his wing, and that launched his solo career, and I was kind of fed up with playing music at that point so I went to work at a recording studio in Los Angeles. I learned a lot there, but one of the things I learned was that I really wasn’t cut out to be a recording engineer. It was the disco era by then, and I couldn’t stand the work. One thing is worse than playing with musicians you don’t like, and that’s recording them every day. It was a training ground for me, though, because it got me interested in electronics, and since those were the early early days of the personal computer, that led to an interest in the possibilities of computers, so I decided to become a real electronics engineer. I got a job in Silicon Valley, and I’ve been here ever since.

And what got you back into playing?

I had a 25-30 year career in electronics, and ended up as an executive at Sony. Around when Ronnie Asheton died in 2009, I was toying with taking early retirement. With the economy, these companies were offering that, and it looked attractive. At the same time I got a call from Iggy asking if I wanted to rejoin the band. At first I turned him down. I couldn’t imagine doing it, and I wasn’t even sure I could do it, since I hadn’t been playing at all. But I decided I owed it to them to give it a try, and I could do it because of the retirement. Then it turned out that Sony didn’t want me to leave so they hired me back as a consultant, but still I had some time to do some woodshedding, and I got good enough to play the first gig in Sao Paolo, Brazil, to a HUGE audience compared to anything I’d ever seen before. So I was back. A lot of things happened all at once.

So the material you recorded for Re-Licked was late Iggy and the Stooges stuff that never got released on an LP. There’ve been two Stooges albums since their reunion, The Weirdness, which you’re not on, and Ready to Die, which you’re on. None of these dormant songs turned up on either of those albums. How come?

We did discuss it. We had that conversation. The fans always wanted that album, and the bootlegs are out there, so people are familiar with it. What we decided was if we did an Iggy and the Stooges album, it was a given that it’d be compared to Raw Power, and it probably would be a difficult comparison with the old Stooges vs the young Stooges. Iggy’s voice has changed a great deal, like everyone’s does, with age, and I’m not even sure he could sing some of these songs now, they’re not all easy to sing. In the end we decided that rather than beg that type of comparison, let’s just write new songs. Sure, it’s still going to get compared, but it’s going to get compared as new stuff. I’m very proud of Ready to Die, we spent a lot of time writing it, Iggy stepped up on the lyrics and the vocals, it’s a good album.

The fact was that we still hadn’t done these songs, though, and I had it in mind that I really wanted to do them. Once we stopped touring last September, I had the time. I only started out with one song, I rearranged “Open Up and Bleed,” and my wife and I were talking about it and thought it would be great to get a Janis Joplin type singer for it. So I searched and searched and searched, and finally an old friend of mine In Austin sent me a link to Carolyn Wonderland. She did like three takes and it was over, and I was so blown away I said, even before I came back from Austin, yeah, I can do this, I could do a whole album. Luckily for me I found a lot of people of that caliber who could do it.

How did you choose the singers? There are some inspired choices. Gary Floyd doing “Cock in my Pocket,” I just love. And the guy singing the other version of that song, he’s from the Hellacopters, right?

Yeah, Nicke Andersson. Those were people who were recommended to me, so were a lot of people on the album. I got lots of recommendations. There was a lot of interest in doing this album, so I didn’t have any problem attracting people. Where I did have a problem was I didn’t know a lot of them, so I would go and if they had any material I could get access to or if I could watch them on YouTube, I’d get a feel for their style. So the people that actually ended up on the album were narrowed down from a very big list. I didn’t really have anyone who turned me down. There were a couple of people who couldn’t do it because they were busy, but no one was disinterested. That’s one thing I really like about this album, you can hear the singers’ enthusiasm about it, it just feels like they’re into it and they’re bringing their A-game to these songs.

It’s interesting that there are so many female vocalists on the album.

Well, it all started with Carolyn, and after her I thought, well, this works pretty well. The Stooges never had any women on anything, so it was a different thing, but it worked really well. This isn’t a Stooges album, it’s a tribute to those songs, so I didn’t want think about making it sound like the Stooges, but just bring the best people on that I could find.

Yeah, Lisa Kekaula, especially, she’s pretty fabulous.

Oh, MAN, yeah!

Have you seen the BellRays live? You must have, right?

No! What happened was I was down at Joe Cardamone’s, he’s the Icarus Line’s singer. I worked a lot with him, he let me use his little studio for stuff where a little studio would work, and I was sitting with him and was looking for another vocalist, and he asked if I’d ever heard Lisa Kekaula, and I said no, and he said to call her. She just came right over, and I only had one track available at the time, that was “I Got a Right,” and she came in and just NAILED that song. My jaw dropped. Unbelievable. So I had to do a single with her, so later I came back and recorded “Heavy Liquid” for her. It was a lot of fun to do these sessions.

So is this it then, these are the canonical studio recordings of these songs? The Stooges won’t finally make the lost album?

I don’t see that as being in the cards. I made an open invitation to Iggy to sing on these. He wrote them with me, so he has every much a right to sing them as I have to play them. But I sincerely doubt that we’ll do that. Frankly I don’t know if we could improve on this.

How do you imagine it’ll be received? People who know these songs at all only know the really really gnarly versions from nth generation dubbed tapes, or else from K.O. or the Open Up and Bleed live thing.

So far the responses and reviews are incredibly good. It’s exceeding my expectations by a long shot. There’s always going to be people that don’t like something, and there’s a lot of “Iggy bigots” that are gonna hate it because he isn’t on it. I’ve always had to live with the people that wouldn’t recognize anything that came after Fun House. But so far, on balance, the responses are really amazing, if for no other reason than that, because of all the people singing on it, this is reaching people that possibly wouldn’t have listened to the Stooges. All of these different people bring their own audiences into play, so there’s this wider group you’re exposing this music to.

So is there anything happening with the Stooges in the future?

We haven’t discussed it. I’m beginning to have my doubts, because next year, Iggy’s going to be 68 years old. Think about going out and like, stage diving, at 68 years old. Think you could do it?

I’M NO IGGY POP!

*laughs* Well, the only thing that makes me say it could happen is that if anyone will do it, he will. I have doubts. And I also have to admit I’m a part of that equation, and right now I don’t have to think about it, but if I had a serious offer to do it, I’d really have to think about it. I’m not getting any younger either, but then, all I have to do is play guitar. So I could go out and do that, but I also feel a kind of duty to uphold the honor of the name. I don’t want us to be like the Rolling Stones. To me, they’ve ruined their brand. They’re just too frickin’ old. They’re still really cool guys, but they’re really cool REALLY OLD guys. I’d never go see ‘em anymore. So do I want the Stooges to be like that? No, I want people to remember us like, even the last tour we did, we were still really burning up the stage, some people at any age can’t do that. That’s what I want the memory to be. At this point I’m open to it if we can pull it off, but there are lots of reasons not to do it, too.

Williamson was right about these songs getting compared to the old versions, because we’re going to do that right now. Here’s the Stooges’ demo for “I Got a Right.” This has ended up on various bootlegs, and even got a small but legit release, on a super limited deluxe edition of Raw Power. This song completely fuckin’ smokes.

And here’s a teaser of the version with the BellRays’ Lisa Kekaula. This also completely fuckin’ smokes. If you’re watching at work, be advised there’s a stripper in the video.
by Ron Kretsch
http://dangerousminds.net/comments/less_with_the_raw_still_with_the_power

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ROLLING STONE PREMIERES JAMES WILLIAMSON’S NEW “RE-LICKED” LP!

CLICK HERE TO LISTEN TO THE FULL ALBUM PREMIERE OF JAMES WILLIAMSON’S NEW LP “RE-LICKED” VIA ROLLING STONE AUSTRALIA!

Premiere: James Williamson ‘Re-Licked’ Album Stream

BY JONNY NAIL

James Williamson’s involvement with The Stooges began towards the end of 1970 when the band enlisted him as a second guitarist, but it was on their seminal 1973 release, Raw Power, where he became an integral part of the group’s configuration, writing and composing the album alongside Iggy Pop. After the release of the iconic record, Iggy and Williamson began work on a follow-up. Those tracks, although finding their way onto bootleg recordings over the years, were never officially released. Until now. Brand new versions of these songs — initially written and demoed in 1973/74 — have been recorded, with Williamson enlisting a wide range of guests to help out, including Jello Biafra, Mark Lanegan, Alison Mosshart, Ariel Pink, The Orwell’s Mario Cuomo, The BellRays’ Lisa Kekaula, Primal Scream’s Bobby Gillespie, The Icarus Line’s Joe Cardamone and Carolyn Wonderland. The album, entitled Re-Licked, will be released on vinyl and CD, packaged together with a 24-page booklet of liner notes and photos, as well as a special ‘making-of’ documentary DVD. Re-Licked will be released worldwide tomorrow (October 29), but available to preview right now via the exclusive stream below: http://rollingstoneaus.com/music/post/premiere-james-williamson-re-licked-album-stream/773

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CRACKER’S DAVID LOWERY ON WTF WITH MARC MARON!

CLICK HERE TO LISTEN TO THE INTERVIEW!

Episode 546 – David Lowery

Two of Marc’s favorite bands, Camper Van Beethoven and Cracker, share a common denominator: Frontman David Lowery. Marc and David discuss the eclectic styles of both bands and why Cracker is having a bit of a renaissance with young people. Plus, David shares his thoughts on the challenges posed to songwriters by the rise of digital music. This episode is sponsored by Prosper and Shipstation.com.

http://www.wtfpod.com/podcast/episodes/episode_546_-_david_lowery

ALONE AT 3AM

CLICK HERE TO DOWNLOAD HI-RES BAND PHOTO AND “SHOW THE BLOOD” ALBUM ART

Emerging from shambolic basement shows and early roster shake-ups, over 16 years Max Fender and Joey Beck have coiled Midwest stalwarts Alone at 3AM into a tightly-wound muscular force with “a refreshing straightforwardness not found in most music” (Scene).

The band has been at a dead run since 2010’s album Cut Your Gills and 2012 single From an Ohio Basement, reveling in hard-earned rock&roll escapism while revealing substantial songwriting chops. Embedded in these earliest songs, some of which like “Blacktop Cracks” remain live favorites, are unresolved questions. Often the only answer is found in the act of living in the fleeting combustion of a three minute song, that brief musical connection between band members and an audience.

On their 2012 LP Midwest Mess Alone at 3AM explored the balance between volume and personal reflection, which cemented Fender’s reputation as one of Cincinnati’s most prolific and insightful songwriters. The website Bucketful of Nails was waiting for it, claiming, “occasionally an album comes along that has that fire, that smoldering spark your soul requires.” With songs like “Weekends at the Cape” and “Walk Away,” the singer has become more confident in the precisely personal while the band investigates new sonic territory – from the brittle postpunk of “Wolf in the Woods” to the stomping set-closing catharsis of “Burn This Town.” Throughout, Sarah Davis‘ harmonies fuse with and console Fender’s tattered vocals in the band’s most far-reaching release to date. Popmatters deemed the record “raw, honest, literate storytelling, [with] brilliant song structures, [and] a built-in integrity.”

As the most recent and strongest iteration of Alone at 3AM prepares their 2015 release Show the Blood, location again plays a singular role as Fender, reaching for simple moments of grace, ruminates on his home in the Midwest, a place that’s never quite here or there. And though influences can be heard throughout – a buzz through, say, Detroit, southern California or St. Paul – the end result is a testament to the power of a confident and road-tested rock band coming to terms with living in the in-between.

Alone At 3AM’s new studio album Show The Blood will be available on CD and digital formats September 18th via Sofaburn Records.

SHOW THE BLOOD TRACK LISTING:
1. Story on Sixth
2. I’m Dying
3. Sticks and Stones
4. Upsides
5. Most Men
6. Could Work Out
7. Nothing Really Changes
8. Just Can’t Let Go
9. Not Quite Yet
10. Late ’90s

MORE INFO ON ALONE AT 3AM:
sofaburn.com/aloneat3am
facebook.com/aloneat3am
twitter.com/aloneat3am
instagram.com/Aloneat3am

MORE INFO ON SOFABURN RECORDS:
http://www.sofaburn.com

MEDIA & INTERVIEW REQUESTS:
Tony Bonyata
Pavement PR
e: tony[AT]pavementpr.com
http://pavementpr.wpengine.com

BLURT MAGAZINE PREMIERES THE BLOODHOUNDS’ NEW LP “LET LOOSE!”

CLICK HERE TO LISTEN TO THE FULL ALBUM STREAM OF THE BLOODHOUNDS’ NEW LP “LET LOOSE!” VIA BLURT MAGAZINE!

Just a little band from East L.A….. album drops Nov. 4 on CD and colored wax.

By Blurt Staff

East L.A. combo the Bloodhounds— Aaron “Little Rock” Piedraita on rhythm guitar, Johnny Santana on bass, Branden Santos on lead guitar and Mark Schafler on drums and percussion—will drop their debut album Let Loose next week on Alive Naturalsound, and it’s a heady brew indeed. R&B/punk/Latin rock never sounded sweeter, and because it’s so sweet we are gonna gift you, the erudite Blurt readership, with an advance stream of the record. Check it out:

Though founded on electric sound they also dig the old jug band style of playing. Picking up cheap acoustic guitars, turning ordinary household items into instruments and constructing a traditional washtub-broomstick bass, they often busk in the streets of downtown Los Angeles to the delight of large crowds. The band was discovered by Arthur Alexander (The Poppees, Sorrows) who wound up producing the album.

Frontman Piedraita enthusiastically describes Let Loose as “a mixup of our influences, styles and personalities. Recorded and produced by Arthur Alexander and released on Alive Records and we couldn’t have asked for it any other way. Now watch out now cus’ it ain’t our last!”

Tour Dates:

October 25 @ Redwood Bar — Los Angeles, CA

October 30 @ The Lexington — Los Angeles, CA

November 6 @ KKUP Radio — Santa Clara, CA

November 7 @ The Brainwash Cafe — San Francisco, CA

November 20 RECORD RELEASE SHOW @ Harvard & Stone — Los Angeles, CA

November 21 @ Linneas — San Luis Obispo, CA

November 23 @ Hully Gully — Downey, CA

http://blurtonline.com/news/album-premiere-bloodhounds-debut-lp-let-loose/

ANDRE WILLIAMS

Andre Williams began a very prolific and creative phase of his life when he finally got off booze and drugs. His intake of various substances was excessive, unrelenting, and dated back to at least the 1960s, when he was working extensively with Ike Turner. Reflecting on his very first drug-and-alcohol-free studio session in 2009, Andre says, “It was traumatic. It was like someone shot me out in space and I woke up on Pluto!”

Andre Williams’ new album Life was recorded this past winter in Detroit, the city where his musical career first began in the 1950s. Andre’s new songs are his latest experiments and explorations outside of the garage-soul bag that he’s often associated with. Produced by Matthew Smith, the album’s sonic palette recalls the work of Norman Whitfield’s Motown productions, ’70s Rolling Stones, Can, Bill Withers, Serge Gainsbourg, as well as Andre’s own doo-wop and funk history.

Life finds Andre in a pretty upbeat mood, whether he’s singing about people being rude and impatient (“But’n”), or laying down a political commentary (“Blame it on Obama”), reciting a children’s bedtime story (“Ty the Fly”), singing a simple love song (“Stuck in the Middle”, “It’s Only You That I Love”), or conjuring a nocturnal fetish-sex-groove (“Heels”).

The album also includes his own definitive rocking version of the standard he wrote and produced for the Five Du-Tones in 1963, “Shake a Tail Feather.” It’s a reminder that Andre Williams is one of the original guys who invented rock n’ roll.

Andre Williams’ Life will be released October 2nd through Alive Naturalsound Records in the following formats: CD, Digital and Black Vinyl, as well as Purple Vinyl (limited to 100) exclusive to mailorders.

FEEL FREE TO DOWNLOAD & POST ANDRE WILLIAMS’ TRACK “BLAME IT ON OBAMA”
http://soundcloud.com/pavement-pr/andre-williams-blame-it-on

[photo credit: Robert Matheu / www.robertmatheu.com]

LIFE TRACK LIST:

1. Stuck In The Middle

2. But’n

3. Don’t Kick My Dog

4. Blame It On Obama

5. Heels

6. Beep Beep Beep

7. It’s Only You That I Love

8. Money Ain’t Got No Loyalty

9. Shake A Tail Feather 10. Ty The Fly

CLICK HERE FOR MORE INFO ON ANDRE WILLIAMS

FOR MORE INFO ON ALIVE RECORDS:
http://www.alive-totalenergy.com

FOR MEDIA AND INTERVIEW REQUESTS:
Tony Bonyata Pavement PR p: 262.903.7775 e: tony@pavementpr.com http://www.pavementpr.com

ANDY GABBARD

CLICK HERE TO DOWNLOAD HI-RES ANDY GABBARD PHOTOS (CREDIT SVEN KAHNS) & FLUFF COVER ART

BUFFALO KILLERS’ ANDY GABBARD TO RELEASE DEBUT SOLO ALBUM “FLUFF” MARCH 24, 2015 VIA ALIVE NATURALSOUND RECORDS!

Brimming with creativity, Fluff by Andy Gabbard, his debut release as a solo artist on Alive Naturalsound Records, isn’t moving beyond what Andy has done, or will continue to do with Buffalo Killers. Sometimes, ultimately, you find yourself with extra moments and more ideas than one band can develop. So naturally, it made perfect sense to give that inward creative need an outlet. Fluff is the end result.

Cut in one 12-hour studio session, Andy took on the full responsibility of doing a solo album literally. He played every instrument and wrote everything you hear. Reviving an established relationship with Alive Records, on Fluff you can hear the deeply-solid effects of the grunge genre and mid-’90s ‘alternative music’ in a sonic gestalt. Exhibiting characteristics of fairly recent genres, as well as some classics that surrounded him during his youth, Fluff breaks barriers of seemingly comfortable, unthreatening music cultivating a physical embodiment of Nirvana, The Smashing Pumpkins, latter Beatles and even Brian Wilson!

Fluff defines Andy’s environment, a creative environment… an environment of ultra-dimensional levels. The days of solo albums being released due to further ‘artistic development’ past a bands catalog of hits, are over. Buffalo Killers continue their successful run and now, it’s not running alone. Fluff is the start of something great and fathers the true sonic beauty and the relative nature of one single person and their soundtrack of nearly unending smiles in a sea of tumultuous frowns. – Shawn Abnoxious

Andy Gabbard’s Fluff will be available March 24th, 2015 on CD, digital and limited edition colored vinyl through Alive Naturalsound Records.

ANDY GABBARD FLUFF ARTWORK FINAL VER

FLUFF TRACKLISTING:
01 Fluff
02 Side B
03 Home Suite
04 Supernational
05 Everything She Does
06 Octoman
07 Lonely Girl
08 LYSM
09 More
10 Look Not Sound
11 Dreams
12 DDS

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MORE INFO ON ANDY GABBARD:
https://www.facebook.com/ANDYGABBARDMUSIC
https://twitter.com/andygabbard

MORE INFO ON ALIVE NATURALSOUND RECORDS:
http://www.alive-records.com

MEDIA & INTERVIEW REQUESTS:
Tony Bonyata
Pavement PR
e: tony@pavementpr.com
http://pavementpr.wpengine.com

THE BIXBY KNOLLS

The Bixby Knolls are set to release their full-length debut, Near & Undear, on December 11th, 2012. On it the L.A.-based foursome offer up 11 tracks that blur the lines between indie rock, psychedelia, post-punk, pop and even soulful R&B. At times spastic, surreal and schizophrenic, this is guitar-driven rock’n’roll delivered with conviction, swagger and, above all, attitude.

The band is led by L.A.-native singer/songwriter/guitarist Curt Barlage and features the talents of drummer Sammy Fayed, bassist Christian Morales and guitarist Cesar Saez De Nanclares (who relocated from Mexico City to join the band). Near & Undear was recorded at the Sound Factory in Hollywood with producer Joe Cardamone, engineer Greg Gordon (Oasis, Supergrass, The Dandy Warhols, Jet), and Mark Chaleki as mastering engineer. While the diverse sounds that reverb throughout this hypnotic debut are undoubtedly unique, The Knolls aren’t afraid to proudly wear their influences on their sleeve. Roxy Music, Kasabian, The Libertines, The Stone Roses, The Mondays, Arthur Lee & Love, Primal Scream, The Clash, The Modern Lovers, The Cramps, Joy Division and The Glimmer Twins struttin’ their stuff can all be heard echoing throughout the record’s sonic landscape, while Barlage’s voice emotes the affected themes of heartbreak and struggle heard in classic R&B and soul from the ’60s such as The Zombies, Four Tops and Nolan Porter. Perhaps Barlage’s take on the band’s sound, however, boils it down to its essence when he admits, “Our record reminds us of Bobby Gillespie and Joe Strummer in a fist fight.”

The Bixby Knolls’ Near & Undear will be released digitally through Cobraside on December 11th. The band will be celebrating their Record Release Show on Mon., Dec. 10th at The Echo in Los Angeles. Additional West Coast and Mexico tour dates to be announced soon.

CLICK HERE TO DOWNLOAD & SHARE THE BIXBY KNOLLS’ NEW SINGLE “THROUGH THE CRACKS” FROM NEAR & UNDEAR

NEAR & UNDEAR TRACKLISTING:
1. Supervised War
2. Through The Cracks
3. It’s All A Lie
4. Runnin’ And Runnin’
5. Seeing Ghosts
6. Reina Del Mezcal
7. Waking Up The World
8. Autumn Will Fall
9. Inside The Walls
10. 100 Deaf Ears
11. Want It All

FOR MORE INFO ON THE BIXBY KNOLLS:
http://www.thebixbyknolls.com
https://www.facebook.com/ThebixbyknollsMusic

FOR MEDIA AND INTERVIEW REQUESTS:
Tony Bonyata
Pavement PR
p: 262.903.7775
e: tony@pavementpr.com
http://www.pavementpr.com

THE BLOODHOUNDS

Click here to download a hi-res promo photo of The Bloodhounds.

The Bloodhounds play Blues / R&B rock ‘n’ roll with a fresh, edgy, almost punk edge, and add a hint of a Latin groove to the mix. These guys are from East L.A., and if you haven’t heard the news, that’s where it’s all goin’ down these days!

Though founded on electric sound, they also dig the old jug band style of playing. Picking up cheap acoustic guitars, turning ordinary household items into instruments and constructing a traditional washtub-broomstick bass, they often busk in the streets of downtown Los Angeles to the delight of large crowds.

The band, formed by Aaron “Little Rock” Piedraita on rhythm guitar, Johnny Santana on bass, Branden Santos on lead guitar and Mark Schafler on drums and percussion, was discovered by Arthur Alexander (The Poppees, Sorrows) who has produced their debut album Let Loose!

The Bloodhounds Let Loose! will be available November 4th, 2014 on CD, digital and limited edition colored vinyl through Alive Naturalsound Records.

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LET LOOSE! TRACKLISTING:

01 Indian Highway

02 Wild Little Rider

03 Saint Dee

04 Dusty Bibles & Silver Spoons

05 Crackin’ Up

06 They Call ‘m The LSC

07 The Wolf

08 Hey Lonnie

09 Security

10 Try A Little Reefer

11 Olderbudwiser

12 Bottle Cap Blues

FOR MORE INFO ON THE BLOODHOUNDS:
https://www.facebook.com/The.Bloodhounds

FOR MORE INFO ON ALIVE NATURALSOUND RECORDS:
http://www.alive-records.com

FOR MEDIA & INTERVIEW REQUESTS:
Tony Bonyata
Pavement PR
e: tony@pavementpr.com
http://pavementpr.wpengine.com

THE BOHANNONS

The Bohannons inhabit a musical universe that, while certainly drawing influence from all over, is firmly rooted in their Tennessee home. With their full-length debut album Unaka Rising, they are clearly taking their homegrown, handcrafted rock to a new level, and we think they’ve set the bar pretty damn high with this one. The album’s title references the Unaka province of East Tennessee and western North Carolina— “One of the finest areas in all the world,” according to singer/guitarist Marty Bohannon. The region has certainly fueled the Bohannons’ fire, providing endless stories and situations from which these songs draw. With a quiver of new material ready to follow up 2011’s stellar EP, Days of Echo, the Bohannons spent the better part of the last year tearing up the road between Chattanooga and Athens, GA where they recorded Unaka Rising at Chase Park Transduction, first with David Barbe and later Drew Vandenberg.

The Bohannons’ Unaka Rising is out now (released July 10, 2012 through This Is American Music) in CD and Digital formats. Fall/Winter tour dates to be announced soon.

FEEL FREE TO DOWNLOAD & POST THE BOHANNONS’ NEW TRACK “GOODBYE BILL”
http://soundcloud.com/pavement-pr/the-bohannons-goodbye-bill

As Marty Bohannon explains about the song ‘Goodbye Bill,’ “It’s an ode to martyred labor organizer Joe Hill approaching the 100th anniversary of his death. The words are from his last will, as well as from Ethel Raim and The Pennywhistlers’ song ‘Joe Hill’.”


THE BOHANNONS (left to right: Nick Sterchi, Marty Bohannon, Matt Bohannon, Josh Beaver) Photo credit: Jason Dunn

UNAKA RISING TRACK LIST:

1. Goodbye Bill

2. Two Riders

3. Tim Tim

4. River Above

5. Cold Dead Hand

6. The Ballad Of Christian And Other

7. Built A World

8. The Cradle

9. Ponchatrain

10. In The End

“The Bohannons new album, Unaka Rising is a real scorcher. It’s an odd thing to say about a band, but their approach to music makes so much sense that it’s difficult to understand why their particular cocktail of heavy Southern rock jangle hasn’t already been done to death by someone else. A little Two Gallants, a little Black Sabbath, they’re as heavy as they are twangy. They manage their heaviness without venturing into melodrama, which is difficult for many artists that venture into darker territory. Their music begs to serve as a soundtrack to a genre of film that doesn’t currently exist—some kind of violent, stylized-but-gritty (a la Tarantino) Southern road movie patterned after the classic Western model.” – OXFORD AMERICAN

“Are they Country? Are They Blues? Are they ’70s glam metal? Yes.” – Bryan Childs / NINE BULLETS

FOR MORE INFO ON THE BOHANNONS:
http://thebohannons.org
https://www.facebook.com/Bohannons

FOR MORE INFO ON THIS IS AMERICAN MUSIC:
http://www.thisisamericanmusic.com/

FOR MEDIA AND INTERVIEW REQUESTS:
Tony Bonyata Pavement PR p: 262.903.7775 e: tony@pavementpr.com http://www.pavementpr.com

THE BLOODY HOLLIES

Yours Until the Bitter End is The Bloody Hollies’ follow-up to the highly praised Who to Trust, Who to Kill, Who to Love which was released in 2007 on Alive Naturalsound. Many who are familiar with the band’s sound know them by their trademark murder-themed blues/rock anthems that remind listeners of the ’60s and ’70s golden age of rock & roll. The new album still embraces the dark side of raw garage punk, but comes armed with a more eclectic array of songwriting and musicianship. But don’t let the touches of organ, violin and xylophone fool you, the band’s hybrid of blues and rock & roll continue to shine more impressively than ever. The Bloody Hollies recorded in San Diego, but enlisted the expertise of Jim Diamond in Detroit, a familiar friend of the band that helped bring the sound of this record to its full potential.

Yours Until the Bitter End is a work that reflects a lengthy career that fully embraces The Bloody Hollies’ vast influences while at the same time maintaining the quartet’s unique sound of explosive, over-driven mayhem balanced with intelligently thought-out songwriting. What is most impressive about The Bloody Hollies, however, is the diversity of their strengths, ranging from ’70s classic rock, Americana blues, to an even power-pop songwriting style. Wesley Doyle’s voice is stronger than ever and continues to shine, complimenting Joseph Horgen’s unique slide blues guitar style. The rhythm section of Matthew Bennett (drums) and Erik Noorgard (bass guitar) are as solid as ever and work together perfectly on this record which will go down as The Bloody Hollies’ most impressive to date.

Yours Until the Bitter End comes out September 13th through Alive Records and will available on CD Digipack, Digital Download and Red Colored Vinyl ltd. to 700.

[4/5 stars] “Yours Until the Bitter End still hits with the impact of a cannon; guitarists Wesley Doyle and Joey Horgen’s guitars lock in and lay out fire with precision and fury, and bassist Erik Norgaard and drummer Matt Bennett explode like a handful of M-80s but still hit all the right spots along the way. A dial-it-up-to-ten triumph.“ – Mark Deming / ALL MUSIC

When it comes to slide guitar infused punk, The Bloody Hollies are second to none.” – OC WEEKLY

Nearly a decade after their 2002 debut, this Buffalo-born quartet continues to combine the menace of metal, the feral energy of punk rock, the panache of surf guitar (courtesy, perhaps, of their relocation from Buffalo to San Diego several years ago), the non-stop drive of southern boogie and the rough-edges of the garage. Their music is fast and loud and tight, and though the rhythm guitars, pulsating bass and full-kit drumming will assault your body (thanks, in large part to Jim Diamond’s ferocious mix), it’s Wesley Doyle’s manic vocals that will pin your ears back.” – HYPERBOLIUM

Approximates what Jack White might have sounded like fronting The Faces. Yours Until The Bitter End largely takes an if-it-ain’t-broke-don’t-fix-it approach, and the quartet’s ragged charm remains squarely intact, even when a seemingly errant violin or xylophone creeps into the mix. – MY OLD KENTUCKY BLOG

“Raw and sexy” – ALTERNATIP RADIO/NORWAY

The Bloody Hollies are everything garage-rock fans want. Tracing a lineage from the MC5 to The Jon Spencer Blues Explosion, these guys do not mess about.”  – THE GUILDED PALACE OF SIN

Yours Until The Bitter End embraces the dark side of raw garage punk, but comes armed with a more eclectic array of songwriting and musicianship. But don’t let the touches of organ, violin and xylophone fool you, the band’s hybrid of blues and rock & roll continue to shine more impressively than ever.” – EBURBAN

“Listen to Yours Until The Bitter End and see if you aren’t as blown away as I am. It might be the best of the year.”  – WHEN YOU MOTOR AWAY

FOR MORE INFO ON THE BLOODY HOLLIES:
http://www.bloodyhollies.com
http://www.alive-totalenergy.com/x/?page_id=919

FOR MORE INFO ON ALIVE RECORDS:
http://www.alive-totalenergy.com

FOR MEDIA AND INTERVIEW REQUESTS:
Tony Bonyata
Pavement PR
p: 262.903.7775
e: bonyata@wi.rr.com
http://www.pavementpr.com

THE BONNEVILLES

CLICK HERE TO DOWNLOAD A BONNEVILLES HI-RES BAND PHOTO [CREDIT: PETER GRAHAM] AND “ARROW PIERCE MY HEART” ALBUM ART

The Bonnevilles are a Garage Punk Blues duo straight out of Northern Ireland featuring Andrew McGibbon Jr. on vocals & guitar, and drummer Chris McMullan. The twosome will be unveiling their explosive third full-length studio effort Arrow Pierce My Heart this spring.

With two studio albums already under their belt, the band has become one of Europe’s top alternative blues acts, sharing the stage with bands such as Left Lane Cruiser, James Leg, Johnny Walker and Guadalupe Plata, and appearing at both The Deep Blues Fest in Clarksdale, Mississippi and its counterpart in Germany.

Rick Saunders on his Deep Blues blog describes them as “deep, dark punk and stylish hard roots music with good pop-sense and without a whiff of retro poly stink.”

The Bonnevilles’ Arrow Pierce My Heart will be available March 18th on CD, digital and limited edition colored vinyl through Alive Naturalsound Records.

FOR MORE INFO ON THE BONNEVILLES:
http://thebonnevilles.co.uk
https://www.facebook.com/The-Bonnevilles-72925850265

FOR MORE INFO ON ALIVE NATURALSOUND RECORDS:
http://www.alive-records.com

FOR MEDIA REQUESTS:
Tony Bonyata
Pavement PR
e: tony[AT]pavementpr.com
http://pavementpr.com

BONNIE WHITMORE

CLICK HERE TO DOWNLOAD HI-RES PHOTO OF BONNIE WHITMORE

Bonnie Whitmore‘s last album had a body count and a title, Embers to Ashes, that implied a fiery finality. There are broken bones and hard lessons learned on Whitmore’s new album, but its title – There I Go Again – suggests less ominous themes.

“I feel like I’ve grown up a lot,” she says. “I turned 30 this year, and I’ve been in the business 15 of those years. Songwriting as a profession is a humbling career choice. To write songs that are accessible and relatable as possible required a level of maturity and focus that I have strived to attain on this record. It’s a less self-indulgent record then Embers. Embers To Ashes was what I needed to get through that period of my life. There I Go Again is a celebration of success and failure. Plus, nobody wants to hear two breakup albums in a row.”

Fittingly, the music also reflects a radiant change of direction. The rootsiness of Embers isn’t absent, but the songs on There I Go Again are decidedly less country sounding. Keyboards are played up in places a steel guitar might have inhabited, the drums are more prominent, and Whitmore lets her big voice run through some big, inviting choruses.

“We knew what we had in these songs,” says Whitmore. “It’s not the same Americana sound that we had with Embers. This one is a lot more put together, and I think it comes across as more polished. It’s definitely a pop record, and everyone loves a good pop record.”

She cites Tom Petty’s ability to balance the earthiness of roots music with hooky pop parts as the model she aspired to on the album. “He makes these amazingly awesome pop songs, but is also able to keep them within the lines. You could hear how beautiful the melodies are beyond the grit of rock and roll,” she says. “I struggle with the question – ‘who inspired you?’ – but Petty’s music has, and always will inspire me.”

Whitmore also credits her parents, both the music they chose to play at home in Denton and on the radio, and also her father’s band, which featured Whitmore starting at age 8, as well as her sister Eleanor.

By 15, Whitmore was playing professional gigs outside the family band. She played and sang in Hayes Carll’s band for a while, and recently she spent quite a bit of time touring and recording with the Mastersons, the husband/wife band featuring sister Eleanor and Houston native and guitarist Chris Masterson.

They’re good family to have: Both of them play on Whitmore’s albums, which Masterson produced.

There have been tough gigs for Whitmore along the way. She went to Kickstarter to finance the new record. There she included a video with some footage from a particularly undesirable gig performing in a sports bar beneath the glow of a giant flat-screen TV.

“Those gigs can be hard to take,” she says. “You’re playing three hours to a group of people that do not seem to realize you’re there. It can be a humbling, disheartening experience.”

But her album title speaks to a commitment to her music. “It seemed like a pretty good title for a second album,” she says. “It provides a sense of diving into the deep and seeing if it floats. That’s what an artist has to do when releasing music now. Nobody is really doing it for the money, we’re doing this because we love it, and that’s the only reason to do it at all. There’s nothing else I’d rather do. Sometimes you have three people come out to a show sometimes you have 300. To me it’s simple. I play music because it’s what I do. Those who want to hear it are what makes it worth it.” – andrew dansby

Bonnie Whitmore’s There I Go Again is out now (June 11th) on CD and digital formats through This Is American Music.

BonnieWhitmoreArt442

There I Go Again Tracklisting:
1. There I Go Again
2. Heartbreaker
3. Reckless and Young
4. Colored Kisses
5. Too Much Too Soon
6. Cryin’ Out For Me
7. You’re Going To Love Me
8. The Gavel
9. Borderline
10. Be The Death Of Me

FOR MORE INFO ON BONNIE WHITMORE:
http://www.bonniewhitmore.com

FOR MORE INFO ON THIS IS AMERICAN MUSIC:
http://thisisamericanmusic.com

FOR MEDIA AND INTERVIEW REQUESTS:
Tony Bonyata
Pavement PR
p: 262.903.7775
e: tony@pavementpr.com
http://www.pavementpr.com

BRIMSTONE HOWL

Brand new album by Lincoln, NE’s favorite garage sons, Brimstone Howl. This time the gang went to Costa Mesa, CA, to record Big Deal. What’s He Done Lately?  (the title references a quote from Johnny Ramone about Phil Spector) at The Distillery under the guidance of engineer/producer Mike McHugh (known to produce some of the most heinous, blown-out sounds this side of the galaxy, including Black Lips, Jon Spencer and Andre Williams). The result is considerably more fuzzed than their previous work with Detroit producer Jim Diamond but still pummels.

Frontman John Ziegler admits that Big Deal is thematically “a little brighter” than previous efforts, but also explains, “While our last record We Came In Peace sounded ‘big,’ the main characteristic of this album is its heat. Analog from start to finish. Recorded to tape. Mixed to tape. And from tape the wax was cut. This record sounds ‘hot’.”

The new album – Brimstone Howl’s third for Alive Records –  finds a couple of older songs (such as “Elation” and “M60” rerecorded from their debut album and first 45) riding shotgun with newer explosive tracks such as “Last Time,”  “Everybody Else Is Having Fun,” “Iota Man” and “Suicide Blues.” “Musically, our instincts remain the same as always,” Ziegler states, “but we do more pop sounding things at times, with as much drama as we can fit into our rock’n’roll template. I get the feeling that’s out of style or going out, even within our own little community of garage folks, but we’re from the Midwest and we can’t f**k around and waste our time singing songs that aren’t fully sincere. We’ve been doing music for it’s own sake for a long time now, none of us have made rent money from this, for whatever that’s worth. We have music in our hearts, goddamn it, and we always will. That will always remain the most important thing in this industry, and whatever corner of it we inhabit.”

For more info on BRIMSTONE HOWL:
http://www.alive-totalenergy.com/x/?page_id=287
http://www.myspace.com/brimstonehowl

For more info on ALIVE RECORDS:
http://www.alive-totalenergy.com

For album and interview requests:
Tony Bonyata
Pavement PR
e: bonyata@wi.rr.com
p: 262.903.7775
http://www.pavementpr.com

BROTHER DEGE

Click here to download recent hi-res photos of Brother Dege and cover art for his new album Scorched Earth Policy: Deluxe Edition

BROTHER DEGE REVAMPS LAST YEAR’S DIGITAL-ONLY SUMMER MIXTAPE “SCORCHED EARTH POLICY” INTO A DELUXE CD EDITION WITH NEW STUDIO TRACKS ON JULY 24, 2015

DIFFUSER.FM PREMIERES BROTHER DEGE’S NEW TRACK “PAY NO MIND”! CLICK HERE TO LISTEN

The Deep South’s forgotten son comes banging out of the gates with his third album under the Brother Dege moniker, Scorched Earth Policy: Deluxe, morphing his signature Delta, sonic-slide sound (as heard in Quentin Tarantino’s Django Unchained official soundtrack) into the psyouthern, psych swamposphere. Joined by his touring band, The Brethren, Brother Dege & Co. push these 12 tracks into rural cinematic realms, adding their post-millennial update to the southern rock & roll lexicon.

Following his two previous acclaimed solo efforts (2009’s Folk Songs Of The American Longhair & 2013’s How To Kill A Horse) Brother Dege released a unique 19-track digital-only “summer mixtape” last year entitled Scorched Earth Policy, featuring a mix of newly recorded studio songs, demos, covers and field recordings. Now Dege has updated it into a more cohesive studio album, Scorched Earth Policy: Deluxe paring down some of the rougher demos and field recordings and has added four new studio tracks to it. This is the first time any of these 12 songs will be available on CD.

Brother Dege’s Scorched Earth Policy: Deluxe will be available July 24, 2015 on CD and digital formats.

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SCORCHED EARTH POLICY: DELUXE TRACK LISTING
(* new studio tracks)
1. Set It Off
2. Pay No Mind *
3. Somewhere *
4. Day I Was Born
5. Supernaut
6. Yellabone
7. Tower Of Babel
8. Revolution
9. Souls of the Darklands *
10. Calabasas *
11. Jones For War
12. Way of the Lamb

FOR MORE INFO ON BROTHER DEGE:
http://brotherdege.blogspot.com

FOR MEDIA AND INTERVIEW REQUESTS:
Tony Bonyata
Pavement PR
p: 262.903.7775
e: tony[AT]pavementpr.com
http://www.pavementpr.com
Twitter: @PavementPR

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

PREVIOUS PRESS RELEASE FOR BROTHER DEGE’S INCLUSION ON THE SOUNDTRACK OF QUENTIN TARANTINO’S FILM “DJANGO UNCHAINED”

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Brother Dege (“deej”) (aka Dege Legg) is one of the best-kept secrets in the Deep South. A musician, writer and Southern enigma, Dege is the haunted face of 21st century Delta blues. Like the possessed offspring of Faulkner and Son House, he plays slide guitar in the age-old tradition of the blues greats, yet manages to breathe new life into this revered Delta idiom.

Well, make that… was one of the best-kepts secrets… as the reclusive Louisiana Cajun’s song “Too Old To Die Young” was personally selected by Quentin Tarantino to appear in the soundtrack of his new film Django Unchained, starring Jamie Foxx, Leonardo DiCaprio and Samuel L. Jackson.

Tarantino was recently interviewed on SiriusXM Radio’s show Little Steven’s Underground Garage, where he discussed all of the music track-by-track from Django Unchained. Here’s what he had to say about Brother Dege’s song “Too Old To Die Young”…“I was listening to the radio and this song (“Too Old to Die Young”) came on. And I said, ‘wow… that’s pretty damn good.’ I could see a cool ass action scene going to this. I thought it could be really, really groovy. So I had my music supervisor get me the CD. And frankly, every track on the Brother Dege CD could have been in the movie. It works and has a badass score sound to it. Almost every song [on the album] could be a theme song. It’s like a greatest hits album. But this song “Too Old to Die Young,” it’s pretty damn badass. And it’s used in the movie in a pretty damn badass way, I’ve got to say.”

The soundtrack for Django Unchained is out now.

FOR MORE INFO ON BROTHER DEGE:
http://degelegg.com
http://myspace.com/degelegg

FOR MEDIA REQUESTS:

Tony Bonyata
Pavement PR
p: 262.903.7775
e: bonyata@wi.rr.com
http://www.pavementpr.com

BROWN BIRD

Brown Bird has a tendency towards the dark side. Pulling from the influences of the blues, outlaw country, roots rock, early American folk, Gypsy and Eastern European music, they offer harmonized voices, haunting lyrics and diverse rhythm and instrumentation, which surges in waves that often swell into high-spirited, foot-stomping madness.

Brown Bird began in 2003, while singer/songwriter David Lamb (guitar, banjo, percussion, vocals) was living in Seattle. Lamb has since toured across the country multiple times, and now resides in Rhode Island with his partner MorganEve Swain (vocals, fiddle, cello, upright bass).

Since the 2009 release of their fourth album, The Devil Dancing, Brown Bird has toured extensively in the US, and supported The Low Anthem on tour across Europe. The duo is currently working on their fifth full-length to be released this fall, but first they will release their brand new EP, The Sound Of Ghosts. The EP is currently available for streaming or purchase directly from the band at http://brownbird.bandcamp.com , in both digital format and on a hand silkscreened CD, limited to 500 copies. The EP will be released digitally and in stores on May 10th through Supply & Demand Music.

In addition to touring both coasts this Spring in support of The Sound Of Ghosts, Brown Bird has also been invited to perform at the Virada Cultural in Sao Paulo, Brazil on April 16th, as well as the renowned Newport Folk Festival in Rhode Island on July 31st, sharing the bill with the likes of Elvis Costello, EmmyLou Harris, M. Ward, Wanda Jackson, Mavis Staples and many others. George Wein, President of the Newport Festivals Foundation, was thrilled about the mix of national and local talent, saying in the press release for the festival, “I couldn’t be prouder of our new relationship with Rhode Island’s own Alex and Ani as well as the exciting artists who have Rhode Island roots such as What Cheer? Brigade, David Wax Museum and Brown Bird.”

FOR MORE INFO ON BROWN BIRD:
http://www.brownbird.net
http://www.facebook.com/brownbirdmusic
http://brownbird.bandcamp.com

“Absolutely incredible.”  – RICHMOND PLAYLIST

“Despite changing line-ups over of the past few years, David Lamb (guitar, banjo, percussion) has found a great complement in bandmate Morganeve Swain (fiddle, upright bass, cello), together creating dark folk music with touches of rockabilly, Americana, blues, Eastern European flourishes and haunting harmonies.” – RECORD DEPT.

“So ridiculously good… ”  – Aimsel Ponti / THE PORTLAND PRESS HERALD

“… they absolutely blow people away.”  – PROVIDENCE DAILY DOSE

”Compelling art-folk tunes.”  – BOSTON EXAMINER

[EDITOR’S PICK] “David Lamb’s voice is gruff but sweet. It’s also trustworthy. So as the Brown Bird boss sings his way through the gritty dreams on The Sound of Ghosts you fall under his spell rather quickly. The four-track disc seems a bit more dynamic than previous Brown Bird outings. Now that Lamb has a bassist/fiddler, the music glistens and has more thrust.”  – THE PROVIDENCE PHOENIX

Incredibly beautiful… great indie folk performed with passion and power.”  – THE ROCK & ROLL GURU

“… some really great tunes.”  – Lindsay Ellison / WMBR’S LOST HIGHWAY

“…bursting with sparse, haunted folk tunes, outlaw country and gypsy riots” – THE MAD MACKEREL / UK

“…gothic folk rock with flecks of bluegrass and the sweet breezes of southern riverbanks.”  – SLOWCOUSTIC

Brown Bird, is a rootsy American folk band that seems to frequent the dark side of those influences. The music can be haunting, it can have foot stomping rhythm, and its always quite beautiful.” – MUSIC SAVAGE

BUFFALO KILLERS

CLICK HERE TO DOWNLOAD A HI-RES PHOTO OF BUFFALO KILLERS (photo: Scott Beseler)

“One of the best fucking rock ‘n’ roll bands in the world”Chris Robinson

“Heavy on the heavy and with plenty of hooks”High Times

Buffalo Killers hailing from Ohio deliver hook heavy homegrown rock ‘n’ roll. Lead by songwriting brothers Zachary and Andy Gabbard, the band has drawn the attention of the likes of Chris Robinson, who invited them to open a string of dates for The Black Crowes and Dan Auerbach, who produced their sophomore effort Let It Ride, to name a few.

The boys are coming off a prolific five years of released albums: The critically acclaimed 3 (2011), Dig. Sow. Love. Grow. (2012), Ohio Grass (2013) and producing Heavy Reverie (2014) and Fireball of Sulk (2014) along side Jim Wirt. The Gabbard Brothers also jumped into new territories with Zachary producing Handsome Jack’s Do What Comes Naturally and Andy recording his debut solo album Fluff both released on Alive Naturalsound Records.

The band is currently holed-up in the country at their Howler Hills Farm’s analog studio working on their latest effort. Slated forAlive Naturalsound in 2016.

Rolling Stone describes their sound as “…muscular power-pop with hints of psychedelia and stoner-rock…”

There’s a different world out there that awaits you. Buffalo Killers are bringing that world to you.

FOR MORE INFO ON BUFFALO KILLERS:
http://www.buffalokillers.com
http://www.facebook.com/buffalokillers
Twitter: @Buffalo_Killers

FOR MORE INFO ON ALIVE RECORDS:
http://www.alive-totalenergy.com

FOR MEDIA AND INTERVIEW REQUESTS:
Tony Bonyata
Pavement PR
p: 262.903.7775
e: tony[AT]pavementpr.com

VIDEO: BUFFALO KILLERS “DON’T CRY TO ME” FROM THEIR ALBUM FIREBALL OF SULK

VIDEO: BUFFALO KILLERS “CIRCLE DAY” FROM THEIR ALBUM 3

VIDEO: BUFFALO KILLERS “GET TOGETHER NOW TODAY” FROM THEIR ALBUM LET IT RIDE

VIDEO: BUFFALO KILLERS “LET IT RIDE” FROM THEIR ALBUM LET IT RIDE

  • Tour Dates

    • 02/25/17 THE WHISKEY GENTRY in Tampa FL at Skipper’s Smokehouse
    • 03/03/17 THE WHISKEY GENTRY in Augusta, GA at Sky City
    • 03/03/17 DURAND JONES & THE INDICATIONS in Chicago, IL at Empty Bottle
    • 03/04/17 THE WHISKEY GENTRY in Charleston, SC at The Pour House
    • 03/04/17 DURAND JONES & THE INDICATIONS in Davenport, IA at Daytrotter Downs
    • 03/05/17 DURAND JONES & THE INDICATIONS in Bloomington, IN at The Bishop
    • 03/06/17 DURAND JONES & THE INDICATIONS in Cincinnati, OH at Memorial Hall

    View All