Some intriguing thoughts and comments from LISA below to accompany 'Primitive Us'. It's a gorgeous song full of melodic hooks whilst individuality brims through. From Rose Ette we have the title track from their 'Ignore The Feeling' album. It's one of nine songs and I have also included 'Skin', between them they give a good feel for bands highly engaging brand of rock. Yesterday Louien released 'Be Forgiven' and it's a fabulous singer-songwriter piece where both her refined vocals and the imaginative musical arrangement are outstanding.
LISA - Primitive Us.
“Primitive Us” is candy coated razor-blades. “Primitive Us” is phoney feelings. “Primitive Us” is dangling carrots. “Primitive Us” is self destruction. “Primitive Us” is winning big and then losing it all.
I think we’re happy to let the wool be pulled over our eyes. To sleepwalk through life a little. But as we all know, wool is hella itchy and at some point those blinders need to come off. I don’t want to know the secret behind the magicians tricks, I want to enjoy the illusion. Consciously purchasing a ticket to the magic show, then leaving it behind once the curtains are drawn and the lights go up.
“Primitive Us” explores the claustrophobic feeling which is sometimes symptomatic of living on the grid in today’s world. Constantly plugged-in, bombardment from every direction, disconnection from ourselves and each other. Lack of control, lack of purpose, mental/environmental pollution, and the realization that what you see is rarely what you get or what you need. This song was written and first demo-ed among the trees, very much off the grid at a cottage in northern Ontario.
What percentage of your day is filled with meaningful interaction vs. distraction? Are we in charge of our lives or just slaves to the inevitable? In order to create, must you destruct?
Rose Ette are a dream-pop meets post-punk band out of Houston, Texas who run their own label Miss Champagne Records and have been putting on shows in Houston for years now building the scene there.
Back in August, the gang picked up a limited run of Ignore the Feeling LPs before their day show at Athens Popfest. Right after their blissful set at Little Kings Shuffle Club, folks piled up at the merch table for a copy, and the line backed up to the patio.
Our protagonists have allured many a crowd in the past three years, jumping on bills with Deerhoof, Fred Thomas, Dressy Bessy, and La Luz, to name a few. Like a heart possessed by either desire or stress (or both at once), these illusionists don’t stand still.
Of course, all love-weary prose aside, Ignore The Feeling simply snaps a deceptively rosy thumbnail of a band in flux. And while Rose Ette might stand up for the silenced lover, don’t expect Vicinanza and her crew to soften their own voice any time soon.
Louien – AKA Live Miranda Solberg – returns with new music in the form of latest single Be Forgiven. Taken from an album set to emerge later this year on revered Norwegian label Jansen Records, Be Forgiven forms part of a new works that explores how the process of mourning and grief can change a person’s outlook. It focuses not only death, but isolation and separation in general. Live’s ability to marry these themes with delicate and intricate melodies make Be Forgiven an immediately rewarding listen.
Live comments on the single; “This is a song that was easy to write, but so hard to revisit. It's about this beautiful moment that never got to grow into something more, and we never got to realise this new turn in our relationship. It’s a song about reconciling with a loved one you’ve been estranged from for a long time. The situation has gotten so complicated that you’ve lost sight of what is really wrong. But then that moment arises when you both realise how much you’ve missed each other, and how much you both have grieved because of it. You let go of the bad things in the past to give way for the love you have for each other.”
About the album, she continues, “Grief allows for beautiful things as well - love and hope, for instance - and you really get in touch with your own feelings. But this album is probably more about the first phase of a grieving process – hopelessness, isolation, anxiety and depression."
It would be easy to get carried away with the multi-national make up of Oya Paya, or even their genre spanning musical styles, but as 'Fly' demonstrates, they make very fine music which is cool enough for starters. The Chats video for 'Pub Feed' is coming up towards 250 thousand views in just five days, it's fun, their music vibrant and full of youthful energy - makes me feel my age and some. By contrast Matt Perriment shares a tender folk song that exudes emotion and feeling. Kate Schell's new album 'Past Present Future' is quite splendid, her singer-songwriter talents shining through, along with her artful musicianship.
Oya Paya - Fly.
Based out of Liverpool, but counting four countries of heritage amongst the three members (Singapore, France, Iran, England) Ashwin, Maxime and Saam AKA Oya Paya are products of both the vastness of the material world and the intimate interconnectivity the internet brings.
Beleaguered by geographical distance after drummer Ashwin ran into visa issues and returned home to his native Singapore, Oya Paya would be forgiven for feeling sorry for themselves. However the three-piece take life’s frustrations and turn them into key inspiration for their music. Belying the troubles, both serious and small, that they riff on their tunes are technicolour sonic affairs, always accompanied by self-designed otherworldly cartoon art and oddball humour.
This being the case, the genre-bending trio cover odes to immigration woes, abused generosity and flying away to escape the 'man' across 6 vibrant tracks on new EP Som. Psych freakouts, skittish poly-rhythms, catchy 90s leaning pop hooks and even nudges to hip-hop make for a ear-opening listen.
This patchwork approach to genre is reflected in the songwriting process. The songs are weaved together bit by bit between the UK and Singapore, or wherever each individual happened to be at any one time. Constrained entirely to their bedrooms, the entire project sticks to a DIY ethos, including artwork and visuals.
With Ashwin available to visit the UK for a few months, Oya Paya have been strutting their stuff on stage once again as a three-piece to acclaim, without the need for fibre-optic cables and WiFi linked projectors. They're celebrating the release with their debut Liverpool headline show on April 11th, at the Zanzibar Club.
The latest single from the Sunshine Coast’s biggest export since The Crocodile Hunter (RIP) is an is an ode to spending the arvo at your sticky carpet local after a long day on the tools, nursing a coldie while waiting for the bistro to open because you’re hanging for a chicken schnitty with chips. Y'know. Relatable stuff. Perfect for your weekend.
Forming in 2016 in their mates bong shed, The Chats quickly came up with a set of catchy pub punk anthems. ‘Smoko’ came first, and mayhem followed. Now reaching over 6 million views, the tune has lead to a whirlwind touring schedule of 2018.
First, a mammoth tour of over 40 dates with drunken uncles and godfathers of grunge, the Cosmic Psychos, followed not long after with a personal request by Josh Homme to open for the Queens of the Stoneage across Australia. According to Homme, he was sent the bands video from Dave Grohl, and watched it a ton of times with Iggy Pop.
Life is strange. The Chats announced their debut tour in the motherland of the UK in October, which much to the bands shock, all sold out in a day. Agents scrambled to move all shows to larger venues, seeing the boys playing sold out shows in infamous rooms such as the Electric Ballroom in London, Academy 2 in Manchester and Institute 2 in Birmingham.
Not bad for a couple of 19 year olds who’ve never been outside of Australia before. With a ton of new material, and what feels like a couple of hundred bloody gigs now under their belt, the boys eyes are set heavily on world domination –as long as the beer is cold and the pies are warm.
Matt Perriment originally established himself in the South England festival scene with his folk-influenced song-writing and emotive lyrics. With rising choruses that nod to acts like Bears Den and Ben Howard, Perriment captures the best of the current indie folk climate without ever sacrificing individuality. After successful debut EP ‘Everlast’, two sold-out headline shows in London and 4 international headline and support tours, Matt Perriment returns with a new single from his upcoming ‘Memos’ EP set for release 22nd March 2019. With support from BBC Introducing, Spotify editorial, and placement in various singer-songwriter charts, Perriment is set to make an impact with his new body of work.
‘Memo’s’ first two singles ‘Oceans’ and ‘Promise’ came out in late 2018 and early 2019 respectively and introduced an expansion of Perriment’s signature sound. The soundscape is bigger, with haunting keys, textured strings, flavours of ambient electric guitar, and vocal delivery that strikes with undeniable sincerity.
New single ‘Distance’ explores the distortion of memory that occurs in the temporal space between a past relationship and the present. As Perriment describes, “Distance is about the way we look at our first love, and how we idealise them in our minds. Seeing them again so many years later, you realise that they are no longer the person you once knew, they’ve changed, they sound different, but yet you hang onto this image of who they once were, despite it all being fiction in your head.”
The lyrics express the difficulty of coming to terms with the change in someone you used to know and having to negotiate your idealised vision of them with the new reality that’s facing you. Musically, the instrumental matches this melancholy sentiment with stirring strings and finger-picked guitars that move in unison with Perriment’s expressive vocal.
Kate Schell is a singer-songwriter and multi-instrumentalist based out of Chicago, Illinois. The origins of her music are deeply rooted in her varied life experiences. When she was six years old, she started piano lessons and joined church choir. Eight years later, she began writing her own music. This was also the year her brother, Greg was diagnosed with leukemia. Schell turned to songwriting to help cope with her younger brother’s diagnosis. This experience led her to create her debut album, Emptier Streets (2005), which was released under the name “Katherine Schell.”
While in college, Schell garnered many accolades for her work, including winning the prestigious 2005 International Songwriter of the year award benefiting VH1 Save the Music and Billboard songwriting awards. Schell performed the first song she had ever written, “Come to Me,” live on KISS 103.5 FM in Chicago in 2005. She was also a featured national anthem singer for the Chicago Cubs, White Sox and NASCAR races in front of over 400,000 people. Schell graduated from Loyola University of Chicago with a double major in music and philosophy. Her music major concentration included classical piano, classical opera and composition. Her style is an eclectic blend of classical, folk and electronica. Some of her biggest influences are Bat for Lashes, Bjork, Emily Haines, Tori Amos and Cat Power.
After college, Schell started a band called “Paper Thick Walls,” who were named one of Chicago’s top five emerging artists by the Deli Chicago and Chicago Magazine. PTW was described as a “sweet miss-mash of influences from Wilco to Sufjan Stevens,” with “a bit of Cursive’s dramatics and a dash of the boldness found in bands such as Broken Social Scene and Arcade Fire” (Loud Loop Press). The band’s 2011 debut record, A Thousand Novels, claimed numerous “Best of 2011” lists and over 150 positive reviews. Following the successful press reception, Schell and the band spent the year touring over 100 cities in the US and Canada, moving more than a thousand records with their own hands and playing with touring bands such as The Lumineers, Company of Thieves, Mutts, Drive by Truckers, Joe Pug and the Smoking Popes. The band played major music festivals including SXSW, NXNE, CMJ, Mid-Point Music Festival and Summer Fest. In addition to the rigorous touring schedule of 2012, Schell played a lead role in a full-length feature film premiering in 2013 entitled “We Grew Up Here.” Schell co-wrote the soundtrack to that film. Schell left the band in 2016 due to creative and personal differences.
After the band break-up, Schell decided it would be best for her to take some time away from the music scene to focus on herself and her writing. This time of reflection led to the creation of Past Present Future, a compilation of songs that were written but not recorded (until now) over the past 10+ years. Our past and present blend to create our future, much like a phoenix dying and then rising from the ashes with a new life. This concept is captured on the album by having some untouched old songs, some untouched new songs and some that fall between the two. Because this structure captures years of her growth as an artist, you can hear the transformation of Schell’s songwriting style change, often within a single song.
It was back in 2017 when we first featured Pocket Of Lollipops and 'Non-Friend Friend' is a welcome albeit brief return with a sub two minute addictive rocker. Lenny Bull shares a slick rocker that fires plenty of hooks along the way. The Spring Peaks 'Coming Of Age' is one very catchy rocker, the video adds even more, and the vibe is wonderful. Just over a month since Grace Aclanda first appeared on Beehive Candy she is back with 'Fuming' where once again her vocals are stunning and the musical backdrop imaginative. Jesper Lindell impresses in a big way with 'Stormy Waters' a beautiful song with more than a hint of Van Morrison which can't be bad.
Pocket Of Lollipops - Non-Friend Friend.
A Pocket Of Lollipops has dropped the music video for their song 'Be My Non-Friend Friend', the title track from their upcoming 6th album of the same name. The album is just released, nd comes as a celebration of the band's 10th anniversary of their first ever performance (at Lisa Rockford's AntiValentines Day Party in 2009).
The psychedelic visuals of the video, produced by Michael Goodson, match the band's Avant-guard aesthetic, fully submerging the viewer in mind-altering stimulus. Just as the band's unique sound explodes conventional expectations, so too does their video, as they continue to expand our creative norms and horizons.
"The song is a meditation on releasing oneself from the ego, and self-consciousness and allowing for playfulness. Break down the barriers you put up; sweat on sunny days with no clouds in the sky, riding horseback with both bullies and friendlies. Reshape your relationship to yourself and others" - Pocket of Lollipops.
With the footage recorded at Kendale Lakes Park & HoundsTooth Cottage, the collage of vibrant colors and tropical images drenched in effects almost induces a palpable psychedelic reaction. Let the video draw you into the band's trippy and tropical scape.
Sometimes mischievous, sometimes provocative, sometimes humorous. The songs I write dive into relationships, getting over yourself, and not taking any bull. “Don’t Talk About It” is a tongue-in-cheek message to anyone out there who’s spreading rumours or talking trash.
It’s a reminder to not be bothered by what people say or think. The “Don’t Talk About It” video was directed by Zeebrah Media’s Ryan Brough.
It’s a day in the life of a very disgruntled, very lazy office employee, who would rather be anywhere else.
It pokes fun at what we have to do to make ends meet, in order to do what we love. With the release of my debut Sharp Teeth EP on April 25th, my band and I plan on conquering the open road - Lenny Bull.
Perth's The Spring Peaks return with new single - 'Coming Of Age' - a jangly yet analytical ode to a troubled relationship. It's the title track to the band's forthcoming second EP which they'll imminently celebrate with a trio of regional WA shows next weekend.
"I know we're talking but are we still talking the same." It's not until you dive deeper into the lyrics of The Springs Peaks' latest single that you realise they're not as fun as they sound. 'Coming Of Age' cleverly runs the gamut of a relationship in turmoil - but spoiler alert - our protagonist emerges with the best possible outcome after the heartfelt message in the bridge.
Produced once again with Sam Ford (Pond, Abbe May), the track packs a punch from the get-go, wearing everything that is great and quickly becoming signature for the Western Australian outfit loudly on their sleeve - hooky, honest and clever songwriting, solid lead guitar, a warm rhythm section and a bold Australian twang in the vocals.
They reveal: "The direction came from our fun nature that we share and just our general positive attitude towards life and bands such as The Creases really inspired us to write classic pop melodies with most of the lyrical content based around the general theme of love and love that has been lost."
Hounslow, London based producer + singer Grace Acladna is releasing new single and video 'Fuming' - lifted from her upcoming second EP Phonophobia. Fusing inspiration from a variety of different sounds and genres including nu-house, soca, electronica and dub; 'Fuming' was written during the aftermath of a breakup between her friend, and her friend's ex.
"There was something quite sinister about the whole thing. This song is my portrait of her - the verses portray the cool subdued exterior and the choruses reveal a pain stricken heart that cloaks itself in fear, rage and envy." Grace said. "She had this aura of contempt and angst that followed her everywhere she went. It was almost like you could smell the smoke coming off her,"
Carefully developing her vibrant experimental pop sound since her last release - ’Phonophobia’ - due for release this Spring via Hometown Records, takes the listener on a journey through the universal themes of love, loss and longing. From the euphoria of the first encounter; the genesis of desire and yearning, the heartbreak of rejection, to the dark abyss of loneliness, sensuously revealed above techno-house-pop rhythms.
The video for 'Fuming' was co-directed by Grace, and her friend C.O.M.M - and was inspired by an un-released Henri George Clouzot film called 'Inferno'. Speaking a little more on the inspiration behind the video Grace said: "He [Clouzot] did endless test shoots using kinetic art to find new ways of portraying character's emotions, playing with light and different filters to show the actor's descent into delusion. The film is about a man who is convinced that his wife is cheating on him, which sends him spiralling into envy induced madness. Not only is it visually beautiful but the theme of the film had similarities to the sentiment of the song - which is also why it inspired my vision for the video."
Jesper Lindell debuted with the EP ”Little Less Blue” which contained the hit single ”Moving Slow” featuring the Swedish sister-duo First Aid Kit.
The EP was produced by the duo’s father Benkt Söderberg and was well received by music media. ”Mowing Slow” was featured on multiple Spotify-playlists and has today streamed over 3,1 million times.
2019 he is back with his first full-length album. In the coming weeks, three singles will be released before the album reaches the listeners in May. The first single "Stormy Waters" from Lindells debut album is out today.
“It has been a long process. My first EP took almost two weeks to record. This time, I really wanted to spend time in the studio - to experiment and develop" - Jesper Lindell.
Madelline gives us her background to 'Ghost' just below, I would add it's a dreamy indie pop song and her vocals are beautifully soulful. We featured Magnetic Skies for the first time in January and they have followed up with 'I Am Your Friend' a smooth lush synth rock piece. With dual vocals and a feisty rock vibe Gaffa Tape Sandy have been getting plenty of attention and 'Headlight' is a good example of why. Andrew Rinehart's 'They Say' is accompanied by a very personal video, a wonderful companion for the nine minutes of absolutely gorgeous music. 'These Wicked Things' is the title track and one of fifteen songs on Beat Circus's new album, an epic collection of tracks as typified by the featured piece, a small glimpse of the whole. JW Riley has released the very impressive 'Homesick' where genres blend together, to create a mixture of rock sensibilities with a clear individual identity. Lucky 757 share some delicious rockabilly music with all the swagger and class associated with this timeless and natural rock and roll music.
Madelline - Ghost.
“Ghost” is an anthem for embracing solitude.
The song was initially formed as I felt overwhelmed by loneliness. It’s about emptiness – being surrounded by people but not feeling understood, listened to, or seen. It’s about social anxiety. It’s about feeling unwanted.
Stefano Pando produced the track, and we arranged it as we went. I went into the studio with a rough melody to freestyle over. I think freestyling is awesome because it lets a lot of things come up from your subconscious.
If you feel anxious or lonesome, I hope that “Ghost” comforts you. It’s okay to be a lone wolf, but remember you are never alone with your feelings. Life is about making peace with your journey - Madelline.
Madelline is a singer and songwriter from Connecticut currently living in Montreal.
Synth-rock band Magnetic Skies’ debut EP, “Dreams And Memories”, was released yesterday via ReprinT Records.
Magnetic Skies formed in early 2018 when singer-songwriter Simon Kent and vocalist/programmer Jo Womar were commissioned to collaborate for a one-off arts/charity live show. During rehearsals the pair discovered that they had a common love for electronic music and mapped out dates to experiment with writing songs for a potential band project. Simon’s latest solo album had received airplay on national radio, and live shows included touring with established artists like Echo & The Bunnymen, Emma Stevens and The Christians - but things went so well that he decided to take a hiatus to concentrate on the new project.
Simon says, “the Magnetic Skies songs took on a life and direction of their own, everything just flowed. Although I had a great band and backing at radio, sometimes you just have to follow your instinct and your heart. And this is where my heart wants me to go.”
Songwriting over the summer resulted in a selection of songs ranging from melody-driven electronic pop to atmospheric ambient songs which form the basis of 3 EPs the band will release in 2019, with a full-length album to follow. Jo says, “writing the songs has been a really exciting adventure! I have a really cool collection of analogue and digital synthesizers, which are the foundation for the tracks. Simon can play a bit of everything, so he was able to contribute keys, guitars and bass to finish everything off.”.
Raucous garage rockers Gaffa Tape Sandy announce their signing to acclaimed indie label Alcopop! Records and share pulsating latest single Headlights, the first track taken from the band’s forthcoming EP dropping this summer.
Marking the start of a whole new chapter for the Bury St. Edmunds outfit, Headlights showcases the trio’s brand of high-octane rock ‘n’ roll in remarkable style, spearheaded by the playful dual vocals of Kim Jarvis and Catherine Lindley-Neilson and ably supported by a relentless rhythm section and crescendo of epic punk riffage.
“We wrote Headlights as an open embrace to anyone who finds it hard to talk about their mental health, and to serve as a reminder to check up on your loved ones in this busy stupid world”, the band stated. “We wanted the back-and-forth vocal play to feel and sound like a conversation, a playful way of communicating a message that we believe in. It’s important to be lovely to one another, and the people who have been lovely to us are the people who inspired this song”.
Heralded as one of NME’s 100 Essential Acts for 2018, the rising trio have developed an impressive live reputation supporting the likes of Indoor Pets, IDLES and Peace, whilst much-lauded displays at Glastonbury and Latitude (BBC Introducing) have lead to a slew of festival appearances (including The Great Escape and Truck) being lined up over the coming months.
Andrew Rinehart and his former romantic partner Rachel Len Cary had a wildly tumultuous 2-year relationship. After a lengthy separation, and an agreement to stay on their separate paths, the two eventually decided to collaborative on a music video for one of Rinehart’s songs (’They Say’), interspersing actual archival home video / cell phone footage from the early days of their relationship with present day / post-breakup footage shot by their friend Danielle Bartley. The intention behind making the video together was to find some sort of closure.
Video made by Andrew Rinehart, Rachel Len Cary and Danielle Bartley. Cover artwork made by Greg Sheppard.
Rinehart is a Louisville, KY native who has, for the last 5 years or so, paid his dues bouncing around the usual bigger-city zones. He was one of the original 10 founders of the influential Body Actualized Center in Brooklyn, and more recently threw shows at Basic Flowers, a DIY space in downtown LA which Ariel Pink co-funded. Now on the verge of exiting the purgatory of grad school, Rinehart is currently in the process of releasing a series of singles (“Off On A Roll…” being the first), all of which explore the inscrutable ups and downs inherent to that age-old pleasure/torture device: love.
These Wicked Things is the fourth release from the determinedly eclectic Boston-based band Beat Circus and the final installment in singer/multi-instrumentalist/composer Brian Carpenter’s “Weird American Gothic” trilogy. The record bridges a number of disparate genres including experimental music, cowpunk, post-punk, Mexican folk music, mariachi music, and Italian giallo soundtracks. The cover and booklet include a 18-page graphic novelette by renowned Croatian artist Danijel Zezelj, best known for his live paintings, multimedia, and collaborations with DC Comics/Vertigo.
Brian Carpenter formed Beat Circus in 2002 shortly after his arrival in Boston and since then, he's been the ensemble's guiding light and sole constant member. He has recorded or performed with Swans, Kronos Quartet, Colin Stetson, Marc Ribot, and Roswell Rudd, and collaborated with producers Martin Bisi (Dreamland, 2008), Sean Slade and Bryce Goggin (Boy From Black Mountain, 2009). Returning on These Wicked Things are drummer Gavin McCarthy (Karate, Thalia Zedek Band), bassist Paul Dilley (Reverend Glasseye), and guitarist Andrew Stern (Brian Carpenter & The Confessions). Relative newcomers include violinist Abigale Reisman (Tredici Bacci), violist Emily Bookwalter (Ghost Train Orchestra), and multi-instrumentalist Alec Spiegelman (Cuddle Magic), all three of whom worked with Carpenter on The Barbary Coast in San Francisco.
These Wicked Things began in Berkeley, California when Carpenter was commissioned by the Berkeley Repertory Theater to compose music and lyrics for Dominic Orlando’s play The Barbary Coast in 2014. Based on the true crime book by Herbert Asbury (Gangs of New York), The Barbary Coast detailed the violent rise of San Francisco in the late 1800s. The play centers around Joaquin Murieta, the real-life inspiration for Zorro, a Mexican who went on a notorious revenge spree after his wife Rosita was killed by gold miners. Two versions of “Rosita” and some incidental music from the play are included.
After recording These Wicked Things with Beat Circus at the legendary Q Division Studios in Boston, Carpenter flew out to Tucson, Arizona to mix the record with esteemed producer Craig Schumacher (Calexico, Neko Case, Giant Sand.) Carpenter worked with Schumacher previously on his singer/songwriter outing The Far End of the World (2015, Accurate.) Special guests on These Wicked Things include trumpeter Jacob Valenzuela of Calexico, bass saxophonist Dana Colley of Morphine, and guitarist Stephen Ulrich of the NYC guitar noir trio Big Lazy.
Whilst co-habiting as a property guardian in South London, JW Ridley had to use what little space and time was available work on his music; as he explains “the building had these strange little rooms so I would go and record demos in them whilst no one was there”. New single Homesick (Out the Blue), the follow up to recent acclaimed single Glass Eyes, was written in such snatched moments.
An Arthur Russell and Radiohead by way of krautrock inspired post-punk shuffle, it’s a track with an emotional density that builds throughout, and another example of the expressive, cathartic song-writing that’s seen him labelled as one of London’s most exciting artists.
Matching the sense of geographical dislocation there’s an element of psychological contrast behind the song’s meaning too, “it’s about the things we hold on to or the things that never really leave us”.
JW (AKA Jack) has slowly built up a canon of emotive and immersive songs. These have caught the attention of Huw Stephens, Zane Lowe, Lauren Laverne and Steve Lamacq on the airwaves, as well as tastemaker tomes Stereogum, DIY, Wonderland and more.
Portsmouth, VA-based, modern retro quartet Lucky 757 would make the founding pioneers of early rockabilly proud, aggressively pushing the genre forward with a combination of chops, passion and innovation.
The band formed in 2014 around core songwriting team of father/son duo Danny (rhythm guitar and backup vocals) and Cory (lead vocals and lead guitar). Wielding their twin Gretsch guitars, Danny and Cory deliver the classic hollow body sound, drenched in Copycat tape echo, and aided by the vintage rockabilly rhythm section of Sam Haga (bass) Angel Lopez (drums). Together, they’ve canvased Virginia and traveled down the coast, playing alongside The Screaming Rebel Angels and opening for Reverend Horton Heat, tearing up big stages such as the Gretsch stage at Lake Havasu Rockabilly Reunion (NV), and the Rats Nest Run Inn (NY), and the Americana Music Fest (Virginia Beach).
They released their debut self-titled album in 2015 and quickly followed up with a second LP, tracked in a feverish all night session at Sun Studios in Memphis. Both releases were praised by the rockabilly community and found airplay on international FM stations. Their 2018 release, the Surf Rock instrumental album Lonesome Lagoon, found acclaim among the blogosphere, eliciting hipster hang tens for its deep cultural excavation of banana palms, gogo boots and Ennio Morricone scores.
Feeling their attention sway back to the well-calibrated rockabilly that first got their pistons pumping, the band endeavored to capture the newest embodiment of their evolving sound by heading back to the legendary ‘room’ at Sun Studios. They tracked three new songs, holistically, in raw and raucous live takes, laced with banging piano lines, courtesy of Matt Jordan, the key player for Rev. Horton Heat. The resulting album, Memphis Sun, is a delectable slice of rhythm and ooze. A twangy ode to the long-lost vibes of early rock and roll, distilled into a glowing little EP that begs to be savored, like the sunset over the Mississippi River.
