Monthly Archives: September 2014

M ROSS PERKINS

Like some kind of time-hopping wizard with preternatural melodic sensibilities, M Ross Perkins is back with his sophomore full-length, E Pluribus M Ross. The album, his first for Colemine/Karma Chief Records, is another masterclass in home recording with 12 shimmering slices of purely perfect psychedelic pop.

Perkins fittingly had music journalists in a tizzy when he released his critically acclaimed self-titled full-length on Sofaburn Records in 2016. Record Collector called it “a truly great album filled with late ‘60s and early ‘70s pop goodness,” while High Times praised it as “the kind of good old-fashioned psychedelic-tinged rock & roll that the world could use right now.” Shindig upped the praise, calling Perkins’ music “the perfect percolated distillation of Nilsson and Emitt Rhodes, one minute SoCal harmony pop inspired by the Fabs’ trippy era, the next Merseybeat, and often silly, but biographical, like Harry at his best.”

The critics are right to praise the Ohio-based songwriter and multi-instrumentalist, who conjures up his distinctively imaginative recordings all alone in his home studio. However, one would be missing the point to simply portray Perkins as a man lost in the past. The music of this unique artist is undeniably steeped in the indelible melodic hooks and laidback rhythms of the psychedelic ‘60s, but he’s no copycat.

In describing Perkins, it’s not wrong to namecheck Rhodes and Nilsson, but you have to expand that list of influences to include pop-rock visionaries like Brian Wilson, Colin Blunstone, and even John Lennon and Paul McCartney. Let’s also throw in the Flying Burrito Brothers and the Kinks as well. Perkins clearly learned plenty of helpful tips from these and other legends that made the late 1960s and early 1970s such a magical musical time, but he has charted his own singular path from the past and back again.

The warbly filmstrip soundtrack that opens E Pluribus M Ross lets listeners know immediately this isn’t going to be another bland modern rock album. And Perkins confirms this time and time again with each lush arrangement, with each delightfully unexpected left turn. He tastefully mines the sonically rich period from 1968 to 1972, whether it’s Mersey-inspired harmonies, haunting mellotron, Gram Parsons style country-rock embellishments, or McCartney-esque bass runs. And yet, this is no simple pastiche. A fresh, forward-thinking spirit links the old with the new, making E Pluribus M Ross the kind of album that possesses a broad multi-generational appeal.

The hooks, arrangements, and overall sense of songcraft are as sophisticated as the work of Wilson and Nilsson, which is remarkable when you consider Perkins not only produced all of the musical arrangements but also played all of the instruments and sang all of the vocal parts on the album. Even more impressive, Perkins is able to evoke all of these iconic figures in his songs without resorting to psych-rock cliches or outright thievery. It’s an extraordinary balancing act, and what emerges is a shimmering tapestry of skillfully-woven musical threads, each harkening back to the past while simultaneously pointing toward the future.

While Perkins had previously recorded demos of a number of the songs from E Pluribus M Ross, this recorded version of the album didn’t exist before the pandemic hit in March of 2020. Like many musicians, he admits he was struggling to be creative at the time:

“I was just waiting to see how bad the catastrophe was going to be,” Perkins said. “Like everybody, I started to get pretty depressed. It was like, ‘Man, the world is ending.’ We didn’t know how the election was going to turn out; the entire system was just ripping at the seams. Musically, I just couldn’t imagine going downstairs and trying to be like, ‘Oooh, baby, baby.’ Trying to write a love song or something just seemed like the most ridiculous thing a person could do in that moment.”

Perkins found inspiration when Terry Cole, founder of Colemine Records, signed him to his Karma Chief imprint in the early days of the global pandemic. “After Terry hit me up, I went downstairs and just immediately got to work,” Perkins said. “It was a shot in the arm. I went down and recorded an LP from start to finish. I pulled out a lot of unreleased songs, tried to rethink how to arrange and play them, and turned them into a new album.”

“Wrong Wrong Wrong,” the lead single from E Pluribus M Ross, opens with a descending guitar riff that would make the Byrds blush. However, it quickly transforms into a bouncy number, in stark contrast to the seriousness of the lyrics, which touch on “fake news” and malicious disinformation. That dichotomy is something of a hallmark of Perkins’ work and reappears on tracks like “Industrial Good Day Mantra,” “Tired of Me,” and “The Butterscotch Revue.” Without eschewing any deliciously gooey hooks, Perkins leans a bit into the harder side of psychedelia with “Venti Gasp Inhale” and “Funeral For a Satellite,” a fitting, fuzz-guitar-drenched album closer.

So, take our advice and join Perkins on his magical mystery trip through time, E Pluribus M Ross, coming this spring on Colemine/Karma Chief Records.

M Ross’ new album E Pluribus M Ross will be available March 18, 2022 on vinyl, CD and digital/streaming formats.

E Pluribus M Ross Tracklist:
1. Industrial Good Day Mantra
2. Wrong Wrong Wrong (Click here to listen)
3. The New American Laureate
4. This One
5. Tired of Me
6. It’s Your Boy
7. The Clock Reads 60 Seconds from Now
8. Venti Gasp Inhale
9. Mr Marble Eyes (Marbles for His Eyes)
10. Butterscotch Revue
11. Pinball Blonde
12. Funeral for a Satellite

FOR MORE INFO ON M ROSS PERKINS:
http://www.mrossperkins.com

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

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PRESS RELEASE FOR M ROSS PERKINS’ 2016 SELF-TILTED DEBUT

Dayton, OH native M Ross Perkins has been taping himself at home for well over a decade. But on his newest self-titled debut effort, he’s truly hit his stride in crafting effortless California psych grooves seasoned with British invasion guitars – and all with an achingly tuneful voice recalling Nilsson & Lennon. Clever lyrics and atmosphere for days.

Perkins has an interesting, if not peculiar past. His childhood home was on Dayton’s legendary Titus Avenue, five houses up from The Snake Pit, the basement studio of Robert Pollard (Guided By Voices). His early material was discovered in 2007 by the band MGMT, who offered a touring support slot at the peak of their breakout success. But Perkins declined the shows due to anxiety. He worked as Buffalo Killers’ roadie for their tours opening for The Black Crowes, and not long after ceremoniously burned an enormous back catalog of his recorded material during an intense LSD binge.

It’s little wonder then that for this release the influences of both psychedelic drugs and psych acts (such as Os Mutantes, Syd Barrett and The Beatles circa Magical Mystery Tour) would play heavily next to the sumptuous ’70s songcraft of the likes of Emitt Rhodes and Harry Nilsson. Perkins’ enigmatic and eccentric personality peers through these 12 organic and often hallucinogenic pop gems: songs that surely would’ve had the A&R reps at Apple Records feverishly scrambling for pen & signing papers back in ’72.

Perkins plays every instrument on this new record with no additional performing personnel, and also mixed and engineered the album himself in his home studio.

M Ross Perkins’ self-titled debut album will be available on Limited Edition vinyl, CDs and digital formats on October 14th via SofaBurn Records.

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M ROSS PERKINS TRACK LISTING:
1. Humboldt County Green
2. Project 63 Online
3. My Poor Daughter
4. Someone Else
5. Ever Ever Ever
6. Let A Little Lazy
7. Amazing Grace (Grandma’s Dead)
8. Habit-Formin’ Drugs
9. Local Showcase
10. No Good Sons Of Galveston
11. Annie Waits In A Dream
12. Of The Gun

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MORE INFO ON M ROSS PERKINS:
http://www.mrossperkins.com
http://www.facebook.com/mrossperkins
http://www.instagram.com/mrossperkins
http://mrossperkins.tumblr.com

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

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

MAIDEN RADIO

Click here to download a hi-res Maiden Radio band photo (photographer credit: Amber Thieneman) and Wolvering album art

In this, their sixth year as a band, Maiden Radio brings us the gorgeous new collection, Wolvering. Pulled from an ever-deepening exploration of traditional Kentucky and Appalachian music, Wolvering shines a light on some dark and lovely early-American songs. There are also a couple breath-taking originals, everything being done in their trademark three-part harmony.

The album derives its name from the place where it was recorded. The trio of Joan Shelley, Julia Purcell and Cheyenne Mize spent a week of January tucked away in remote Wolverine, Michigan, where these songs were captured, mostly live, by engineer Shane Leonard. When on the third day the access bridge flooded and iced over (with the fuel tank soon to run out as well), the fireplace became an essential part of the session (of life!); you can hear the crackle sometimes as the songs fade in and out.

Maiden Radio’s new studio album Wolvering is out now via OK Recordings and is available on limited Vinyl, CD and digital formats. 

MaidenRadio-WolveringCover-442

WOLVERING TRACKLISTING:

1. Adieu False Heart

2. Little Annie Darlin

3. Sweet Sunny South

4. Green Icy Mountain

5. Charlie’s Neat

6. Cuckoo

7. Poor Orphan Child

8. Wolvering

9. I’m Leaving You

10. East Virginia

11. Dawn Chorus

12. Cold Frosty Morning-Kitchen Gal

13. You Are My Flower

14. No More Crying

15. Will You Miss Me

MORE INFO ON MAIDEN RADIO:
http://maiden-radio.squarespace.com
https://www.facebook.com/maidenradio

MORE INFO ON OK RECORDINGS:
http://www.olkentuck.com

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

MAMAS GUN

Click here to download a hi-res Mamas Gun band photo (credit: Richard Ecclestone) and Cure The Jones album art

Building on 2018 album Golden Days and the band’s status as a world-renowned live act, 11-track opus Cure The Jones represents Mamas Gun’s most complete and powerful work to date – a joyous and sophisticated exposition of song-craft, that explores themes of love, loss, life through the most pressing social and political issues of the day.

Written and produced during the pandemic by Mamas Gun frontman Andy Platts with additional intricate soundscaping from drummer Chris Boot, Cure The Jones was recorded direct to tape with an array of analogue gear at Platts’ home studio in just three days, focussing the soulful energy of the band into a coherent gospel-tinged whole.

Formed in 2009, the current five-piece of Andy Platts (vocals), Terry Lewis (guitar), Dave Oliver (keys), Chris Boot (drums) and Cameron Dawson (bass) bring a range of influences to the table. Platts has previously worked with Rod Temperton, Brian Jackson and John Oates (of Hall & Oates), and Lewis’ credits include collaborations with Leon Ware, Lewis Taylor and The Impressions. Elsewhere in the band, Oliver cites his love for NYC Latin jazz as a major influence, while Boot’s full-bodied drums root the band in the lineage of Durand Jones and Lee Fields. Bassist Cameron Dawson brings a contemporary jazz-funk sensibility developed as part of Rhythm Section outfit Vels Trio. Both youthful and mature beyond their years, Mamas Gun are bringing a unique freshness to the classic soul sound.

This blend of classic and contemporary influences have sparked millions of streams worldwide and garnered praise from The Sunday Times, Billboard, The Guardian, and Uncut Magazine. Collectively, the London-based group’s first three albums, spawned Top 10 hits on four continents, including #1 single in Japan, and top 10 airplay positions in UK and parts of Europe; propelled by the band’s sold-out headline tours and full-tilt performances, including significant appearances at the Billboard Music Awards and music festivals including Love Supreme, Java Jazz, and Seoul Jazz festival.

While honing a sound built around vintage equipment, Cure The Jones hears Platts stretch his legs as one of the UK’s top song-writers, imbuing his lyrics with the urgency of unfolding events. As he describes, “Cure The Jones carries the torch for soul music being able to reflect and say something about contemporary life in a meaningful way that hopefully preserves the authenticity of how those great social consciousness albums were made.”

Mamas Gun’s new Cure The Jones album will be available April 1st on vinyl, CD and digital/streaming formats via Candelion (in association with Secretly Group and Colemine Records).

MAMAS GUN 2022 TOUR DATES
FRI 11 MARCH – Quasimodo Berlin, Germany
SUN 13 MARCH – Werkstätten- & Kulturhaus (WUK) Vienna, Austria
THU 7 APRIL – DoornroosjeNijmegen, Netherlands
FRI 8 APRIL – EffenaarEindhoven, Netherlands
FRI 8 APRIL – Effenaar Grote ZaalEindhoven, Netherlands
SAT 9 APRIL – TivoliVredenburgUtrecht, Netherlands
THU 2 JUNE – The Bread ShedManchester, UK
FRI 3 JUNE – AudioGlasgow, UK
SAT 4 JUNE – The Dark HorseBirmingham, UK
TUE 14 JUNE – Helios 37Cologne, Germany
WED 15 JUNE – NochtspeicherHamburg, Germany
THU 16 JUNE – BrotfabrikFrankfurt, Germany
FRI 17 JUNE – Ampere, MuffatwerkMunich, Germany
SAT 18 JUNE – Franz MehlhoseErfurt, Germany
FRI 1 JULY – SUN 3 JULY – Love Supreme Festival 2022Lewes, UK
SAT 9 JULY – PatternsBrighton, UK
SAT 5 NOVEMBER – Lafayette London, UK
[additional US and Asian dates to be announced soon]

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MORE INFO ON MAMAS GUN:
WEBSITE | FACEBOOK 

FOR MORE INFO ON CANDELION:
https://www.candelion.com

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

MARK PORKCHOP HOLDER

CLICK HERE TO DOWNLOAD A NEW HI-RES PHOTO OF MPH (CREDIT: BILL JOHNSON) AND “LET IT SLIDE” ALBUM ART

Guitarist, singer, harmonica player, and songwriter Mark Porkchop Holder is a founding member of the seminal Tennessee punk-rock/blues band The Black Diamond Heavies (with John Wesley Myers, aka James Leg, and Van Campbell of the band King Mud).

Holder plays the blues, and his music is the sound of the truth. He has traveled around the world and the U.S., and played at festivals, clubs, in the streets, at churches, in public toilets, army surplus stores and in a mental hospital or two. After more than a decade of struggling with depression and addiction, he has finally come back home, in Chattanooga TN, and assembled a first rate power trio.

His debut solo studio effort Let It Slide is a blistering blues album that marries both modern and traditional. Let It Slide has been described by the Chattanooga Pulse as “Boogie, sans bullsh*t. Dirty roadhouse music. Juke Joint jamming. Swamp rock. Too rock for blues, too blues for rock, the music is hungry, hard and mean.”

Mark Porkchop Holder’s Let It Slide will be available February 10th on limited edition vinyl, CD and digital formats via Alive Naturalsound Records. 

Click here to purchase the limited edition starburst vinyl LP of Let It Slide

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LET IT SLIDE TRACKLISTING:
01 Let It Slide
02 Disappearing
03 My Black Name
04 Headlights
05 38
06 Let It Slide Reprise / No Doctor
07 Stagger Lee
08 Stranger
09 Baby Please Don’t Go

FOR MORE INFO ON MARK PORKCHOP HOLDER:
http://www.alive-records.com/artist/mark-porkchop-holder

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

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

MARTHA BERNER

It’s been six years since the release of her well-received debut album …this side of yesterday, but next month marks the return of indie-folk singer/songwriter Martha Berner with her long-awaited full-length follow-up Fool’s Fantasy along with her new band The Significant Others.

The entire album was recorded at Chicago’s premiere digital recording studio Stranded On A Planet with producer & Significant Others’ guitarist Scott Fritz, and was mastered by four-time Grammy Award winner Gavin Lurssen (Robert Plant & Alison Krauss, Cat Power, Tom Waits, Leonard Cohen, etc). While this new material still incorporates the Chicago-based musician’s trademark whiskey-and-honey vocals and thought-provoking subjects that stretch across folk, pop and Americana, Fool’s Fantasy marks Martha’s first true band effort – incorporating elements of Stax soul, insurgent country and the unbridled passion of late ‘60s rock-n-roll.

FOOL’S FANTASY TRACKLIST:
1. Fool’s Fantasy
2. Brave
3. Cry
4. All The Rock Stars
5. Some Stay A While
6. Where Does The Day Go
7. Adore Me
8. Wolves
9. Irene
10. People Are Crazy
11. Never Talked To Oz
12. Burning Candles

HERE’S WHAT PEOPLE HAVE BEEN SAYING ABOUT MARTHA BERNER:

“Dramatic, heartfelt and an unusual musical versatility.” – NASHVILLE CITY PAPER

“Undeniable vocal talent fused with country sensibilities. With a burning alt. country feel… well, Dylan would have nodded his approval.” – WHISPERIN & HOLLERIN / UK

“Martha’s live shows are revelatory.” – CHICAGOIST

“Heartfelt and wry acoustic folk-rock, that also showcases some fun detours with a full band, including a retro power-pop number.” – MADISON CAPITAL TIMES

“A moody, experimental album that hits all the right notes; at once wry, melancholy and celebratory of life’s smallest revelatory moments – like grabbing a beer for breakfast.” – OUT MAGAZINE

“When Chicago’s Martha Berner sings that her heart is breaking into ‘ten tiny little pieces’ on the titular track of her four-song Ten Tiny Little Pieces E.P. you can practically feel your own heart breaking along with hers. And just as you’ve used up all the tissues in the house to dry your eyes, Berner puts the sun into “Sunday Morning,” a spirited cover of the Velvet Underground classic. Somewhere between these two numbers Berner elevates the mood on ‘Down and Out in San Francisco’ and eventually breaks through to pop perfection on ‘Wait For Me.’” – CHICAGO FREE PRESS

“While tales of frustration, loss and weary introspection heavily dot Martha Berner’s songs, they don’t overwhelm the Chicago singer’s gentle rootsy delivery. Her lyrics are mature and direct, and her melodies would hold up just fine even without the tasteful string and keyboard accents.” – THE ONION’S AV CLUB

“Sensitive and literate folk-pop.” – GAPERS BLOCK / CHICAGO

“You can’t help but be moved by Berner’s Ten Tiny Little Pieces EP which includes the emotionally charged title track, as well as a compelling cover of The Velvet Underground & Nico’s 1967 pop classic “Sunday Morning.” Still, to see is to believe.” – CITYVIEW / DES MOINES

“Berner’s indie folk-pop benefits from full, well-thought-out arrangements that at times have a George Martin feel. This is a brief EP, but it gives a fair sampling of how Berner uses her burnished contralto to shade a lyric with hope, resignation and sadness.” – ISTHMUS / MADISON

“Phenomenal. Martha has a powerful voice that is at the same time both serene and aggressive. This disc radiates with love.” – ROOTSTIME / BELGIUM

“Berner lashes together the twang of folk/country, the burn of alternative country and the punch of indie rock.” – CINCINNATI CITY BEAT

“Evokes the vocals of Tori Amos and the musical style of Wilco.” – THE CHICAGO TRIBUNE

“Radio-friendly hooks and melodies…” – ARIZONA DAILY STAR

“A very solid disc with tunes that are peppy, poppy and deliciously sad …has its own distinct hook, with seemingly very little effort.” – Richard Milne / WXRT RADIO

“…Wilco-esque glow with the sweetly sung vocals of Natalie Merchant and the darker guitars and imagery of the Indigo Girls.” – HEARSAY MAGAZINE

“Americana Folk at its Best.” – TOURING THE INDIES

“Martha has a great, rich voice that speaks the poetry of angels… haunting, beautiful and powerful.” – READ MAGAZINE

“…unveils soothing vocals, folk-flavored guitars, and witty songwriting across ten compelling cuts.” – ILLINOIS ENTERTAINER

“Hip and beautiful… influenced by her experiences in travel, stylistically by Natalie Merchant, Bob Dylan and John Lennon.” – WOMENFOLK

“A pure Sunday morning sound. Soft vocals, acoustic guitars and deep emotion pour throughout this disc… truly amazing!” – INDEPENDENTS ONLY

FOR MORE INFO ON MARTHA BERNER
http://marthaberner.com
http://www.facebook.com/marthabernermusic?v=app_6917629807

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

MISS SHEVAUGHN & YUMA WRAY

CLICK HERE TO DOWNLOAD HI-RES PHOTOS OF MISS SHEVAUGHN & YUMA WRAY & COVER ART FOR THEIR “WE’RE FROM HERE” ALBUM

MISS SHEVAUGHN & YUMA WRAY TO RELEASE THEIR DEBUT ALBUM “WE’RE FROM HERE” SEPTEMBER 11TH!

Miss Shevaughn & Yuma Wray play American music. They’ve traveled the country following the threads that tie the American narrative together and they’ve woven those threads into a sound all their own. The duo multi-task on guitars, banjo, mandolin, organ, glockenspiel, lap steel and more to bring to life the urgency of Southern Soul, the earthiness of classic country and the pioneering spirit of ’60s and ’70s Blues Rock. Miss Shevaughn has a truly powerful voice that ignites, roars and flickers and Yuma Wray has at his disposal an arsenal of instrumental talents that underscore the duo’s unique, honest and compelling storytelling.

Miss Shevaughn and Yuma Wray spent 2011 on the road, living in their Honda Element, finding their way and finding their sound. The results of this quest can be found in their debut album, We’re From Here, available September 11, 2012.

Miss Shevaughn and Yuma Wray will also be traversing this fine country this fall as part of their tour in support of We’re From Here. Tour dates will be announced soon.

We’re From Here Tracklisting:
1. Go Hang
2. Mi Burro Esta Enfuego
3. No Surprise
4. Make It Out Alive
5. Pneumonia
6. The River Made Me Do It
7. Lost My Way
8. Martha Ann
9. The Factory Clock
10. Keep On Wailin’
11. Morning Is Breaking
12. Cloin’s Lament
13. No Grave To Brush The Dust From
14. Anniversay Song / Prelude To Go Hang

FEEL FREE TO DOWNLOAD & POST THEIR NEW SONG “THE RIVER MADE ME DO IT”
http://soundcloud.com/pavement-pr/miss-shevaughn-yuma-wray-the

FOR MORE INFO ON MISS SHEVAUGHN & YUMA WRAY:
http://www.missshevaughnyumawray.com
https://twitter.com/yumawray
http://tillthewheelscomeoff.tumblr.com/

FOR MEDIA & INTERVIEW REQUESTS:
Tony Bonyata
Pavement PR
p: 262.903.7775
e: bonyata@wi.rr.com

MONOPHONICS

What started as a quaint motor lodge and a common pitstop for travelers and truckers in the 1940s, Sage Motel morphed into a bohemian’s hang by the 1960s and 1970s. Artists, musicians, and vagabonds of all types would stop there as seedy ownership pumped obnoxious amounts of money into high end renovations, eventually attracting some of the most prominent acts of the era. But when the money ran out, The Sage Motel devolved into a place where you rent by the hour. Sage Motel, Monophonics‘ fifth studio album since 2012, tells its story.

“‘Sage Motel’ was the second song we wrote for the album and ultimately was the spark that started this whole concept and story,” says Monophonics bandleader Kelly Finnigan. “It’s a song about a complicated relationship created out of incomparable physical chemistry, lust, passion & love. It’s the struggle of chasing something that will never be a reality, no matter how bad you want it. Some things are meant to happen, but not meant to be… and it all goes down at the Sage Motel.”

Produced by Kelly Finnigan, Sage Motel captures a timeless sound that blends heavy soul with psych-rock. With their previous album, It’s Only Us, selling over 10,000 physical units and garnering over 20 million streams, Monophonics have built a reputation over the past decade as one of the most impactful bands in the country. It’s Only Us was praised by Billboard, FLOOD, Cool Hunting, and more.

If these walls of the Sage Motel could talk, this is what they’d say. So join us as we examine where the stories are told and experiences unfold…..and sink into a soft pillow of soulful psychedelia…..down at the Sage Motel.

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Monophonics’ new album Sage Motel is out now on vinyl, CD and digital/streaming formats via Colemine Records. Click here to pre-order.

MORE INFO ON MONOPHONICS:
Instagram | Facebook | Bandcamp | Colemine Records

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

MONEY FOR ROPE

Click here to download a few new hi-res Money For Rope band photos (credit: Sabine Le Grand) and Picture Us album art.

MONEY FOR ROPE TO RELEASE THEIR THIRD STUDIO ALBUM “PICTURE US” ON MARCH 8TH VIA CHEERSQUAD RECORDS & TAPES

Money For Rope’s forthcoming third album, Picture Us, entirely self-produced, mixed and mastered by the five-piece Melbourne band is set for release on Friday March 8 via Cheersquad Records & Tapes .

Conceived a long way from home, the band first started planning their next album whilst in Seven Sisters in the north of London, spending their days walking along the canal, talking about life, about music.

“We would joke about how we wanted our band to make music that felt like crawling back into the womb, being held, that everyone wanted to be held like they were when they were a child. When we arrived back home, we didn’t tell anyone we had returned. We went to a family property out of town, beside the ocean, and made this record. The house became involved. And the songs were written with reverence for that landscape; Port Philip Bay, and the Southern Ocean. We wanted guitars to be keyboards, keyboards to be saturation, and drums to be folded over into themselves like tape worn away, like rocks eroding by the relentless southerlies blowing the ocean onto the land,” remarks the band’s vocalist and guitarist Jules McKenzie.

The album delves into themes of love, family, connection to place, drinking endless cups of tea, while Picture Us sees McKenzie reflect on his youth. “When I was young and left home alone along with my brother. I was surprised by my parents, who had returned home from holidays early; possibly as an act of deserving untrustworthiness. I was rapidly cleaning up from a party, and wearing what was, unaware to me, dad’s best suit. It seems that when you are young you long to be older, and I wonder if when I am older, I will long to be young again. I wonder if there is a point in the middle where it crosses, and how I will feel about love.”

Picture Us follows on from the band’s previous albums, Been In The Wars (2013) and 2012’s self-titled debut. With the latest offering the band employs some interesting techniques. First track, ‘Hold’ has a percussion track, made by an old box of sailing boat parts, being shaken, warbling through an old tape machine. While title track ‘Picture Us’ was recorded through walkie-talkies the band had as kids, where there was a ledger above a large orange button that gave the alphabet in morse code.

Picture Us was recorded over the course of one long hot Australian summer. With a pace that seldom eases across its lean 30-minute span, this effort is fused with the careering urgency of Money For Rope live shows and powered by a pummelling rhythm section including two drummers.

Money For Rope have spent the better part of the last four years touring, gracing the stages at many of Australia’s favourite festivals (Splendour in the Grass, Falls, Boogie!, Golden Plains, Gum Ball, The Hills Are Alive) and have played around the globe, including a tour to India.

Money For Rope is:
Jules McKenzie (guitars, vocals)
Rick Parnaby (keyboards)
Erik Scerba (drums)
Chris Loftis (drums)
Ted Dempsey (bass)

Money For Rope’s new LP Picture Us will be available March 8th on vinyl, CD, digital and streaming formats via Cheersquad Records & Tapes.

PICTURE US TRACK LISTING:
Hold
Actually
Stretched My Neck
O’Chelles
Remember My Name
Early Grey
Thrashtown
Look
Picture Us
What Takes So Long

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MORE INFO ON MONEY FOR ROPE:
http://www.moneyforrope.com.au

MORE INFO ON CHEERSQUAD RECORDS & TAPES:
http://www.cheersquad.com.au

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

MONKS OF DOOM

CLICK HERE TO DOWNLOAD A NEW HI-RES MONKS OF DOOM BAND PHOTO (CREDIT: JIM MERITHEW) AND THE BRONTË PIN ALBUM ART

MONKS OF DOOM (FEATURING MEMBERS OF CAMPER VAN BEETHOVEN AND COUNTING CROWS) TO RELEASE THEIR NEW ALBUM THE BRONTË PIN MARCH 23, 2018 VIA PITCH-A-TENT RECORDS

FIRST ALBUM OF NEW STUDIO MATERIAL FROM THIS ART/PSYCH/PROG ROCK COLLECTIVE IN 25 YEARS!

From their humble beginnings as a surrealist spin-off “Imaginary Band”, through their hard working days as veteran DIY road warriors, on to their arrested state of suspended animation and later re-birth, Monks of Doom remain one of the classiest, heaviest and most strangely unclassifiable bands to emerge from the late 1980s independent music scene. When the band put themselves on ice in 1993, they left behind five virtuosic, rocking albums that somehow fused post-punk sensibilities with prog rock decadence and folk tradition elegance. Monks of Doom were formed in 1986 by four members of the ever-popular college/indie rock band Camper Van Beethoven: bassist extraordinaire Victor Krummenacher, guitarists Greg Lisher and Chris Molla and drummer Chris Pedersen. Molla soon left, and was replaced by radical musician David Immerglück (then of Bay Area favorites The Ophelias, soon to join the ranks of Camper Van Beethoven as well, and now a member of Counting Crows).The Monks represented a casual opportunity to go beyond Camper’s brand of folk-rock and Sixties pop and into the type of diverse experimental music played by kindred spirits Henry Cow, Snakefinger, King Crimson, Richard Thompson, Fred Frith and a host of other iconoclasts; artists who commanded as fierce and loyal a cult following as the Monks later would. “We were interested in doing slightly more outside music,” Krummenacher said in a phone interview, “music that had heavier and more progressive tendencies. It was an outside expansion, a chance to go wherever our imagination took us.”

For its first couple years the Monks existed primarily as an occasional side project to Camper Van Beethoven, and Krummenacher discounts claims that the Monks caused Camper’s 1990 break-up. “I think it actually prolonged Camper in the long run,” he said. “There was not a lot of Monks work done while Camper was active, although I think we were always hoping that there would be more. But Camper was so busy at the time and that was really the focus of our lives for the most part, doing the Camper stuff.”

Most of the Monks’ distinctive characteristics are revealed on their first album, the 1987 release “Soundtrack to the Film ‘Breakfast on the Beach of Deception’”. Ironic, distanced lyrics combined with impassioned playing that sometimes threatens to spin out of control; pseudo-ethnic electric folk tunes; enigmatic titles; Krummenacher’s virile yet measured vocals. Instrumentals comprise most of the record, which may account for calling it a “Soundtrack” (the alleged “film” was a figment of the band’s imagination). “The first record was a free-form freak out,” Krummenacher recounted. “We had a few extra dollars sitting around and decided to go into the studio. I don’t think we really had a clue about what we wanted to do; we just went for it and did it. We didn’t really have any idea we were making a proper record until the thing was actually done!?!”

The Monks’ next record, “The Cosmodemonic Telegraph Company”, was made in early 1989, at the same time Camper was making its last record. Though they never gave up writing instrumentals, indeed every Monks record included one or more and about fifty percent of their live sets were always instrumental, the second album saw the band opting to do more lyric driven songs. They were also extending and experimenting with their two-guitar attack. Together Immerglück and Lisher created an intricate composed sound that managed to be both aggressive and transcendental at the same time. “Greg and I just naturally came upon a playing chemistry between us that seemed to juxtapose the chaotic and the beautiful, the raw bluster and the ornate”, Immerglück muses. Pedersen’s powerful left-field drumming continued to startle and amaze…

The sonic assault of Monks’ instruments combined with Krummenacher’s intelligent lyrics, which were more influenced by classic and beatnik literature than your typical rock fare, produced a chemistry unlike most other rock bands. They worked on your brain as well as your gut. With Immerglück emerging as a vocalist in his own right, the dual and contrasting vocals of Immerglück and Krummenacher provided an added bonus.

The band worked creatively as a cooperative. All music on every album, with the exceptions of the few cover songs they did, was credited to the band as a unit. Krummenacher wrote most of the lyrics, but everything after that was worked out in the crucible of the rehearsal room. Krummenacher described the creative process: “The typical modus operandi was: Set up in the rehearsal studio – Turn on the tape deck – Play off the top of our heads until exhausted – Listen back – Isolate cool bits and work them up into something exciting! We did hours and hours and hours and hours of jamming. When we were writing, we were basically improvising twenty hours a week or more.”

For Krummenacher, “Cosmodemonic…” represented an “experimental time between the first era of the Monks and the second.” After Camper Van Beethoven’s turbulent 1990 breakup in northern Sweden, Monks Of Doom caste their lot together and proceeded in earnest in to their “new era” as a hard working/full time “growing concern”. Their first volley as an autonomous entity was “Meridian”, the band’s third album and their undisputed masterpiece. “On the third record we figured out that we were this really unique blend of post-punk and prog rock. That’s where we blend the folkier and the weirder stuff, bring together the Neil Young and Captain Beefheart, the King Crimson and The Fall, the Richard Thompson and Can, and all these odd influences we were voraciously consuming at the time, and get away with it.” “Meridian” is a mood piece, in which the vocals, lyrics and instruments contribute unerringly to an atmosphere pervaded by mystery, dread and loss. It culminates in the freak show horror of “Circassian Beauty,” one of the heaviest rock songs ever committed to tape by the Monks, and surely one of the most fearful, especially at the end as Immerglück’s psychotic vocals devolve into pre-natal, schizophrenic babble. “I’m afraid many a promising collegiate brain cell terminally deteriorated under the influence of that album, mine included”, quipped Immerglück recently.

“Meridian” was also the beginning of a year of intense music making by the Monks. Between July 1991 and June 1992, the group cut three CDs for three different labels, “Meridian”, the EP “The Insect God”, and “Forgery”, and the boys mercilessly toured back and forth across the country relentlessly. On “The Insect God”, the Monks play a short but powerful set of music. Two of the five pieces are covers (Frank Zappa’s “Who Are The Brain Police?” and Syd Barrett’s “Let’s Split”); one is an instrumental. The highpoint of the CD is it’s title track, a deliciously sardonic, decidedly politically incorrect adaptation of an Edward Gorey story of alien abduction (a favorite Monks subject!). Three months after completing “The Insect God”, the Monks were back in the studio again to make “Forgery”, which turned out to be their last record for well over a decade. Listening to “Forgery”, it clearly retains the Monks unique personality; but they seem to have given up their hard edge in favor of a dreamier sound, one strangely appropriate to songs like “Virtual Lover” or “Cigarette Man (Cast of Characters).” Forgery was the Monks’ major label debut, yet the stress of endless touring with little financial reward, and a less than supportive arrangement with new label IRS, led to the Monks Of Doom calling it quits (for the time being, as it turns out…)

After the Monks, David Immerglück first established himself as a sought-after studio musician, playing on countless releases, leading to a 4 year tour of duty with American classic John Hiatt, eventually and inevitably joining his old friends Counting Crows where he happily remains today. Victor Krummenacher pursued a variety of solo projects that included the bands Fifth Business and A Great Laugh. His nine solo albums, “Out In The Heat”, “St. John’s Mercy”, “Bittersweet”, “Nocturne”, “Sans Soleil”, “The Cock Crows At Sunrise”, “Patriarch’s Blues”, “I Was A Nightmare But I’m Not Going To Go There” and “Hard To See Trouble Coming” are available from Magnetic Records (with various Monks contributing). Greg Lisher’s first solo album “Handed Down The Wire” was released on Magnetic in early 2000. Follow-up “Trains Change” appeared in 2010. And as 2003 began, all four Monks were participating to varying degrees in Camper Van Beethoven’s highly regarded reunion, which resulted in 2004’s acclaimed “New Roman Times” and a return to international touring for Camper.

In 1998, five years after the initial Monks break-up, drummer Chris Pedersen announced plans to move to Australia and the band decided to perform together “one last time” before he left. A few days of intense rehearsals got them back in shape and they took the stage in San Francisco. “I felt really good about the show, it capped the band off well,” Krummenacher said. “We went out and did all our hotshot licks, played our asses off, sold the venue out (much to our surprise, people flew in from all over the country!?), and had a really good time. And I mean it, it was a REALLY good time.” “Yeah, I’ve gotta agree”, laughs Immerglück. “Since we never really broke up in any sort of acrimonious way, the band has always retained a special place in my heart. After that euphoric reunion show, I really felt that, wow, who says we can’t work together whenever we want to, and on our own schedule?” Lo and behold, the band flew their expatriate-drummer out from Australia in October 2003 for some new recording and a series of well-received shows up and down their native state of California.

2006 saw more select shows and the release of their long promised “covers” CD, “What’s Left For Kicks?”, an outrageous career spanning collection of recordings of this most inscrutable band interpreting some of it’s most obvious and most obscure influences. The typically diverse selection of artists represented include Neu!, The Kinks, Rahssahn Roland Kirk, Nino Rota, Wire, Quicksilver Messenger Service, Steve Hillage, Roy Harper and a host of others (a bizarre blend that seems to actually describe the Monks’ own unique sound). “What’s Left For Kicks?” finds the band in peak form, with Immerglück and Krummenacher both offering some “star-turn” vocals, and the group interplay sounding as captivating as ever.

Sporadic recording sessions took place from late 2009 on, resulting in 2017’s kaleidoscopic “The Brontë Pin”, the first full album of all new original Monks Of Doom material since 1993’s “Forgery”.
Starting with no clear cut plan, the band tracked several improvised basics, as well as a few more “traditional” song ideas from Lisher, Immerglück and Krummenacher. Each piece seemed to have it’s own arc in how it was approached, some involving intense editing, others seeming to just record themselves. Bruce Kaphan, Krummenacher’s long time studio engineer, helmed the recording, adding masterful touches of mellotron and other odds and ends along the way.

The results speak for themselves. The album feels powerful, intuitive, and timely. The strange, dystopian, free association, progressive concepts that percolated in previous Monks albums are evident, but now more focused. The band simultaneously manages to be mellower, more aggressive, and more experimental on the release. The range of material is wider, and the abilities of the band more accomplished.

Despite the passage of time, and commitments to so many other projects calling each member, this fascinating ensemble just keeps on running on its own clock and of its own accord. “We seem to have matured, but we certainly haven’t been tamed!” says Immerglück with distinct pride. “I couldn’t be happier with the album,” echoes Krummenacher. “It took a hell of a long time to finish, but I think it’s straight out of the Monk’s handbook. This band functions naturally as a cooperative. It takes a long arc to get anything done, but there’s nothing else I’ve ever done that is so singular in it’s identity. That’s the cost and the payoff at the same time.”

A new record by the Monks of Doom is certainly cause for celebration! The “Imaginary Band” continues to titillate, or, to quote a Monks lyric, “The creature walks among us…” Indeed!!

Monks of Doom’s The Brontë Pin will be available March 23, 2018 on CD, digital and streaming formats via Pitch-A-Tent Records. Click here to pre-order the CD  

THE BRONTË PIN TRACK LISTING:
01. The Brontë Pin pt.1
02. The Bastards Never Show Themselves
03. Duat! Duat!
04. Up From The Cane
05. Boar’s Head
06. The Brontë Pin pt.2
07. 23rd Century Hard Bop
08. John The Gun
09. The Honorable Death Of The 100 Million
10. The Sinking Of The Essex
11. The Last Leviathan (interpolating Rabbit’s Foot)
12. Osiris Rising

FOR MORE INFO ON MONKS OF DOOM:
http://www.monksofdoom.com

FOR MORE INFO ON PITCH-A-TENT RECORDS:
https://www.pitchatent.com/home

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

MOUNT CARMEL

MOUNT CARMEL TO RELEASE NEW ALBUM GET PURE ON MARCH 25TH THROUGH ALIVE NATURALSOUND RECORDS!

Amid the current industry of cool, MOUNT CARMEL’s lack of gimmick is a welcome anachronism. The Columbus, OH-based trio’s third album Get Pure is full of swagger, packed with great songs and inspired performances. This is true rock music like you haven’t heard in years. Crank it up!

Mount Carmel’s Get Pure will be available on CD, digital formats and limited edition vinyl on March 25th through Alive Naturalsound Records.

GET PURE TRACK LISTING:

01 Gold

02 Back On It

03 Whisper

04 No Pot To Piss

05 Swallow Me Up

06 Bridge To Nowhere

07 One More Morning

08 Will I

09 Hangin’ On

10 Fear Me Now

11 Yeah You Mama

MountCarmel_ART442

FOR MORE INFO ON MOUNT CARMEL:
https://www.facebook.com/mountcarmelfans

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
https://pavementpr.com

NEAL FRANCIS

Click here to download two new hi-res photos of Neal Francis (credit: Olivia Quinn) and “Changes” album art

“I just wanted to be honest about everything, from my musical influences to my story,” muses Neal Francis. After years of dishonest living — consumed by drugs, alcohol, and addiction — such sincerity is jarring from the 30-year-old Chicago-based musician. Liberated from a self-destructive past and born anew in sobriety, Francis has captured an inspired collection of songs steeped in New Orleans rhythms and Chicago blues. His music evokes a bygone era of R&B’s heyday while simultaneously forging a new path on the musical landscape. Ohio-based Karma Chief Records (a subsidiary of rising soul label Colemine Records) have already released two singles earlier this year, “These Are The Days” and “Changes, Pt. 1”, with the full LP Changes to follow this fall.

There is a deep connection between Francis’ childhood — his obsession with boogie woogie piano, his father’s gift of a dusty Dr. John LP — and the songs he’s created. The result is an astonishing collection of material without parallel in the contemporary funk and soul scene. The influences are unmistakable: the vocal stylings of Allen Toussaint and Leon Russell; the second line rhythms of The Meters and Dr. John; the barroom rock ‘n’ roll of The Rolling Stones; the gospel soul of Billy Preston; the roots music of The Band. Francis pays tribute to the masters but has his own story to tell: “It’s the life I’ve lived so far.”

And what a life it’s been. Born Neal Francis O’Hara, the piano prodigy found himself touring Europe by the age of 18 with Muddy Waters’ son and backing up other prominent blues artists coast-to-coast. In 2012, Francis joined popular instrumental funk band The Heard. With Francis at the creative helm, The Heard transformed into a national act, touring with boogaloo progenitors The New Mastersounds and chart toppers The Revivalists and appearing at Jazz Fest and Bear Creek. As The Heard’s star rose, however, Francis sunk deeper into addiction. Once a promising sideman, by 2015 he had been fired from his band, evicted from his apartment, and was perilously close to self-destruction. “When you get close to death like that you can feel it,” Francis recalls. An alcohol-induced seizure that year led to a broken femur, dislocated arm, and, finally, the realization that he needed to get clean.

The journey from a hospital bed to launching his solo career was neither predictable nor straightforward. There were musical fits and starts, relapses, and broken relationships. Yet the overwhelming passion driving Francis in this second act has been an overabundance of creative energy. “Drinking held my music in a half-cocked slingshot. I was always so consumed by drugs and alcohol that I didn’t have the time, money or creative energy to do it. Sobriety let it loose.”

Determined to realize the songs swirling in his head, Francis assembled a crack team of musicians, calling on bassist Mike Starr (The Heard) and drummer PJ Howard (The Revivalists, The Heard). He linked up with producer and analog-obsessive Sergio Rios (Orgone, Cee Lo Green, Alicia Keys) and self-funded a trip to Killion Sound in Los Angeles to record the initial batch of material. “I learned to trust my instincts in that room,” says Francis. Buoyed by classic horn arrangements and Rios’ fierce guitar work, the resulting tracks illuminate a lifetime spent studying the masters of soul music.

From the RMI electra-piano riff that kicks off “She’s A Winner” to the screaming organ swells of “This Time,” Francis and company let it all hang out. This is fun music, dance music. Yet verse after verse and chorus after chorus, Francis wrestles with his past in a straightforward manner: “It’s 5 o’clock in the morning, but I’m not home/ I’m surrounded by people, but I’m really alone.” Like Toussaint and Russell before him, he’s married the upbeat rhythms of New Orleans R&B with the lyrical approach of a confessional singer/songwriter. The refrain on “This Time” serves as a foxhole prayer for a better future: “Let me get it this time/I won’t let you down/Let me get it this time/I won’t fool around.”

Francis finished recording basic tracks for Changes in Los Angeles in February of 2018 and spent the following months doing overdubs in Chicago with engineer Mike Novak (who also recorded demos for the project). Soon after he was eager to begin his touring career. After signing with Paradigm Talent Agency, Neal played shows across North American supporting Australian band The Cat Empire. He has received praise on several notable radio outlets including KEXP, KCRW’s The Morning Becomes Eclectic, and BBC Radio 6. Francis and his four-piece band recently performed during the New Orleans Jazz & Heritage Festival, sharing the stage with The Meters and other legends. This summer he performed at Summer Camp and Chicago’s Chi-Soul Festival, and hit the road with Lee Fields & The Expressions, Dumpstaphunk and others. Francis pledges to tour relentlessly to promote his own music. “I’m doing this to fulfill a drive within myself, but also to pay tribute to the gifts I’ve been given. And it comes from a place of immense gratitude.”

Neal Francis’ Changes will be available on September 20th via Karma Chief Records. Click here to order.

MORE INFO ON NEAL FRANCIS:
nealfrancis.com

MORE INFO ON KARMA CHIEF RECORDS:
facebook.com/karmachiefrecords

MORE INFO ON COLEMINE RECORDS:
coleminerecords.com

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

NICK AND THE OVOROLS

NICK AND THE OVOROLS TO RELEASE THEIR DEBUT STUDIO ALBUM “TELEGRAPH TABOO” JAN. 22, 2013!

Nick and The Ovorols are preparing the release of their debut studio LP Telegraph Taboo early next year – an album that finds the Chicago-based foursome injecting deep soul, spirited guitar-driven rock and even a bit of psychedelia into their heavy bedrock of electrified blues.

The group is lead by vocalist and guitarist Nick Peraino, a native New Englander who moved to Chicago in ’98 to pursue studies in jazz guitar at DePaul University. A strong passion for blues music was a deciding factor in choosing to attend college in Chicago. Peraino toured extensively throughout the Midwest in 2003-2004 promoting his post-college roots-rock band Nick Peraino and Blue Moon Risin’. He also wrote and produced their debut album Noisy Picks and Humbars. In 2005 he began playing alongside local Chicago underground blues legend Joanna Connor. He continued to perform locally and tour nationally with The Joanna Connor Band where they played regularly scheduled shows at Chicago’s Buddy Guy’s Legends, Kingston Mines and The House of Blues. In 2009 Peraino was personally invited by Grammy Award winning harmonica legend Sugar Blue to join a two week tour of Europe to perform in a number of showcase events.

In 2011 Peraino’s move from sideman to frontman was realized through a shift in consciousness, after a bad turn of events led to a positive outlook on life. An unfortunate visit to the emergency room in February of 2011 led to Peraino’s diagnosis of Crohn’s Disease. He came upon newfound confidence and a burning desire to become a band leader. Shortly after forming Nick and the Ovorols with guitarist Carlos Showers, bassist Vic Jackson and drummer Lance Lewis in the late summer of 2011 they held a five-month residency at Chicago’s famed blues venue Kingston Mines. Kingston Mines MC Frank Pellegrino is calling Nick “one of the best young, up and coming talents.” Earlier this year the band decided to record one of their weekly Wednesday night shows and the album Live at Kingston Mines was born.

Nick and The Ovorols have shared the stage with many greats such as Sugar Blue, Buddy Guy, Larry McCray, Taj Mahal, Jimmy Herring (Allman Bros, Widespread Panic), Carl Weathersby, Jim Belushi, Stanton Moore (Galactic) and others.

Nick and The Ovorols’ Telegraph Taboo will be available January 22, 2013 in CD and Digital formats.

Telegraph Taboo Tracklist:
1. Take The V Train
2. Chitown via Greyhound
3. Heed The Words I Say
4. Honey Please
5. Mojo A Go-Go
6. Hey, Mr. President
7. Try Me
8. Day To Day
9. Half of Two
10. Soundtrack to Life

FOR MORE INFO ON NICK AND THE OVOROLS:
http://www.nickandtheovorols.com/

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

NICKY EGAN

Click here to download two hi-res photos of Nicky (credit: Luke Perine) and “This Life” album art

NICKY EGAN’S NEW SOUL ALBUM THIS LIFE DROPS JUNE 3RD VIA TRANSISTOR SOUND / COLEMINE RECORDS

Born and raised outside of Philadelphia, Nicky Egan continues to make a steady mark in the music scene, carving out a unique journey and solidifying herself as a multi-talented creative and multi-instrumentalist. She’s performed all over the country fronting her own musical projects along with as a hired-gun for Chicano Batman, Tune-Yards, Carla Morrison, and Turkuaz to name a few.

After graduating from Berklee College of Music with a degree in Contemporary Writing and Production, Egan spent seven years in Brooklyn, her early years spent touring as part of powerhouse funk ensemble, Turkuaz, doing DIY tours consisting of the picturesque young millennial rock-and-roll lifestyle of squeezing into old vans, sleeping on floors and returning to the city only to make some extra cash nannying and waiting tables. After parting ways with Turkuaz to focus on her solo career, Egan independently released three of what she dubbed ‘digital 45’s’, premiering an A/B side each month, with a video attached to each A side, accompanied by a release show and live screening. These ‘digital 45’s’ became a 7-song EP, The 45 Homestead Project, which was released via Ropeadope Records, garnering much praise from tastemakers like American Songwriter, Okayplayer and Performer Magazine.

Around 2015, Egan began fronting a new project, writing and recording music with a cast of fantastic New York players, securing residencies around the city, and performing to enthusiastic crowds.

While at a crossroads in her own project, during a time when she’d have to re-evaluate some tough relationships, Egan received a call from the manager of Los Angeles psych-soul staple, Chicano Batman, looking for a keyboardist and vocalist to join them on their Spring tour. Egan packed a few suitcases, a hat box, and relocated to LA. What was supposed to be a spring run turned into four years of Egan playing keys and singing as a touring member with the band, performing alongside the likes of Portugal The Man, Vampire Weekend, Jack White, and Khurangbin.

In between tour stretches, Nicky Egan has been stealthily plugging away with New York based producer and Dap-Kings guitarist, Joe Crispiano. Beginning with demos written and recorded in Joe’s Staten Island apartment while his neighbor banged on the ceiling came to fruition as a full length album, recorded in part with their friends at the inimitable Diamond Mine Studios, and in part in Dumbo, NY in an unnamed dungeon where the two spent one too many hours drinking double espressos, margaritas and building vocal booth forts. The entire album was recorded to 8 track tape machine. Driven by honest confessional songwriting and influenced by your favorite classic soul sounds, the record features a who’s who of NY’s most sought after players including Homer Steinweiss, Victor Axelrod, Brian Wolfe & Elizabeth Pupo-Walker, to name a few and will be released jointly via Transistor Sound/Colemine Records. Nicky Egan currently resides in Los Angeles, where she is preparing for the release of her forthcoming 10 song LP, This Life.

Nicky Egan’s new album This Life will be available June 3rd on limited vinyl, CD and digital/streaming platforms via Transistor Sound/Colemine Records.

This Life Tracklist:
1. Changes
2. Every Part
3. Bringing Me Down
4. Summer in the City
5. Run Run
6. This Life
7. Back To You
8. Funny Feeling
9. In the Mirror
10. Godchild



FOR MORE INFO ON NICKY EGAN:
https://nickyegan.bandcamp.com/music

FOR PRESS AND RADIO REQUESTS:
Tony Bonyata
Pavement PR
p: 262.903.7775
e: Tony[AT]pavementpr.com
https://pavementpr.com

NITZER EBB

PYLON RECORDS TO RELEASE NITZER EBB 1982-2010: THE BOX SET, FEATURING 10 VINYL LPS, COMPLETE WITH NEWLY REMASTERED VERSIONS OF ALL FIVE OF THEIR GEFFEN/MUTE ALBUMS, PLUS FIVE LPS OF BONUS TRACKS AND RARITIES | ALBUM ARTWORK AND INSERT BOOKLET CREATED IN COLLABORATION WITH NITZER EBB | OUT OCTOBER 5TH

THE LIMITED COLOR VINYL BOX SET WILL ALSO INCLUDE THEIR SELF-RELEASED DEBUT ALBUM BASIC PAIN PROCEDURE, AVAILABLE EXCLUSIVELY AS PART OF THIS SET THROUGH THE PYLON RECORDS WEBSTORE

NITZER EBB
1982-2010
THE BOX SET

This career spanning retrospective box marks the first time that all five of the band’s albums for Geffen/Mute have been collected in one complete box set. The box set features expanded double black vinyl of each album (10 vinyl LPs in all), with several bonus tracks and hard to find 12” mixes – all carefully curated and remastered by Pylon Records. The original artwork has also been expanded into gatefold sleeves, with embossing and spot UV finish. It also contains a large size booklet with liner notes by the band’s co-founders Douglas McCarthy and Bon Harris, along with unseen photos, flyers and artwork, detailing their entire career in chronological order from Essex to Los Angeles. These albums have been out-of-print since the early ’90s and have never been reissued prior to this.

The actual two-piece box is made of hard board stock, wrapped with leather paper and the UV design is hot foiled stamped. The box also has accommodated extra space inside for their first self-released album, Basic Pain Procedure, from 1983 and their last release, Industrial Complex, from 2010, to complete the collection by the fans, as these titles have been in print in recent years.

There will be a limited colored vinyl edition of the box, which will also include a re-press of the band’s debut album, Basic Pain Procedure, available only from the Pylon Records website for a short period of time. The Industrial Complex vinyl has been in print in the last several years on colored vinyl, and easily attainable on many online and fine record stores around the world.

Nitzer Ebb 1982-2010: The Box Set will be available on October 5th via Pylon Records.

Douglas McCarthy and Bon Harris return to reunite Nitzer Ebb after taking a hiatus in 2010. The band has announced that they’ll be performing next summer at Amphi Festival, Cologne, Germany on July 20 2019. McCarthy and Harris will be joined onstage by original founding NEP members David Gooday and Simon Granger. This will mark the first time these four founding members have performed live together since 1987. Additional dates featuring this expanded lineup will be announced in the coming months.

NITZER EBB 1982-2010 THE BOX SET
11 LP Colored Vinyl Set (available only through the Pylon Records website)
Click here to pre-order

NITZER EBB 1982-2010 THE BOX SET
10 LP Black Vinyl Set

Click here to pre-order

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

NITZER EBB 1982-2010: THE BOX SET TRACK LISTING:

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

THAT TOTAL AGE
Limited Edition Gatefold Embossed Sleeve, containing two Red Translucent Colored Vinyl LPs, with five bonus tracks, including the 12” mixes of “Join In The Chant,” “Let Your Body Learn” and rare instrumental version of “Murderous.”
[This limited edition color vinyl is exclusive to the Nitzer Ebb box set, which is available only through the Pylon Records website. There will also be a black vinyl version of the box set, available through your favorite distributors.]

Side 1

1.Fitness To Purpose

2.Warsaw Ghetto

3.Violent Playground

4.Murderous

Side 2

1.Smear Body

2.Join In The Chant

3.Alarm

4.Let Your Body Learn

Side 3

1.Let Beauty Loose

2.Into The Large Air

3.Murderous (Instrumental) – Bonus

4.Fitness to Purpose (Mix Two) – Bonus

Side 4

1.Join In The Chant (Burn! 12” Mix) – Bonus

2.Let Your Body Learn (12” Mix) – Bonus

3.Join In The Chant (Metal Mix) – Bonus

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

BELIEF
Limited Edition Gatefold Embossed, UV Sleeve, containing two Clear Vinyl Discs, with six bonus tracks, including the 12” mixes of “Control I’m Here,” “ Shame,” “Hearts & Minds” and a band favorite “Backlash.”
[This limited edition color vinyl is exclusive to the Nitzer Ebb box set, which is available only through the Pylon Records website. There will also be a black vinyl version of the box set, available through your favorite distributors.]

Side 1

1.Hearts and Minds

2.For Fun

3.Control I’m Here

4.Captivate

5.T.W.A

Side 2

1.Blood Money

2.Shame

3.Drive

4.Without Belief

Side 3

1.Control I’m Here (Command Control Confront Mix) – Bonus

2.Shame (Mix no 2 William Orbit) – Bonus

3.K.I.A. (PK Mix) – Bonus

Side 4

1.Captivate (William Orbit Mix) – Bonus

2.Hearts & Minds (Mix Subsonic) – Bonus

3.Backlash (William Orbit Mix) – Bonus

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

SHOWTIME
Limited Edition Gatefold UV Sleeve, containing two Orange Colored Vinyl LPs, with five bonus tracks, including the 12” mixes of “Lightning Man,“ Fun To Be Had” and “Getting Closer.”
[This limited edition color vinyl is exclusive to the Nitzer Ebb box set, which is available only through the Pylon Records website. There will also be a black vinyl version of the box set, available through your favorite distributors.]

Side 1

1.Getting Closer

2.Nobody Knows

3.One Mans Burden

4.All Over

5.My Heart

Side 2

1.Lightning Man

2.Rope

3.Hold On

4.Fun To Be Had

Side 3

1.Lightning Man (The Industry Vs. The Ebb Remix) – Bonus

2.Fun To Be Had (Long Mix George Clinton) – Bonus

3.Getting Closer (The Kitchen Mix) – Bonus

Side 4

1.Fun To Be Had (Dust Brothers Master Mix) – Bonus

2.Lightning Man (RSW Mix) – Bonus

3.Getting Closer (The Trance Mix) – Bonus

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

EBBHEAD
Limited Edition Gatefold Spot UV Foil Sleeve, containing one Green and one Red Colored Vinyl LPs, with seven bonus tracks, including the highly acclaimed “AS IS” EP along with remixes by Vince Clarke, Barry Adamson and Flood.
[This limited edition color vinyl is exclusive to the Nitzer Ebb box set, which is available only through the Pylon Records website. There will also be a black vinyl version of the box set, available through your favorite distributors.]

Side 1

1.Reasons

2.Lakeside Drive

3.I Give To You

4.Sugar Sweet

5.DJVD

Side 2

1.Time

2.Ascend

3.Godhead

4.Trigger Happy

Side 3

1.Family Man (Jaz Coleman Mix) –Bonus

2.Come Alive (Alan Wilder Mix) – Bonus

3.Lovesick (Flood Mix) – Bonus

4.Higher (Barry Adamson Mix) – Bonus

Side 4

1.Ascend (Vince Clarke Anonymous Mix) – Bonus

2.I Give To You (Pestilence Mix) – Bonus

3.Godhead (Remix) – Bonus

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

BIG HIT
Limited Edition Gatefold Spot UV Foil Sleeve, containing two Yellow Colored Vinyl LPs, with five Bonus tracks, including the 12” mixes of “Kick it” and “I Thought.”
[This limited edition color vinyl is exclusive to the Nitzer Ebb box set, which is available only through the Pylon Records website. There will also be a black vinyl version of the box set, available through your favorite distributors.]

Side 1

1.Cherry Blossom

2.Hear Me Say

3.Kick It

4.I Thought

Side 2

1.Flood Water

2.Border Talk

3.In Decline

4.Living Out Of A Bag

Side 3

1.Boy

2.Our Own World

3.Friend (Brittle Mix) – Bonus

4.Beats Me – Bonus

Side 4

1.Kick It (Adrian Sherwood Compulsion Edit) — Bonus

2.Kick It (Popular Music Mix) — Bonus

3.I Thought (Final Sin) — Bonus

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

The following one-time Splatter Colored Vinyl LP is exclusive to the colored box set only available online through the Pylon Records website. It will not be available as part of the black vinyl version of the box set available through your favorite distributors.

BASIC PAIN PROCEDURE
Double Red/Clear/White Splatter Vinyl LP (2012 Master)

Side 1

1.Faded Smiles

2.Tradition

3.The Home

4.Star

Side 2

1.The Passage

2.The Book

3.Crane

4.Trust Ran In Colours

(photos: Hazel Hill McCarthy III)

FOR MORE INFO ON NITZER EBB:
http://www.nitzer-ebb-produkt.com
https://www.facebook.com/NitzerEbbOfficial

FOR MORE INFO ON PYLON RECORDS:
http://pylonrecords.com

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

OCCULT DETECTIVE CLUB

DOWNLOAD OCCULT DETECTIVE CLUB’S NEW SONG “C’MON LEVI” FROM THEIR LATEST ALBUM CRIMES

Occult Detective Club is formed by Alx Anguiano on vocals/guitars, Andrew Messer on guitars, Chris Reeves on drums and Tyler Shults on bass.

With echoes of The Jam, Boys, Clash, Sham 69 and the passion and forward thinking of Billy Bragg, on their new album Crimes, Occult Detective Club is the sound of today with a nod to the past. Taking a cue from an increasingly active underground Texas music scene, they play a mix of first wave punk and new wave music with a focus on catchy choruses, thoughtful lyrics and a DIY mentality.

The Denton, TX-based band previously released their ten-song debut LP Tortures last spring on Red Lounge Records, and fellow Texas gore-hounds Hex Dispensers covered their song “I’m A Ghost” on the B-side of one of their latest singles.

Crimes will be released on February 15th through Alive Records on CD, Digital and LTD. Edition Vinyl formats (The first vinyl pressing of 500 copies comes with free MP3 download).

CRIMES TRACK LISTING:
1. In Another Life
2. C’mon Levi
3. Up From the Underground
4. Crimes
5. Their Walls Around You
6. Our Bitter End
7. Calling the Detectives
8. Running from the Red Squad
9. One to Ten
10. Oh Bureaucracy
11. Wear the Woodwork
12. Young Lovers

HERE’S WHAT PEOPLE HAVE BEEN SAYING ABOUT OCCULT DETECTIVE CLUB’S LATEST ALBUM CRIMES:

Crimes captures Anguiano’s passion for sneering pop hooks and succinct, spitfire songwriting.” – QUICK DFW

Digging a little below the musical tension and down into the lyrics, it quickly becomes clear that Occult Detective Club are classic punks at heart — unsatisfied with the status quo, unlucky in love, and just upset enough to pick up some guitars and bang out some tunes to tell you all about it. With such a simple, direct, and earnest approach, it’s hard not to side with these guys, taking up the cause of the disaffected and dejected in the name of good old-fashioned punk rock.” – Gregory Heaney / ALL MUSIC

“Bands like Occult Detective Club make me smile, simply for the fact that kids are still churning around in garages somewhere, spitting into microphones and playing shitty guitars.  ODC’s sophomore album, Crimes, is every bit of the three-chord wonder that we loved all those years ago. Bottom line: Crimes is awesome but not complex.  That’s how punk rock should be.  If you like Suicide Commandos (and you should), you’ll love Occult Detective Club.” – TREND ROBOT

“Glorious retro punk “ – Bill Lynch / WEST VIRGINIA GAZETTE

“It’s tough coming up with anything new in punk rock that isn’t going to sound as if you were trying too hard to reinvent something that’s as basic as it gets. Occult Detective Club know this, and that’s why their sophomore effort, Crimes, works so well.”  – BOSTON PHOENIX

“I was prepared to write this one off as generic Sham 69 pump-your-fist punk, but then the words demanded to be heard and I was hooked. The main man here is Alex Anguiano, who sings like the bastard child of Win Butler and Joey Ramone (not as horrible as it sounds) and resembles Lance Hahn’s Chicano cousin and writes with a conciseness and economy of phrase that is always human. His empathy for people shines throughout. The first two tracks (including current single “C’mon Levi”) concern the tragedy that is New Orleans and dig this big crux: ‘This town’s worst can still beat where I’m from.’ Amen, brother.” – FLAGSTAFF NOISE

“Apparently Joey Ramone rose from the dead, got in touch with Denton’s best export Marked Men and asked if he could re-record their b-sides with Teenage Bottlerocket.” – MAXIMUM ROCKNROLL

“…a brash blast of frenetic punk rock. Crimes bears serious echoes of the first wave of US punk bands, with hefty shades of The Ramones in particular. It’s more than an homage to the golden age of punk, they have refined this sound to a fine art adding their own quirks and styles.” – BARRYGRUFF

“Their new album Crimes may only clock in at under 30 minutes but there’s a lot of great stuff on here.” –  Andy Turner “Zero Hour” / WMSE RADIO

I’m reminded of high energy bands like The Ramones and Suicide Machines when I listen to them, yet there’s something even more to them that makes them original.”  – RICHMOND PLAYLIST

“The playing is tight, the production values stellar and Alx Anguiano’s vocals providing the perfect punk snarl. Crimes showcases a band understanding who they are and where they’re going and can only mean this is the beginning of greater things for this young band.” – Carl Cortez /  ASSIGNMENT X

“The 14 short, sharp shocks seething from young Lone Star state quartet OCCULT DETECTIVE CLUB’S new album Crimes make like a very welcome knife in the gut of complacency. They may be earnestly serious young men, but on Crimes they hitch up their fears and frustrations to a roaring Punk Rock juggernaut, let out the throttle and simply ram the nay-sayers off the freeway.   If you were wondering whether anger can still be an energy, just cop an earful of this amphetamine blast.” – Tim Peacock / WHISPERIN & HOLLERIN

“Crunching, no-nonsense hardcore Power Pop set from a youthful Texan quartet with distinct Anglophile leanings.”  – Michael Toland /  THE BIG TAKEOVER

C’mon Levi is a busted-lip of perfect manic mod energy. I’m not sure what they got in the water down there in Denton, but Occult Detective Club look like they just smashed your mailbox and sound like they just quantum leaped (or lept?) from Queens in ‘75 or London in ‘78. Mind you, nothing fancy here, just three glorious chords, a bad attitude and probably some industrial epoxy in a brown paper bag. Weekend starts in 1! 2! 3! 4!”  – MY OLD KENTUCKY BLOG

“It’s nice to know that there are some youngsters who know good music.”  – BOING BOING

“On their new album Crimes, the marvelously named Occult Detective Club play a mix of straight-up, raw, no nonsense first wave punk and new wave music… Think the Ramones, with echoes of The Jam, even Sham 69 thrown in the blender. Check out the wonderfully frenetic C’mon Levi and start bouncing round that living room like it was 1976…” – THE MAD MACKEREL

“I can’t describe how good the music is on this… Just listen to it.” – MONKEYBEAT

FOR MORE INFO ON OCCULT DETECTIVE CLUB:
http://www.alive-totalenergy.com/x/?page_id=1180
http://occultdetectiveclub.wordpress.com/

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
https://pavementpr.com

OHIO KNIFE

Click here to download hi-res Ohio Knife band photo (credit: Matt Dorman) and “Scalp Or Be Scalped” cover art

Ohio Knife is a punch you in the gut, unforgiving, rock n’ roll band hailing from the great midwestern city of Cincinnati, USA. Utilizing off-the-beaten-path tunings, Ohio Knife’s Jason Snell brings raspy, two-toned vocals and spooky, soulful, trashy guitars as Joe Suer drops an ass-load of low-end drums and Scotty Wood provides all the thumping low-end bass you could ever wish for in rock.

Ohio Knife’s new album “Scalp Or Be Scalped” will be available October 21st on vinyl, CD and digital formats.

Ohio Knife is:
Jason Snell – Vocals & Guitars
Joe Suer – Drums & Percussion
Scotty Wood – Bass & Vocals

ok_scalporbescalped_albumart_442

“SCALP OR BE SCALPED” TRACKLISTING:
1. Wish I Knew
2. Day And Night
3. I Found Out
4. Be The Dark
5. Tonight We Ride
6. WWP
7. Struggle And…
8. Creation Museum
9. Special Plan
10. Indian Summer

ohioknifeillustration442

FOR MORE INFO ON OHIO KNIFE:
http://www.ohio-knife.com
https://www.facebook.com/OhioKnife
https://twitter.com/ohioknife

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

ORCHESTRA GOLD

Click here to download two hi-res band photos of Orchestra Gold (credit: Ginger Fierstein) and “Medicine” album art

Oakland, CA-based ensemble Orchestra Gold offers a kaleidoscope of sound deeply rooted in the Malian tradition while introducing a genre-bending nod to the future through their rare and artful fusion of African Psychedelic Rock. This original sound with a retro feel results from a decade-long collaboration between Mariam Diakite of Mali and Erich Huffaker of Oakland. The music of Orchestra Gold represents this powerful intersection, transcending borders and boundaries to be a force of healing within the community.

OG’s vibrant sound is spearheaded by the dynamic Mariam Diakite, whose raw, hypnotic vocals deliver heartfelt and thought-provoking lyrics in the highly symbolic Bambara language. While paying homage to Malian musical traditions, this fierce new sound thrives with heavy swinging rhythms, a funky fresh brass section, and cosmic guitar licks. With the January 2023 release of their third album, Medicine, this profoundly spiritual and dance-inducing ensemble continues their pursuit of spreading healing and community through the universal gift of music. 

OG recently opened for Afrobeat living legend Ebo Taylor at The UC Theatre, and they’ve performed live at Treefort, Oakland Museum of California, Bandcamp, Commissioned for Yerba Buena Gardens Festival, and Joshua Tree Music Festival.

Orchestra Gold’s new studio album Medicine is out now on vinyl, CD and all digital/streaming platforms.

For booking inquiries contact:
Nina Sacco
Ninatsacco@gmail.com
732.768.3767

Click here for more info on Orchestra GOLD.

PALEO

“A snake does not a charmer make.” – Paleo, off Fruit Of The Spirit

How many malnourished art majors does it take to screw in a lightbulb? It takes two to make a baby, about four to cart a coffin, six to build a human pyramid, twelve to hang a jury, and apparently thirteen to make Paleo‘s latest, Fruit Of The Spirit. After doing everything himself for years, it seems David Strackany finally learned how to work well with others.

Holing up in Davenport, Iowa, the twenty-something got taught the ropes of analogue recording from the original Daytrotter engineer, Patrick Stolley. Stolley’s place is a minefield of old analogue gear, a phalanx of synths and amps insulate the walls, piles of grease-thirsty old tape machines, bells, whistles, six-strings, four-strings, twelve-strings, no strings. With this wonderland at his disposal, the young magi decided to try something which’d never occurred to him before: collaboration. Friends strode in from around the region – Chicago, Minneapolis, Iowa City, Rock Island, and Lawrence – and with next to no rehearsal and no lead sheets, they huddled for a three-day creative blitzkrieg. Electrofolk artist Cloud Dog lends samples and howls in the background, the bastard folkies from Minnesota add their sad, quirk-pop sensibility, and a revolving door of drummers and percussionists take turns on the kit. Strackany just let the tape roll, and together they bottled a mischievous, mercurial record sparking with imperfection: the bruised, sweet, and colorful Fruit Of The Spirit.

Fruit Of The Spirit will be available on June 21st in both CD and Digital formats through the Brooklyn imprint Partisan Records.

Fruit Of The Spirit Track Listing:
1. Lighthouse
2. Over The Hill And Back Again
3. Pharoah
4. The Rager
5. Poet II
6. Favorite Places
7. Holly Would
8. Buddy Buddy
9. Honey Be Reckless
10. In The Movies
11. Poet

Born On The Bio:
David Strackany was raised in Elgin, Illinois. As a kid he crossed the busy street to a retirement home to chase stray angels down long linoleum halls, away from the souls they were hunting. He attended university, earned a Bachelors in Art and English, and did every drug under the sun along the way. With diploma in hand, the house in Elgin sold off, and a family strewn across the country, he started touring. For six years he lived out of his car and couch to couch, playing more than 700 shows at last count. 30 years old now, he newly lives in Iowa City, a town famous for keeping writers for short periods of time, in a house full of other struggling artists, the Blue House.

While his self-released first record, Misery, Missouri (2005) earned him high marks from a number of online sources, Paleo garnered most of his notoriety through his 2006 songwriting mecca, The Song Diary. In a single year, he wrote and recorded 365 songs consecutively. Paste called it “a streetfight of freakish prolificacy,” and Daytrotter’s Sean Moeller playfully crowned him their “Poet Laureate.” His other credits include soundtrack work alongside Okkervil River for the feature film In Search Of A Midnight Kiss (2007), winner of the John Cassavetes Award at the 2009 Independent Spirit Awards, and producing These United States’ psychotropic debut record, A Picture of The Three Of Us At The Gate To The Garden Of Eden (2008), on which he played the majority of the instruments. And most recently, last year’s stripped-down, folk-pop archipelago, A View Of The Sky drew loud applause from the blogosphere and saw Paleo tour 8 months straight in 2010 to support it.

Other pertinent links:
Official Site: http://www.paleo.ws
Facebook: http://www.facebook.com/schmaleo
Partisan Records: http://www.partisanrecords.com/

For media and interview requests:
Tony Bonyata
Pavment PR
e: bonyata@wi.rr.com
p: 262.903.7775
w: https://pavementpr.com

PRESS FOR PALEO’S FRUIT OF THE SPIRIT

“Fruit of the Spirit is a strong collection of more memorable tunes from the ever creative, fruitful and spirited mind of Paleo.” – BLURT

“…a cohesive collection that is creative, enthralling and personal.” – J. Felton / RECORD DEPT.

“Fruit of the Spirit from the compulsively creative Paleo is youthful, imaginative, entertaining and deeply personal in the way that most great art is.” – Jedd Beaudoin / POPMATTERS

“Every household would benefit from a little Paleo.” – WHISPERIN & HOLLERIN / UK

“Fruit of the Spirit is a very impressive collection of odd and poignant songs.” – Darren C. Demaree / ALT OHIO

“On his latest album, Fruit of the Spirit, eclectic folkie Paleo, born David Strackany, piles on all manner of clattering effects, constructing his junkyard beats like a low-budget Beck.”  – THE CAPITAL TIMES

“Paleo has always been an artist who has reached out to his listeners with his honesty, and Fruit of the Spirit continues in that tradition. It touches a wide array of emotions, seemingly without trying to. For both avid Paleo fans and those who have never heard a single song (even though there are well over 365 of them), this album will certainly not disappoint.” – SWEET TEA PUMPKIN PIE

“Paleo is an artist who seems to know what the truth is, and packages that truth the only way he knows how it- in obscured sunshine folk, with irregular melodies, a voice that both swells and cracks depending on it’s octave. There’s an ease in his youthfulness, mixed with the subtleties of his own creeping lunacy. But it only appears that way because it his own version of absolute clarity as he sings, “Nothing is Real”. And if we don’t get that, then maybe we’re the ones that are losing it.” – FRIENDS WITH BOTH ARMS

“Outsider folk with gems to unearth… and great moments of beauty.” – Stephen Carradini / OKLAHOMA GAZETTE

“I love this guy! Paleo is so prolific. He puts out so many songs, so frequently… and they’re all very good and catchy. Look for his full-length Fruit of the Spirit out June 21st.”  – Whitney Matheson / USA TODAY

“A barn stomping good time” – IFC

“It’s lo-fi but that doesn’t mean it’s not full of ideas and sounds and what feels like pure joy.”  – LOUD LOOP

“I got Paleo’s new record Fruit of the Spirit the other day and have been loving it ever since —the whole thing is awesome.” – Matt Jordan / YOU AIN’T NO PICASSO

“By indulging his more experimental impulses and mxing mildly eccentric pop structures with wildly emotive pop deconstructions, Paleo takes listeners on a challenging musical journey, but those willing to go along for the ride will likely be won over by the album’s oddball charm and open-wound honesty.” – LOS GRILLOS

“There isn’t much to his music in the way of instrumentation or frilly sonic accoutrements — rather, it’s just Strackany’s beautifully cracked voice accompanied by a guitar guiding his personal tales.”  – DENVER WESTWORD

“A mischievous, honest album.”  – PROVO DAILY HERALD

“In the way of a special olympics for extraterrestrial gymnasts, Paleo’s Fruit of the Spirit always fascinates.”  – MY OLD KENTUCKY BLOG

“Short, quick, and bursting with energy, Paleo’s new single ‘In The Movies’ is a nice sample of what’s to come from this indie genius.” – ROCK & ROLL GURU

“Paleo’s excellent track ‘In The Movies’ [from his forthcoming Fruit of the Spirit album] is two minutes of indie folk perfection with a melody so catchy you’ll be humming it for days.” – MAD MACKEREL UK

“Paleo’s new song ‘Holly Would’ is a fantastic little taste of the new LP, Fruit of the Spirit, due out June 21st on Partisan Records.”  – TREND ROBOT

“Whether you’re cruising with the windows down or laying barefoot in the grass, Paleo’s ‘Holly Would’ will be your go-to summer jam.” – KNUCKLE RUMBLER

“Iowa’s David Strackany is an artist’s artist – a ramblin’ man with a prolific output.  He also writes some wickedly simple songs.” – YVYNYL

“… a clear ‘60s rock vibe, tangled in folk.” – POP ‘STACHE

“This week Paleo, released a new music video (we are in love with) in support of his new record Fruit of the Spirit. The tune itself, ‘Holly Would,’ is a buzzy little number, featuring thoughtful anthemic lyrics, loose rag tag rhythms, great melody, and rambling growler vocals.” – FOR YOUNG MODERNS

“The lead track from the album – an upbeat, summery song called ‘In the Movies’ – is a perfect introduction to the artist and the album.” – WE ARE ALL MUSIC

[10.26.10 PRESS RELEASE] PALEO’S NEW FULL-LENGTH A VIEW OF THE SKY IN STORES TODAY THROUGH PARTISAN RECORDS

On October 26th Partisan Records will release the latest full-length effort from Paleo entitled A View Of The Sky. It will be available in CD, LP, Ltd. Edition Color Vinyl and Digital Download formats.

For Paleo, art doesn’t imitate life, it is life. Self-contained, he has been traveling the country for the last 6 years. The time has been spent studying the endless facets of a world both in and outside of himself, all the while chronicling his journey through song.

Booking his own shows, he has been playing roughly 150 dates a year while living out of his car and staying with people kind enough to share a couch, a bed, and some breakfast. Homeless and at home, he seems to have found a refuge within his songs as a prolific lyricist and writer. He recorded a song every day for 365 days as a discipline in songwriting he called “The Song Diary”. If you want to know Paleo, you have only to listen to his body of work, which at this point is staggering. Paleo’s songs focus on what most people take for granted in their day to day and year to year, revealing not just a series of dots, but a portrait.

On his newest record, A View Of The Sky, the music mines a depth of greater purpose beyond the traditional. Song after song transports the listener through melodic landscapes unique, immediate, emotive, playful, and filled with longing. There is nothing contrived in the structures of his songs, and the phrasing is a deep rooted reference to the great writers who have come before him.

But deconstructing Paleo seems futile, because he has already moved on. His music is an echo that grows, builds to a crest, dies, and begins again, evolving always, whether someone is there to bare witness or not.

PALEO AT PARTISAN RECORDS: http://www.partisanrecords.com/artists/paleo
PALEO WEBSITE: http://paleo.ws
PALEO ON MYSPACE: http://www.myspace.com/paleo
PALEO ON FACEBOOK: http://www.facebook.com/pages/Paleo/133744690695?ref=ts

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

PRESS FOR PALEO’S A VIEW OF THE SKY

“The ambient yet emotionally driven lo-fi sounds of the disc could easily pinpoint Paleo in similar classification to M. Ward, but are also reminiscent of the weird-Americana of Devendra Banhart—his quivering voice cracks when he reaches for a new note, the simple melodies subtly grab your ear, and his poeticism is hardly lost in the fold.” – POPMATTERS

“A View of The Sky is an endearing album with intimate music, aggressively eccentric lyrics and shamelessly quirky tunes. They sound like what you’d get if you rubbed Daniel Johnston and Jeffrey Lewis together and added a touch of the last Iron and Wine album with its lush, exotic mix of instruments.” – BLURT MAGAZINE

“The itinerant singer-songwriter fashions one of the season’s unlikeliest stunners.” – WASHINGTON POST

“The man once wrote 365 songs in a year, and he’s still cranking ’em out … and they’re good. The new record is called A View of the Sky.” – USA TODAY

“… an easy, strumming indie-folk sound that invokes a sunny chorus of happy animals (think badgers playing flute, chiming lizards, maybe a tuba-playing elephant) all beckoning you into their traveling family fun van. Paleo isn’t all folksy fluff—songs like “Cradle of Dust” pair ebullient and dark tones.” – WASHINGTON CITY PAPER

“Troubadouran effort that draws on folk, country and rock…  A View of the Sky is wildly and unexpectedly infectious.” – ON MILWAUKEE

“Paleo’s A View of the Sky, is another solid record, and an even better introduction into another up-and-coming face in the spotlight of indie-folk rock.” – SONIC DISSONANCE

“Profound, enlightening, and memorable, A View Of The Sky is an unexpected delight and treasure.” – THE MAD MACKERAL / UK

“Paleo’s music is quirky, eccentric, cerebral, confusing, and thought-provoking…. catchy as hell.” – HEAR YA

“A really excellent album full of careful and tender, but still relaxed sound. Highly recommended.”  – WPTS RADIO / PITTSBURGH

“Vivid scrawls of a remarkable mind.” – MUSIC IS AMAZING

“Modern folk at its finest.” – ROCK AND ROLL GURU

“… not just a hardworking visionary, but also an undeniable talent. A View of the Sky is a perfect introduction to the creative genius that is Paleo, so if you’re unfamiliar, I suggest you take the time to get acquainted.” – KRUI RADIO / IOWA CITY

“…masterful folk music.” – TREND ROBOT

“… deep and meaningful. I want to hear every word that this man has to say, or sing. It’s all very beautiful. Folk gold.”  – THE ROCKY MOUNTAIN COLLEGIAN

“Ragged, raw and yet eminently listenable, this eccentric minimalist pop treat is a pleasant surprise in a music world inundated by eccentric minimalist pop.  The songs sound spontaneous and never contrived, well-arranged yet full of aural curve balls.  A perfect antidote to the sanitized pop that passes for top-40 today.” – PIRATE CAT RADIO / SAN FRANCISCO

“A View of the Sky represents some of the finest work of his career.” – THE DAILY NEWS

“It’s possible to find stylistic elements reminiscent of Wilco or Deer Tick, but hard to deny that Strackany is playing anything other than his own bright, organic music. A View of the Sky ranges from upbeat to melancholic, sweet to strange, and the album’s title perfectly captures, in words and visuals, the feel of this itinerant artist’s earth-bound music.” – H MAGAZINE

“… hymns of a traveler, endowed with a fascination for nature and a restless acceptance of changing circumstance.” – MOTHER JONES

“Musically, Paleo suggests a wide range of influences. The songs range from clear singer-songwriter to full band folk rock, but with very soulful dispositions.” – THE WHEEL’S STILL IN SPIN

“…a stunning world of melodic folk tunes, lead by Paleo’s beautiful, melancholic voice… one of the best folk-troubadours that I’ve known in the last years.” – GUEROLITOMUSIC

“… a man fearless in the search for meaning, or at least a few marketable songs.” – WLUR RADIO / LEXINGTON

“While Paleo’s music is more about capturing an emotion than painstaking studio tinkering, the songs on A View Of The Sky are more fully arranged than the sketch-like musings of The Song Diary. Organs, xylophone, and horns abound while the material still adheres to the lo-fi aesthetic that so characteristically encompasses his work. A View Of The Sky is consistently buoyed by Strackany’s stream-of-consciousness lyricism and anti-perfectionism. Top notch ramshackle folk fare.” – CAPTAIN OBVIOUS

PRESS FOR PALEO’S SONG DIARY PROJECT

“The guy makes Ryan Adams and Bright Eyes seem lazy. Paleo’s is an incredible story of creativity and discipline. It’s all chaos and intrigue, visions of Jeff Buckley and Donovan and Tom Waits and M. Ward – all eerie psych-folk sounds and gorgeous poetry and it demands your attention: Once you’re in, you’re in.” – Bruce Warren / WXPN

“Profound in a way that you’ve never heard. There’s so much at work in all of these miraculous songs about some of the roots of evil and wonder. A man this enlightened might glow in the dark.” – Sean Moeller / DAYTROTTER

“Paleo mostly trades in the folk-troubadour tones common to M. Ward – or, if you’re a real scholar, Death Vessel and Micah Blue Smaldone.” – MAGNET

“In a streetfight of freakish prolificacy, Paleo could kick Stephin Merritt and Ryan Adams’ asses any day (perhaps taking on Robert Pollard and Sufjan Stevens for an encore).” – PASTE

““… an ambitious task… that may be a bit much for most mortals.” – PERFORMING SONGWRITER

“Incredibly prolific D.I.Y. nomad… this talented artist shows no signs of slowing down at all.” – THE TRIPWIRE

“… a modern-day Jack Kerouac… haunting and melancholic voice.” – DAYTON DAILY NEWS

“… a devotion that makes Sufjan Stevens look like a dabbler. These songs are a more-than-worthy array of lo-fi, quirky folk.” – POPMATTERS

“Undeniably impressive” – TIME OUT CHICAGO

“Armed with a gently cracking voice, a six-string acoustic guitar, and a never-ending repertoire of expressive folk-pop ballads, the itinerant singer/songwriter staves off creative ennui with an ambitious online “song diary.” …the lo-fi recordings swing between howling world-weariness and manic, bat-shit happiness, recalling both the magical weirdness of Neutral Milk Hotel and the disturbed genius of Elliott Smith.” – FLAVORPILL NYC

“…a challenge even for the likes of Bob Dylan…” – NEWCITY CHICAGO

“In an age where being prolific is the new black, Paleo is the most stylish of musicians.” – THE BOSTON GLOBE

“…ambitious… eccentric…impressive.” – CREATIVE LOAFING: TAMPA

“… raw, acoustic folk songs and a gentle voice somewhere along the lines of Elliott Smith.” – AUSTIN AMERICAN-STATESMAN

“…a gathering of sobering thoughts that feel like drifting ashes and sound like they’re coming from a man completely wiped out.” – THE QUAD CITY TIMES

“…these tentative lo-fi songs are quite lovely.” – PITTSBURGH CITY PAPER

“…stirring lo-fi indie folk” – TAMPA BAY TIMES

“…a masochist’s dream.” – THE DCIST

“…one-man Chicago whisper-rock balladry that sounds a little like Danielson and Iron and Wine only sadder (if that’s possible).” – THE ARKANSAS TIMES

“… a lyrically complex and sonically grabbing performance by a talented songwriter and passionate performer. Paleo (aka Dave Strackany) explores the bittersweet elements of life with a joy and drive seen in very few singer/songwriters these days. The shifting themes and mood of each song gave a feeling of a solitary troubadour who absorbs his passing surroundings better than most absorb the water they drink. It is a happy relief when one realizes that there are still people like Strackany out there absorbing and relating the experience of travel and human drama from town to town with a poetic tongue and sincere voice.” – MEDIATRON

“… stretches the folk wanderings of Nick Drake and Tim Buckley… has the lyrical play of Jeff Tweedy and, at times, the vocal delivery of a devilish Jack White, although balanced with a more poetic freedom.” – ROCKY MOUNTAIN TIMES

“… stripped down, lo-fi masterpieces that can just as easily draw comparisons to Bob Dylan as they can early Elliott Smith and acoustic Dinosaur Jr.” – ART SCENE IOWA

“a talented and prolific young singer/songwriter.” – UR CHICAGO

“366 songs in 366 days, a feat to bring Bob Dylan, Robert Pollard, and even Prince to their prolific songwriting knees.” – ZEITGEIST NEW ORLEANS

  • Archives

  • Upcoming shows

    • 05/30/24 THEE SINSEERS in The Concert Hall at Toronto, ON
    • 05/31/24 THEE SINSEERS in Lewiston, NY at Artpark
    • 06/01/24 THEE SINSEERS in Pittsburgh, PA at Three Rivers Arts Festival
    • 06/04/24 THEE SINSEERS in Washington, DC at Union Stage
    • 06/05/24 THEE SINSEERS in Baltimore, MD at Ram’s Head
    • 06/06/24 THEE SINSEERS in Brooklyn, NY at Brooklyn Made
    • 06/07/24 THEE SINSEERS in Asbury Park, NJ at Wonder Bar