Monthly Archives: September 2014

SILENT LIONS

Conceived in Toledo, OH with a home base in sister city Detroit, Silent Lions are the sinister twosome of heavy-soul. Dean Tartaglia simultaneously plays effected octave bass, sampled synths, and manipulated atmospheric vocals, all while drummer Matt Klein grooves and thrashes beside him, often providing soulful singalong melodies and harmonies. The duo’s live shows sound as thick and creamy as they do on record. Their music has been tagged as “spooky soul,” “chill punk” and “Hall and Oates stoner rock.”

Silent Lions’ upcoming sophomore six-song EP, The Compartments, is a deeper exploration into genre manipulation. From hip-hop to stoner rock, Silent Lions create moments of lo-fi chaos out of hi-fi clarity. With their unofficial third member Zach Shipps (Electric Six) producing, The Compartments takes enough risks to turn your head, but never strays from SiLi’s visceral, trademark, super sub bass and drum sound.

Dean started making his mark nationally with Detroit local legends The Sights, touring the U.S. and Europe supporting Tenacious D. Silent Lions are proud to continuously share bills with some of the best new artists in the scene (Mr. Gnome, Jamaican Queens, Bad Veins).

Silent Lions’ The Compartments EP will be available January 14, 2014 on vinyl, digital & CD formats through the band’s own label, Nah Collective.

FOR MORE INFO ON SILENT LIONS:
http://silentlions.bandcamp.com
https://www.facebook.com/SilentLions

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

THE SINGLES

CLICK HERE TO DOWNLOAD A HI-RES PHOTOS OF THE SINGLES  & “LOOK HOW FAST A HEART CAN BREAK” ALBUM ART

The Singles are Vince Frederick (guitar/lead vocals) and Nicky Veltman (drums/back-up vocals). Hints of garage rock, power pop, glam, blues and punk all find their way into the music. Both originally from Detroit, the two joined forces in LA in 2012 to restart The Singles— a moniker Vince had used in the past to release his songs with different incarnations of the band.

With the help of friends on bass, the band began playing locally, bringing stripped down rock-n-roll to the LA music scene. Things got serious once they met producer Rick Parker, who was brought on to mix their single “(She’s Got) A Heart of Stone” in early 2013. His chill vibe, part surfer, part jedi studio master, was the perfect counterpoint to the off-kilter energy of the band.

Equipped with an arsenal of songs and Rick’s genius, the band went back into the studio to record their latest full-length album Look How Fast A Heart Can Break.

The Singles’ Look How Fast A Heart Can Break will be available in the U.K. on CD, digital and limited edition vinyl on April 1st (via Proper Music Distribution & F Minor Distribution). Fall U.K. tour dates to be announced soon.

TheSingles_Cover_442

LOOK HOW FAST A HEART CAN BREAK TRACK LISTING:

1. Inamorata

2. You’ve Runned Away

3. (She’s Got) A Heart Of Stone

4. It’s So Hard To Get Over You

5. Turn The Other Way

6. I Can’t Believe What I Got Myself Into This Time

7. I Only Wish You Loved Me More

8. Our Last Goodbye

9. She’s Not Interested

10. We Don’t Talk Anymore

11. All the Things I Ever Wanted

12. Look How Fast A Heart Can Break

13. Don’t Wanna Ever Fall In Love Again

HERE’S WHAT WAS WRITTEN ON THE STONES THROWN AT THE SINGLES:

“If you need a rock ‘n’ roll release… I think I have the perfect song. The Singles’ ‘Inamorata’ hooked me instantly. The duo, which formed in Detroit, pulls from some of my favorite bands to create a glam garage sound all its own.” – USA TODAY

“Los Angeles via Detroit rockers The Singles excel in ’70s/’80s style American power pop, all crunchy chords, catchy melodies and killer harmonies.” – POPMATTERS

“The informed garage-pop hits full-force on The Singles’ track “Inamorata,” solidifying the duo of guitarist/vocalist Vince Frederick and former Gore Gore Girls drummer, Nicky Veltman’s commitment to their Detroit roots of stripped down rock ‘n’ roll.” – THE GHETTOBLASTER

“Vince and Nicky’s vocals blend together perfectly over the wash of noisy guitars and pounding drums, bringing out a tension between the bluesy rock influence and the pop-centered harmonies”. – (THE) ABSOLUTE

“In the sound of ‘Inamorata’ you can clearly (and loudly) hear from where Vince Frederick and Nicky Veltman hail. Natives of Detroit and based in Los Angeles, the duo, known as The Singles, have a keen feel for power pop, glam and unadulterated rock ‘n’ roll.” – KDHX RADIO

“Stripped down, jaunty garage-pop boldly nods to T. Rex’s influences, but done this well that is no bad thing at all.” – THE MAD MACKEREL

TheSingles_Johnnys_442
(photo: Don Lupo)

FOR MORE INFO ON THE SINGLES:
http://www.thesingles.us

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

HANDSOME JACK’S NEW STUDIO ALBUM “DO WHAT COMES NATURALLY” DROPS 10/07 VIA ALIVE RECORDS!

CLICK HERE TO LISTEN TO & SHARE HANDSOME JACK’S NEW SINGLE “ECHOES”

Some people call it a vibe and some people call it a groove. We call it boogie soul. It’s the sound of Handsome Jack on their new album Do What Comes Naturally. Produced by Zachary Gabbard of the Buffalo Killers and featuring Bob Nave (of the legendary Lemon Pipers) on Hammond organ, among others, the music of this album seamlessly flows through deep, dark mid-tempo boogies, smoky upbeat burners and soulful feel-good rockers all with a natural ease.

Handsome Jack hails from Buffalo, NY and began as a blues garage-rock band. After high school they moved out of the garage and developed their sound into a natural soulful boogie that remains rooted in raw blues. They’ve shared the stage with The Sheepdogs, Blue Cheer, Gov’t Mule, J. Geils, The Hold Steady and Robert Randolph to name a few.

Handsome Jack’s Do What Comes Naturally will be available October 7, 2014 on CD, digital and limited edition colored vinyl through Alive Naturalsound Records.

Tour dates to be announced soon.

12-inch-jacket

DO WHAT COMES NATURALLY TRACKLISTING:

1. Echoes

2. Creepin’

3. Between The Lines

4. Dead Tracks

5. Leave it All Behind

6. Right On

7. Dry Spell

8. Ropes and Chains

9. You and Me

10. Wasted Time

FOR MORE INFO ON HANDSOME JACK:
https://www.facebook.com/handsomejackband

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

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

SMASH FASHION

CLICK HERE TO DOWNLOAD A NEW HI-RES PHOTO OF SMASH FASHION (photo: Jeff Forney) ALONG WITH ROMPUS POMPOUS COVER ART

This July Smash Fashion are set to release Rompus Pompous, the anticipated follow-up studio album to their 2014 critically acclaimed LP, Big Cat Love.

Imagine spinning the dial on rock radio before the corporate takeover of the air waves and you’ll get a good idea of what these 11 amphetamine-laced rockers sound like. From the lead-off track ”Can’t Take You Anywhere“ to the epic closer “Smiles and Daggers” (featuring David Bowie’s longtime musical conductor and pianist Mike Garson), this L.A.-based foursome once again offer up an album of genre-defying, adventurous rock‘n’roll loaded with hook-filled songs that instantly have a familiar yet original vibe. Classic rock, ‘70s FM pop and swaggering glam all shift gears with new wave, psychedelia and gutter-punk through this souped-up platter, though it’s inspiration not imitation that ultimately fuels these dudes.

Singer/songwriter/guitarist Roger Deering’s songs of dysfunctional misfits and misadventures hit a chord that most of us can relate to – humorous without being corny, serious without the bummer, sexy but not crude, rowdy but fun.

With top-notch production by Lloyd Stuart Casson, this LP showcases Smash Fashion flexing their musical muscle in a big way.

Smash Fashion’s Rompus Pompous will be available on vinyl, CD and streaming formats July 6th via Electric Pudding Recordings.

Smash Fashion is:
Roger Deering (vocals, guitars)
Lloyd Stuart Casson (guitars)
Scarlet Rowe (bass)
Repo (drums)

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

SMASH FASHION’S NEW “RUNS IN THE FAMILY” VIDEO
(FEEL FREE TO POST & SHARE)

FOR MORE INFO ON SMASH FASHION:
http://www.smashfashionmusic.com

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

SOUL SCRATCH

CLICK HERE TO DOWNLOAD TWO NEW HI-RES PHOTOS OF SOUL SCRATCH (CREDIT: ELKO PHOTOGRAPHY) & PUSHING FIRE ALBUM ART

From the first few notes, Soul Scratch‘s new Pushing Fire record grabs you. It’s raw soul and funk music crafted to perfection. Wailing vocals, soaring horns and a super tight rhythm section. With a dirty production style, Soul Scratch serves up something that’s familiar, fresh and never more relevant.

This soulful sextet is a hard hitting groove machine, built in L.A.’s San Fernando Valley, on a mission to save the world from mediocrity. Johnny Chou, Joel Givertz, Adam Greenberg, Matt Reale, Dale Spollett and a host of musicians combine their love of The JB’s, Booker T & the MG’s, Curtis Mayfield and all 1960-’70s soul on their high-energy debut full-length Pushing Fire.

Soul Scratch is rapidly branching out of their L.A. base on a quest to bring good times, quality get-down and their own special brand of soul to every corner of the country.

Soul Scratch’s Pushing Fire album will be available on vinyl, CD and digital formats on January 13, 2017.

FOR MORE INFO ON SOUL SCRATCH:
http://www.soulscratchband.com
https://www.facebook.com/soulscratchband

FOR MORE INFO ON COLEMINE RECORDS:
https://www.coleminerecords.com

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

STEVE LEWIS

CLICK HERE TO DOWNLOAD NEW HI-RES PHOTOS OF STEVE LEWIS ALONG WITH COVER ART FOR CREEPERS & VINES

Creepers & Vines finds Nashville-based musician Steve Lewis bringing his trademark gravitas and style to twelve fetching new songs, with psychedelic undertones, gritty guitars and fearsome backbeats.

Lyrically replete with apocalyptic and ironic imagery, the record reflects on the relationship between our modern, comfortable society and the potential chaos just below the surface. The songs combine larger-than-life guitar riffs and pop songwriting sensibilities, creating a powerful blend of garage and roots rock — equal parts hook and pure guitar muscle. Dreamy acoustic oddities venture into the realm of psych/freak-folk, providing palate cleansers amid the more full electric rock band numbers, while Lewis’ lonesome vocals evoke the psychedelic dread of Neil Young and the manic energy of David Byrne.

Steve Lewis’ Creepers & Vines will be self-released on August 28th and available on CD and digital formats.

CREEPERS & VINES TRACKLISTING

01 Off This Rock

02 Seven Little Drops Of Rain

03 Mix It Up

04 Hard Bargain

05 Ohio

06 Open Your Eyes

07 Personal Hell

08 Baby’s On It

09 Big Secret Plan

10 Movin’ To France

11 The Morning After

MORE INFO ON STEVE LEWIS:
http://www.stevelewismusic.com
https://www.facebook.com/pages/Steve-Lewis/123536477666513

MEDIA & INTERVIEW REQUESTS:
Tony Bonyata

Pavement PR

e: tony[AT]pavementpr.com

http://pavementpr.com

THE SLEEPWALKERS

THE SLEEPWALKERS TO RELEASE NEW ALBUM LOST MY MIND IN STEREO ON APRIL 8TH!

The Sleepwalkers have been quietly banging around in the attic for the better part of five years in Wisconsin’s Fox Valley region. Writing, rewriting, absorbing, touring and, every now and then, releasing a record.

From this, comes Lost My Mind In Stereo, the second full-length album from The Sleepwalkers (formerly Ian Olvera & The Sleepwalkers). Building on the framework of their 2010 release The Reckless Kind, the band hits full force with a lot of drums, a lot of guitars, and a lot of attitude on Lost My Mind In Stereo.  A variety of keyboards augment the arrangements and help accentuate each hook, leaving you with a roadmap back to such influences as The Band, Sam Cooke and The Replacements.

After the release of The Reckless Kind, The Sleepwalkers spent the better part of 2010-2012 supporting the record on the road locally, regionally and nationally. The band logged countless local shows, as well as several self-booked regional and national tours, including shows with White Rabbits, Ha Ha Tonka, The Henry Clay People, Dan Vapid & The Cheats, Paul Collins Beat, Prima Donna, The Melismatics, The Figgs, Miles Nielsen and more.

The Sleepwalkers’ Lost My Mind In Stereo will be available on CD & digital formats on April 8th via IJGFM Records.

GLR011_sleepwalkers

LOST MY MIND IN STEREO TRACK LISTING:

1. My Best Was Never Good Enough

2. It’s a Good Day to Watch the World Go By

3. Come Around

4. Safe For the Ride

5. Primetime Syndication

6. Big Hoax

7. Chicago

8. Talking Out of Turn

9. Bottom of the Hill

10. In a Station

11. In & Out

12. The Reckless Kind

FOR MORE INFO ON THE SLEEPWALKERS:
https://www.facebook.com/thesleepwalkerswi

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

SORROWS

The recent release last winter of SORROWS Bad Times Good Times (Bomp! Records) marked the first time ever that this music has appeared on CD as well as LIMITED EDITION VINYL. Filled with previously unreleased recordings of their power pop gems, demos and live performances, the album is a feast for post-punk new wave fans and collectors who have been asking for years to be able to get their hands on SORROWS’ music. Formed in 1977 in NYC by Arthur Alexander (ex-Poppees), Joey Cola, Ricky Street and Jett Harris (ex-Poppees), SORROWS were all about the songs. Their tunes are filled with strong melodies, irresistible hooks and creative harmonies supported by their powerful backbeat and hard-driving guitars. SORROWS two critically acclaimed albums and several singles on CBS Pavillion have become highly praised and are sought after collector items.

HERE’S WHAT PEOPLE HAVE BEEN SAYING ABOUT SORROWS’ BAD TIMES GOOD TIMES:

“Sorrows’ music is energetic, passionate power-pop expertly executed. Most importantly, it’s timeless. Their album Bad Times Good Times is a cool 48 minutes long, featuring 14 originals and two live covers at the end. The key citations here are ‘Beatles’ and ‘Flamin’ Groovies.’ If you want to follow that genetic lineage back to the source of classic rock and roll, look no farther than Sorrows, who will sing you a song of good times and bad times.” – Barry St. Vitus / BLURT

“The band excels at dreamy ballads like the “Silver Cloud” and soaring pop tunes like the glorious “Can’t Go Back,” but its real forte is rockers. “Second Chance,” “Teenage Heartbreak,” “Television” and the title track practically boil over with rock & roll energy, jolting the pop sugar with caffeine strained through Chuck Berry’s coffee filter. Not a false note is struck nor a dissonant chord jangled. Sorrows mix salty and sweet in a most savory way, and Bad Times Good Times will be enough to satisfy even the pickiest power pop jones.” –  Michael Toland / THE BIG TAKEOVER

“For folks who’ve been wondering when Sorrows’ Teenage Heartbreak would ever arrive on CD, Bad Times, Good Times isn’t the next best thing, it’s an actual improvement over the already fine original, and rescues one of the better pop bands of the ’80s from oblivion; folks who like their rhythms peppy, their guitars ringing, and their harmonies tight will find lots to love on this collection.” – Mark Deming / ALLMUSIC

“Honestly, there’s too many great songs on here to name but start with the title track, “Teenage Heartbreak”, “She Comes and Goes”, “Can’t Go Back”, etc. you’ll be hooked. Guaranteed!” – Mary Leary / DAGGERZINE

“Sorrows’ Arthur Alexander has said that their music is like ‘Abba meets the Sex Pistols.’ That concept may first strike you as an oxymoron, but when you hear Bad Times Good Times, you’ll realize it’s absolutely plausible, and it makes for some boisterous – and timeless – power pop songs.” – Jade Blackmore / BLOGCRITICS

“[9/10] Bad Times Good Times most likely describes the state of the band, how it’s all up and down, how their second album is just gone, and the fact that they never achieved the status they so deserved. Nevertheless, there are no “bad times” on this disc, and even if you have the original vinyl (like I do, of course!), you need to get this now.” – Stephen Rowland / POPMATTERS

FOR MORE INFO ON SORROWS:
http://www.bompstore.com/servlet/Detail?no=12072
http://www.facebook.com/#!/SORROWSnyc

FOR MORE INFO ON BOMP RECORDS:
http://www.bompstore.com

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

SOUNDS DEL MAR

Sounds del Mar are a hard-working party band making waves in Austin, TX. Their music combines a 1970s, Thin Lizzy dual-guitar attack with XTC-style vocal harmonies punctuated by warm analog synth tones. They have an undeniable sonic chemistry and their live shows are renown for wild excess and reckless abandon.

In early 2014, Sounds del Mar began as a quirky side-project compiled of friends who met working as sound engineers. It quickly grew into something more. With roots in Austin-based touring acts (The Gourds, What Made Milwaukee Famous, Dave Dondero, ‘Til We’re Blue Or Destroy), the four-piece have individually played stages at Fun Fun Fun Fest, SXSW, New Orleans Jazz Fest, the Moody Theater, Denver Day of Rock, and ACL Fest. Coming off highly successful Southeast and Midwest tours the band is looking forward to playing Austin City Limits Festival again on October 10th before heading Northeast on tour in support of their recently released debut album Miami Vice’n via Nine Mile Records.

Miami Vice’n was written, produced, recorded and mixed entirely by Sounds del Mar, with some gear on loan and a little help from friends including their man Alex Lyon, who mastered the album at The Bubble’s brand-new facility.

MiamiVice'n_442

FOR MORE INFO ON SOUNDS DEL MAR:
www.soundsdelmar.com
https://www.facebook.com/soundsdelmarband

FOR MORE INFO ON NINE MILE RECORDS:
http://www.ninemilerecords.com

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

SPECIAL TEAMS

SPECIAL TEAMS RELEASE THEIR DEBUT SINGLE “SUNFIRE” FEATURING KELLEY DEAL (THE BREEDERS / R.RING) ON VOCALS

Special Teams is a project curated by producer/dj King Baby Nuxhall. With a hip hop background and a bunch of friends in all genres of music, this song “SunFire” came about organically when Kelley Deal needed some help with a musical task she was working on with other musicians. It evolved into the song you have here. The experience was so much fun we decided to make more music. Future
singles will have different people guesting on each song. Some you will have heard of, some you may not. The goal is to have fun and make some twisted tunes!

Produced by King Baby Nuxhall & Kelley Deal
Kelley Deal, vocals and sewing machines
Mixed by Matt Boynton at Vacation Island Studio Brooklyn, NY
To order the digital single of Special Teams’ “SunFire” go to: https://specialteamsmusic.bandcamp.com/track/sunfire

MORE INFO ON SPECIAL TEAMS:
https://specialteamsmusic.bandcamp.com/track/sunfire

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

SULFUR CITY

CLICK HERE TO DOWNLOAD HI-RES SULFUR CITY BAND PHOTOS (CREDITS IN THE FILE NAMES) AND “TALKING LOUD” COVER ART

Fronted by singer/electric washboard player Lori Paradis, Canadian band Sulfur City comes roaring out of your speakers with echos of Grace Slick, Patti Smith and Janis Joplin. This is no wimpy chick rock! Sulfur City is the first female-fronted band on Alive Records, and their balls-to-the-wall, high-energy gritty style fits right in with label mates like The Black Keys and Left Lane Cruiser.

Raised in the small mining village in Northeastern Ontario, Lori’s lyrics reflect her life experience (she has been a truck driver on a construction crew, a bartender and a house painter, among other odd jobs). Talking Loud was recorded at the infamous Gas Station Recording studio by Dale Morningstar (Cowboy Junkies, Neko Case), and features Jesse Lagace (guitar/vocals), Steve Smith (bass/vocals), Sam King (drums/vocals) and Keith Breit (keys).

Sulfur City’s Talking Loud will available May 27th in limited vinyl, CD and digital formats through Alive Naturalsound Records.

FOR MORE INFO ON SULFUR CITY:
https://sulfurcity.com

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

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

THE SURE FIRE SOUL ENSEMBLE

THE SURE FIRE SOUL ENSEMBLE’S NEW STUDIO ALBUM “STEP DOWN” IS OUT NOW VIA COLEMINE RECORDS
 
The Sure Fire Soul Ensemble are definitely on a roll coming off of their third LP, Build Bridges, which debuted at #1 on Billboard’s Contemporary Jazz Chart.  Their new and fourth LP, Step Down, is a direct reflection of the heavy times they were written and recorded in.  Covid-19, two Presidential impeachment trials, the George Floyd murder and resulting social unrest, a seditious attempt to subvert the democratic process at The Capitol…  

With titles like “Step Down,” “The Other Side,” “Time To Rebuild,” “Omnificent,” “Love Age,” and “In Common,” SFSE uses their music to beautifully paint a picture of societal woes, but also points toward the solution and a better world.  Heavy Cinematic Soul, spiritual Jazz-Funk, upbeat Afro-Funk, and deeply introspective rare-groove cuts lace this ten-track transmission vessel.  SFSE is deeply defined by the sum of their influences, but always have their eye focused beyond the horizon as well.

We think this album will capture your heart immediately, but also provide the depth for discovery upon repeated listens. SFSE have made a true statement here, and we are very proud to present Step Down to the world.
 
The Sure Fire Soul Ensemble’s new album Step Down is out now via Colemine Records.

MORE INFO ON THE SURE FIRE SOUL ENSEMBLE:
https://www.sfsemusic.com

SWAMP DOGG

Maverick soul artist Swamp Dogg (aka Jerry Williams) has been described as the “soul genius that time forgot,” and “a strange combination of Sly Stone’s progressive funk with Frank Zappa’s lyrical absurdism.” In the ’70s he even made the famed Nixon’s Enemies List.Alive Naturalsound Records is proud to bring you Swamp Dogg’s first two albums, newly remastered and re-released for the very first time on vinyl since their original release in the early ’70s. Total Destruction To Your Mind (1970), has been called “one of the most gloriously gonzo soul recordings of all time,” while Rat On! (1971) was ranked as having one of the top ten worst album covers of all time, an achievement that Swamp Dogg is rightfully proud of to this day.

The two remastered reissues of Swamp Dogg’s early ’70s albums Total Destruction To Your Mind and Rat On! will be available on Black Vinyl and CD on March 5th. In addition, there will also be a very limited pressing of Colored Vinyl for both albums exclusive to mailorders through Bomp!

CLICK HERE TO DOWNLOAD & SHARE SWAMP DOGG’S SONG “IF I DIE TOMORROW”

CLICK HERE TO DOWNLOAD & SHARE SWAMP DOGG’S SONG “CREEPING AWAY”

“If your dog sleeps on the sofa, shits on the rug, pisses on the drapes, chews up your slippers, humps your mother-in-law’s leg, jumps on your new clothes, and licks your face, he’s never gotten out of character. You understand what he did, you curse while making allowances for him, but your love for him never diminishes. Commencing in 1970, I sung about sex, niggers, love, rednecks, war, peace, dead flies, home wreckers, Sly Stone, my daughters, politics, revolution, and blood transfusions (just to name a few), and never got out of character.” – SWAMP DOGG

“He sings like some unfrozen Atlantic soul man of the sixties – his voice clarion pure, his phrasing a model of smoldering restraint.” – ROLLING STONE

“He’s made some of the maddest, funny, baddest, odd, angry, funkiest soul records.” – MOJO

“Vocally, Swamp Dogg sounds like a cross between General Johnson (of Chairmen of the Board) and Van Morrison; as a songwriter, he’s his own man. With the exception of Sly Stone, no other soul men of the period were investigating controversial topics with such infectious musicality and good humor.” – AMG

FOR MORE INFO ON SWAMP DOGG:
http://www.swampdogg.net

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

SWARMING BRANCH

Click here to download a hi-res photo of Swarming Branch (photo: Ryan Miller) and Surreal Number album art

SWARMING BRANCH TO RELEASE THEIR NEW STUDIO ALBUM SURREAL NUMBER MAY 26TH VIA SOFABURN RECORDS

Swarming Branch is a band engaged in three seemingly disparate pursuits: elaborating folk music’s four-chord strum with complex extensions and substitutions, winking at the theater of glam rock from dive bar stages around the country without causing the cynics to spray beer out of their nostrils, and inviting the droning, unbridled tendencies of modal jazz to gradually displace rock and roll’s typical pentatonic shapes. You could say they aspire to become the modern Midwestern Steely Dan, even if they’ve only demonstrated a portion of the elder group’s range thus far.

The band’s name is a reference to both the nature of its membership, which is intentionally and perpetually in flux, and its sound, which features densely worded slant rhyme over intertwining, capricious, often improvised melodies. And while the group is based in Columbus, OH, it’s likely that none of its contributors are inside the 614 area code at this moment. Songwriter Andrew Graham installs art exhibitions between spells of working with Swarming Branch. And if times are lean, he just might hang new drywall in your dining room. Drummer Lon Leary, the only other permanent fixture of the group, splits time between waiting tables in North Carolina’s High Country and camping out in his late-’80s Toyota Van. Though pianist Dane Terry has graced every Swarming Branch recording thus far with his extraterrestrial keyboard stylings, he has seldom appeared live with the group since relocating to New York, where his 2015 musical theater production Bird In The House earned him the prestigious Ethyl Eichelberger Award.

On Surreal Number, Swarming Branch’s newest LP on SofaBurn Records, the group has temporarily suspended some of its formal experimentation to create a straightforward collection of ten songs. The album was conceived with the help of a Los Angeles team comprised of engineer Drew Fischer and producer Rob Barbato (Drinks, Kevin Morby, Peaking Lights, et al) and shows the Branch finding a thicker, synthesized, and more neatly arranged sound while keeping a playful yet assertive spirit that makes every song seem both unlikely and inevitable.

Swarming Branch’s Surreal Number will be available May 26th on limited vinyl, CD, digital and streaming formats via SofaBurn Records.
Click here to pre-order the limited vinyl LP.

MORE INFO ON SWARMING BRANCH:
https://www.facebook.com/swarmingbranch
http://swarmingbranch.tumblr.com

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

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

T-MODEL FORD

Recorded during a 14 show US tour this year, the groove on this new studio album is pure T-Model Ford. Backed by his regular touring band GravelRoad, and with stellar guest appearances by Brian Olive and Matthew Smith, Taledragger is a perfect party album with the feel and honesty of a night at the juke joint.

Despite a mild stroke in April 2010, T-Model still plays with an intensity and consistency that belies his age. Now 90-years old, the self proclaimed “Boss of the Blues” continues to show his strengths. Playing the blues is his life, he knows no other way.  The well-documented Bad Man can be noted to, at times, simply have it bad, man.

T-Model Ford’s new Taledragger album will be released on January 11, 2011 through Alive Records on color vinyl (limited to 900 copies), 180 gram vinyl (limited to 100 copies and available exclusively by mailorder through Alive Records), as well as CD and digital formats.

T-Model Ford is making up for lost time.  Twelve months after his excellent Alive Records debut The Ladies Man, the 90-something bluesman from the North Mississippi hill country is back with a vengeance on his latest album Taledragger. On superb retellings of blues staples like “Big Legged Woman” and closer “Little Red Rooster”, the fuzzy, thick-as-molasses, reverb-fueled blues-rock-chug of the trio menacingly oozes behind Ford’s blacker-than-blue cracked growl.  With a little help from his friends, T-Model Ford has once again walked into the studio and bettered himself.”  – Alan Brown / POPMATTERS

Ford has found a niche, partly because of his willingness to play the part of the hell-raising Southern Rimbaud and partly because his raw, unpolished sound touched a nerve among younger listeners whose tastes ran more toward punk. Despite his hard-living reputation, Ford outlasted all his contemporaries and has settled into a fertile period, with the new Taledragger being his third release in four years. It’s easily his most sonically diverse recording. On these eight tracks — a mix of originals, classics like “Little Red Rooster, and classic inspired riffs like the “Mystery Train” rewrite “Same Old Train” — the touches of saxophone, keyboards and guest guitars elevate Ford’s guttural growl to something on a par with Howlin’ Wolf himself.“ – Mark Jordan / GO MEMPHIS

“A spectacular blues record. While the boys in Gravelroad complement T-model’s personality and style, they never get in his way; instead, they combine for some dark and dirty blues tunes.” – James Orme / SLUG MAGAZINE

The entire eight tracks of Taledragger will leave you feeling like you’ve just dragged yourself bare foot across the muddy shores of the Mississippi. GravelRoad’s rhythm washes over you like an angry current while Ford’s aged voice soothes the soul like the sound of cicadas on a hot summer day. Taledragger has been produced for all the right reasons – for the love of music and to show anyone who’ll listen that T-model Ford still has gas in the tank.” – SPILL MAGAZINE

“Here with his touring band GravelRoad, Ford delivers a short sharp shock: eight songs, two hitting past the seven minute mark, closing with a nasty-edged Little Red Rooster. This is roadhouse blues which is sharp and stinging. “ – ELSEWHERE NEW ZEALAND

“With churning guitars, deathly slides and a terrific backbeat, Taildragger is classic Ford with its raw feel of a night at the juke joint.” – INNOCENT WORDS

“Recorded with Ford’s road band, Taledragger is filled with an intensity you’d never expect from a 90 years old blues legend!” – KEYS AND CHORDS

“… a fierce, raw intensity that penetrates to the bone.“ – NETHERLANDS BLUES MAGAZINE

“T-Model Ford’s latest studio effort, Taledragger, is a gritty, raw and, at times, extremely sloppy throwback to the heyday of “real” electric blues; with an emphasis on the work of Howlin’ Wolf. Its fuzzed out vocals and guitars as well as the ethereal tone of its backing organ, at times, pulls the album’s sound into the realm of Electric Mud psychedelia, but at its core, Taledragger is a rollicking blend of Chicago groove, juke joint jump, Delta rawness, electric crunch and good ol’ fashion ‘attitude.’ As a whole Ford delivers an interesting album that somehow manages to fill the void of ‘authenticity’ in today’s contemporary blues while providing a beefy hard-edge that is akin to bands like The White Stripes and The Black Keys.” – J. Blake / AMERIBLUES

“T-Model Ford’s joy for living seeps through every chord of Taledragger. That’s a particularly fortunate attribute, not only for his music but for fans of traditional Delta blues. As the number of that era’s bluesmen diminishes each year, savoring 90-year-old Ford’s robust tunes is especially sweet. The sparse but evocative set on this album includes only eight tracks but each is rich enough to make up for the small selection

A cursory listen to Taledragger might conjure up the sound of classic pre-war blues, but closer analysis reveals an expertly crafted contemporary blues album with strict attention to Delta roots.” – Rosalind Cummings-Yeates / ILLINOIS ENTERTAINER

“At ninety years of age T-Model Ford is still going strong, and his latest release on Alive Naturalsound Records, Taledragger, proves just that. Though T-Model Ford resides in the Delta, his style often leans more towards the hill country set, like Junior Kimbrough and R.L. Burnside, along with traces of old Chicago blues, like Howlin’ Wolf and Muddy Waters. But if one were to get right down to it, one would admit that T-Model Ford has long since developed his own unique sound; a sound which melds the traditional with the modern in a way that would have most singer/songwriters falling flat on their faces, but not T-Model Ford, who welcomes the challenge with a sly grin and a practiced hand.“ –  James G. Carlson / NO DEPRESSION

“The new album is a loud electric affair with dense instrumentation. The opening song, “Same Old Train” is a driving 7 minute long groove broken up by T’s singing, guitar solos, and some pounding piano courtesy of guest musician Brian Olive. This track broadcasts to the listener the essential difference between this album and the previous one – while The Ladies Man usually sounds like GravelRoad acting as a backing band with T Model front and foremost, on Taledragger, I’m hearing one seamless band of great musicians.” – NINE BULLETS

“Despite suffering a mild stroke last April, T-Model is fine form on his eighth album, Taledragger. Recorded in the studio during last year’s US tour, Ford is backed by his talented touring band GravelRoad on the eight songs which include a couple of Howlin’ Wolf tunes as well as others that have been covered by other legends like Muddy Waters, Champion Jack Dupree, and Jerry Lee Lewis. T-Model Ford is also joined by Brian Olive (Greenhornes, Soledad Brothers) and Matthew Smith (Outrageous Cherry, Volebeats) on a few of the songs, showcasing his raw and rugged vocals with heavy reverb laden guitar. Standouts include ‘Big Legged Woman’ which clocks in at just under 8 minutes and traditional blues closer ‘Little Red Rooster.’ Taledragger is sure one of the best blues releases this year.” – J. Felton /  RECORD DEPT.

“What Ford, Olive, Smith, Alexander, and the rest have wrought on Taledragger is a modern blues album with primitive roots. The tension works. It’s a far more interesting recording because of its “impurities” — paradoxically, making it a far more “authentic” blues record because it is linked to multiple historic traditions simultaneously. It’s exponentially more enjoyable and exciting as blues than anything coming out of Chicago in the 21st century.” – Thom Jurek / ALL MUSIC GUIDE

“There’s plenty to like about Taledragger. Many of the songs here are covers, and some are pretty close rewrites of blues standards. For instance “Same Old Train” sounds a lot like “Mystery Train,” while “Red Dress” is basically a mutant cousin of Tommy Tucker’s “High Heel Sneakers.”

I’m not sure who wrote the most moving song on the record — “I Worn My Body for So Long,” but T-Model makes it a personal testimony to his age and mortality. He sings it like a lonesome ghost, while the slide guitar evokes images of Mississippi graveyards. It reminds me of Kimbrough’s “Done Got Old.” But T-Model sounds more defiant.” – Stephen Terrell / SANTA FE NEW MEXICAN

[9/10] “At approximately (he’s not sure) 90 years of age, T-Model Ford bursts out of the box on his second Alive Records outing like a banty rooster anxious to shake his tail-feathers all over anyone crazy enough to block his path. Rather like his former labelmate R.L. Burnside (both recorded for Fat Possum), Ford has grit ‘n’ gravel to spare. Also like Burnside, especially when electrified, Ford plays the kind of mid-tempo, butane-soaked boogie that could hypnotize a snake: this is the stuff from which a poor man can concoct a few hours of nirvana. Really, it’s this simple: For anyone who craves the kernel at the core of blues-with-a-beat; a kernel at the heart of much great rock ‘n’ roll, Taledragger is essential.”  – Mary Leary / BLURT

“Make no mistake; Taledragger is a BLUES record with a capital B. Based around grooves, grunts and guttural yelps, it’s relentlessly live and relentlessly real, landing somewhere between Howlin’ Wolf’s London Sessions and RL Burnside and it’s happy to sell its soul at any crossroads pact you care to mention. It’s a record with the weight of almost a hundred years of hard slog on its shoulders, but at its best it stings, slashes and burns with an impressively youthful vigour. Records documenting life and how to survive it only rarely sound as exhilarating as this.”  – Tim Peacock / WHISPERIN & HOLLERIN / UK

“An approximately 90-year-old ex-convict has persuaded hipsters everywhere to pretend to give a fuck about Mississippi blues, and that’s not even the most interesting thing about T-Model Ford. His live performances border on shamanic, and 10 percent of those hipsters will end up actually giving a fuck about the blues. Indeed, T-Model’s terrifying life story is less relevant than his music. So if you enjoy juke-joint jostlin’ and smoky-cool Delta blues, or if you’re captivated by their novelty, you’ll dig Taledragger. Especially “How Many More Years.” Hinging on a distorted, crunchy, low-end riff, it makes a perfect anthem for shooting heroin in a dive-bar bathroom.” – Barry Thompson / BOSTON PHOENIX

“T-Model’s got all the credentials you’d hope for in a Delta blues player, and his bio’s veracity isn’t necessarily important as long as you can hear his life experience in his work. His latest, Taledragger, is performed with his band GravelRoad and takes a page from the style of R.L. Burnside.  His compositions have an unmatchable gravity… “I Worn My Body for So Long” and “How Many More Years” are as heavy as their titles, and work not by evoking a sense of pain or stoicism, but by demonstrating a peace with what is. Elsewhere, crunchy, imprecise drums drive murky, distorted vocals and feedback-drenched guitar, which don’t recall Muddy Waters so much as Woodstock-era psychedelic rock players. (The sound may actually remind younger listeners of Built to Spill’s Perfect From Now On.) Like T-Model’s personal history, Taledragger is a difficult story to unravel, but one that succeeds on its bullish affability.” – Ben Westhoff / WASHINTON CITY PAPER

“Following up on a the 2010 T-Model Ford & GravelRoad’s release The Ladies Man, The Man and his band are back to kick off 2011 in that pure unadulterated North Mississippi Hill Country style. Showing that he has rebounded nicely from a stroke, the 90 year old Ford is back in fine form complemented perfectly by the GravelRoad trio and a host of special guests.”  – BOSTON BLUES

“Despite suffering health setbacks, at 90 years of age T-Model’s still cranking out some ferocious sounds.” – BLUES IN BRITAIN

“One of the last of the Mississippi Delta bluesmen, T-Model Ford’s unique take on the music is an inspired mix of rough-n-tumble, Delta-born juke-joint jams and stripped-down Chicago style blues, with a side helping of the hypnotic Mississippi Hill country rhythm. His music is raw, raucous, and as close to the primal Delta sound that you’ll find these days. Taledragger promises to offer more of the same…. a new bluesy assault on our senses”  – Reverend Keith A. Gordon  / ABOUT.COM: BLUES

“T-Model, at 90 years old, is one of the rare modern bluesmen who sounds like he belongs in that golden era of gritty blues. Along with maybe Junior Kimbrough no one has made the blues as vital as T-Model Ford in the last decade.” – INDIGEST MAGAZINE

“90 year old blues man T-Model Ford is keeping the blues alive on his new album Taledragger. If you like Muddy, The Black Keys, RL Burnside, John Lee, Howlin’ Wolf, The Doors, Jon Spencer, Reigning Sound and so on, you’ll dig the sounds of T-Model Ford and his band GravelRoad. – Bruce Warren / WXPN RADIO / SOME VELVET BLOG

“… bringing back golden era-esque blues craftsmanship.” – PASTE MAGAZINE

At the age of 90-years old T-Model Ford is still bringing down the house with his original blues sound.” – THE NOOB NEWS

“Gritty, raw and real have been used so many times to describe blues musicians throughout the decades that it almost seem insulting to use them now, but when a 90-year-old man playing a fuzzed-out guitar sings about putting his foot in your ass, terms like that are bound to come up.” – NO DEPRESSION

Even at the ripe old age of 90. Mr. T-Model Ford is still touring, keeping the juke joint blues vibe alive with his primal, hypnotic blues.” – SYNC WEEKLY

Classic sounding blues.” – PLUG-IN MUSIC

T-Model Ford is one of the last surviving great bluesmen, so we were all a-twitter when we heard this taste of his forthcoming album Taledragger. It’s a sultry soundtrack for a night at a juke joint, and a really promising sign that he’s still got it.”  – FLAVORWIRE

 “This is blues!” – RAPMASH / BOSTON

‘”T-Model Ford is ninety years old and could probably mop the floor with our current roster of auto-tuned R&B hacks. Though I’d rather not belabor the point about old vs. young, hearing a ninety year old blues man strum a guitar and kick-out something genuine makes you wonder when popular culture lost the plot and settled for third-rate.” – LETTERS FROM A TAPEHEAD

FOR MORE INFO ON T-MODEL FORD:
http://www.alive-totalenergy.com/x/?page_id=1054
http://www.myspace.com/tmodelfordandgravelroad

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

TEDO STONE

CLICK HERE TO DOWNLOAD HI-RES PHOTO OF TEDO STONE & BAND
[L-R]: Frank Keith IV, Tedo Stone, Grafton Tanner, Clay Houle [photo:Maggie Gibson Blauvelt]

The first time Tedo Stone ever set foot in a recording studio, he walked through the doors of Atlanta’s Glow-In-The-Dark Studios with a loose assemblage of backing musicians in tow. The location was well beyond their means, but they were working in the middle of the night in Studio B with an intern engineer at the boards. As mics were set up, they ran through the tune they were about to cut, one of Tedo’s newest, an anthemic ’70s-glam march called “War.” Just then, Grammy-winning, multi-platinum record producer Matt Goldman was wrapping a session in Studio A. Something unexpected caught his ear, and he followed the sounds straight down the hall to Stone and his buddies. “He thought we sounded like T. Rex,” Stone says.

Before the players realized what was happening, Goldman had sidelined the drummer, jumped behind the kit and taken over production of the session. “We’d never even considered working with Matt,” Stone says. “You couldn’t touch him—he’s part of this other world I had no idea about where he’s like God.”

By 9 the next morning, they’d recorded and mixed a powerful track that would ultimately end up on Stone’s forthcoming debut LP, Good Go Bad – and they forged a lasting bond in the process.

This all went down in July 2011. Not long before, though, Stone was in a bit of a limbo. He’d just finished college at Ole Miss, and wasn’t sure what he was gonna do next. To get his head together—and because it sounded like a good time—he booked a flight to Hawaii, and ended up crashing on a buddy’s couch in Maui for a couple months. After some serious pondering, he decided to put all of his effort into music. Of course, touring tiki bars playing Jimmy Buffet covers wasn’t exactly what he had in mind, so he packed his bags and headed back to the mainland.

“Being in that environment, on island time—it helps paint a clearer picture when you’re trying to evaluate something,” Stone says. “There’s nothing clouding what you’re trying to do. As soon as I got home to Atlanta, I went straight into the studio at Glow-In-The Dark.”

After co-producing “War,” Goldman had plans to record a whole album with Stone, but when scheduling became a problem, the project was temporarily shelved. Not wanting to lose momentum, in November 2011, Stone took a more fleshed-out, gig-tested lineup with him to Athens, GA, to record with legendary producer/engineer John Keane. “Being in that room where so many classic albums were recorded—Uncle Tupelo, R.E.M.—it was an incredible experience,” Stone says. “The place had this presence. We were a little taken aback by the whole thing.”

The hyper-efficient Keane shot the band out of a cannon, and after four intense days of live tracking, they’d finished their debut EP, Happy (released on Southern indie label This Is American Music). “John moves so fast, it creates an honest sound,” Stone says. “He never got in the way of a creative moment by us having to wait for him, and he pushed us the whole time—we were trying to keep up with him.”

To support himself and help pay for all this studio time, Stone took a day job as a technician for his older brother’s durable medical equipment company. When people are discharged from the hospital, Tedo sets up their oxygen or delivers a wheelchair to their house. “It’s rewarding,” he says, “but I’m always surrounded by people who are dying.”

His experiences on the job helped create a mindset that inspired many of the songs on Good Go Bad. “It’s really where the concept for the new album came from,” he says. “Life and death, in a broad sense—trying to avoid death and getting old. And it’s not just a physical thing; it’s mental thing. People can be old at a young age, or young in their later years.”

After a while, Stone was much closer to seeing things from the perspective of all the elderly folks he’d been assisting. “I can’t help but think about where they are, and where I am,” he says. “At that point in your life, there’s not a lot of doing left, not a lot to look ahead to, so you start reflecting on time spent. Realizing that while you’re still in your 20s makes you more proactive about what you really want. It motivates you to start creating something you’ll be proud of when you look back.”

You can hear this carpe-diem passion in Stone’s new record, which he recorded with Goldman and longtime bassist Billy Lyons. It’s in everything from the anthemic rockers to the little whispered ukulele ballad Tedo recorded on his cellphone back in Hawaii and ended up using as-is. It ripples through the pensive, psych-tinged bedroom pop numbers, awash in shimmering modern synths, tied in a bow with precise little mathematical guitar & keyboard hooks. The production on Good Go Bad recalls post-R&B Brian Jones-era Stones in that every track has at least one completely unique sound to set it apart. And throughout, Tedo drops cryptic little couplets—lines that boil T.S. Elliott down to the simple essence. Any English major worth their salt should see the parallel between the former’s “You gotta be awake to get the covers off / You gotta be awake to make a miracle” and the latter’s “Do I dare disturb the universe? … Do I dare to eat a peach?”

Most of all, though, the passion is in Stone’s expressive, instantly recognizable voice. Not many indie rockers can pull off his soul-inspired approach, repeating lines over and over, varying the melody and phrasing slightly each time, so as to juice every last ounce of meaning from them before moving on.

“I think this album has a lot more personality and depth than anything I’ve done before,” Stone says of Good Go Bad. “For me, recording has a lot to do with documenting my time here on Earth. I don’t keep a diary or anything like that. But building a catalog and being able to look back and see where I’ve been in life and as a songwriter, that’s important to me.”

TedoStone_EricPetersenBW442

Tedo Stone’s Good Go Bad will be released on CD and digital formats on July 9th through This Is American Music.

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Good Go Bad Tracklisting:
1. Big As The Ocean
2. Good Go Bad
3. Taste
4. Who
5. Back Again
6. Circles
7. High
8. Time
9. War
10. Downtown

FOR MORE INFO ON TEDO STONE:
http://tedostone.com
https://www.facebook.com/tedostone

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

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

POPMATTERS PREMIERES PAUL COLLINS NEW LP “FEEL THE NOISE”!

Paul Collins – ‘Feel the Noise’ (album stream) (Premiere) by Brice Ezell.

Fans of rock and roll at its most vintage should give Paul Collins’ retro Feel the Noise several listens.

Paul Collins sounds like a guy who not only loves rock and roll; he sounds like he’s spent his whole life living it. Feel the Noise, his latest studio effort, captures the spirit of a musician who has grown comfortably into his style. After years of playing in power pop groups like the Nerves and the Beat, Collins has continued to smartly integrate the distorted side of his rock and roll with a keen ear for affable hooks.

Collins tells PopMatters about the album: “As we get closer to the release of Feel The Noise, I am getting very excited! So far the reaction to our video of ‘I Need My Rock n Roll’ has been fantastic. Feel the Noise is a simple straight ahead rock ‘n’ roll album, as anyone who knows me knows I try my best to serve up tasty power pop songs and I think with this record I will get good marks from my fans. I will be spending a lot of time out on the road bringing this record to everyone I can!”

Feel the Noise is out on September 9th via Alive Naturalsound.

CLICK THE LINK BELOW TO LISTEN TO THE PREMIERE OF FEEL THE NOISE VIA POPMATTERS…

http://www.popmatters.com/post/185368-paul-collins-feel-the-noise-album-stream-premiere/

TERRY OHMS

Click here to download a new hi-res photo of Terry Ohms (photo credit: Tammy Ohms) and Shmo Yertyr album art

BIRMINGHAM, AL PSYCH-ROCK MUSICIAN TERRY OHMS TO RELEASE HIS NEW STUDIO ALBUM SHMO YERTYR ON APRIL 22, 2022 VIA CORNELIUS CHAPEL RECORDS’ NEW LABEL IMPRINT MIND BLOW RECORDS

Wes McDonald AKA Terry Ohms has a new album on the way called Shmo Yertyr and he is from Alabama. Birmingham, AL. Stop thinking what you’re thinking! Stop the geo stereotyper in your head for a minute. Stop the natural flow of impressional images of fake Christian politicians, crooked thinkers, low shurkers, backward drawlers and deep fried gentrifiers. No no no. Terry Ohms ain’t that kind of grifter. There are some damn fine people in Alabama. As there are some damn fine musicians under the twangy cloud cover in Birmingham. They’re just not talked about as much as they should be. And this isn’t an Americana album that Terry is trying to sooth you with. This isn’t pastoral lollygag. It’s something else . . 

Shmo Yertyr is Terry Ohms’ newest LP of a 20-plus-year history releasing albums that have an amusing multiple personality, including but not limited to, indie rockers, Americana clamors, and electronic slammers with light and dark and crazy sneaking through the windows of this weirdly accessible artist.

“Oh OK, I got it. This is some wacky guy with a keyboard and a computer that throws in ironic country licks where they shouldn’t be.”

Nope. These are heartfelt songs presented and sung in an interesting way. Not really country at all. Southern? Yes. That’s where it comes from. How could it not be? It’s fun, but not in a cut-off jeans kind of way. It’s more like the fun you’d have in a tutu and a trucker hat. You might dance. You might cry. You might laugh. You might freak out.

This is the 11th Terry Ohms album from Wes McDonald. And the fourth in three years. His past lives include being the frontman for the much lauded Birmingham rock band, Vulture Whale and twangy punks, The Ohms (Athens, GA). When Wes isn’t doing Terry stuff these days, he is playing the drums in indie psych band, People Years, The Blips and Les Nuby’s band.

Shmo Yertyr is out April 22nd on Mind Blow Records.

FOR MORE INFO ON TERRY OHMS:
https://www.terryohms.com

FOR MORE INFO ON CORNELIUS CHAPEL RECORDS:
http://www.corneliuschapelrecords.com

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

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