Monday, July 26, 2010

The Burning Hotels Have Just Signed An Administrative Publishing Deal With Kobalt Music.

The Burning Hotels Have Just Signed An Administrative Publishing Deal With Kobalt Music.


Media Alert ::
We are very pleased to announce that The Burning Hotels have just signed an administrative publishing deal with Kobalt Music. Other recent signings by Kobalt? Phoenix, Yeasayer and FIFA. Kobalt Music Publishing is home to a lot of great artists and The Burning Hotels are very excited to join their roster.

In addition, The Burning Hotels will be supporting Toadies on 7 August 2010 at the Palladium in Dallas, Texas.

Thursday, July 22, 2010

The Burning Hotels
The Burning Hotels - Novels
May 13, 2010 by David Smith
Category: Albums (and EPs)

The Burning Hotels
The Burning Hotels captures a sound that was all the rage a few years ago:
that of Bloc Party, Interpol, Strokes, and so on. It reminds you of how
quickly tastes change. That's probably a good thing for music generally
because it means that we're constantly getting new innovations. But it means
that the shelf life of any recording is subject to short periods of hype and
long periods of "ah, yes, back then." reflections.

It's hard to tell whether The Burning Hotels represent a continuation of the
early 00's indie-rock sound, or whether it's already been long enough that
an album like Novels should be considered a resurrection of the form. In any
case, The Burning Hotels would have probably gotten a music-mag cover or two
had it been present at the watershed. With a few notable exceptions, the CD
sounds a bit "old hat" coming out in 2010.

One of those exceptions is "Where's My Girl", which packs a lot of energy
into its 3 minutes. Opting for some unusual syncopation for its verses, the
song speeds along smartly with Braid-like stop/start moments in its C and D
sections. "Where's My Girl" shows the band making the most of its
influences: sharp guitar, rapid-fire drumming, laid-back and catchy vocals.
"To Whom It May Concern" and "Hey" similarly make the band sprint, staying
away from some of what doomed Interpol in later years (plodding songs that
seemed directionless). Musically, though, there's not a lot of novelty.

Of course, songs like "French Heart Attack" and "Boy or a Girl", with its
foreshortened measures, hold their own against the stuff that Editors et al.
were doing on their first/best records. That's to say, the band knows what
it's doing and does it well. Clearly talented and occasionally inventive,
The Burning Hotels might well follow up with something more extraordinary
and distinguishing. Let's hope that The Burning Hotels breaks from the past
and doesn't follow the Bloc Party trajectory of increasingly irrelevant

Cave Syndrome reminds me an awful lot of some of the best bands nobody ever heard

As a lifelong resident of the Pacific Northwest, I have to say that it has been quite a while since I have heard anything as good as Transient Songs coming out of our backyard. Cave Syndrome is the second album from the "group," which is actually a man by the name of John Frum and his occasional guests.

Cave Syndrome reminds me an awful lot of some of the best bands nobody ever heard in the early nineties. Groups such as Sadhappy, Adrian's Childhood, and Paisley Sin never caught a big-time record contract, but they were all great. Frum's music has something in common with each of them, but there is also a NW indie spirit about the disc that is reminiscent. The name of his record label alone is good for a chuckle: Indian Casino Records. His pop sensibilities are spot on too. The liner notes mention The Church and The Chameleons as influences, and the statement is certainly accurate.

The record begins with "In This Darkness Light Seeps Through," which despite the foreboding title is one of the more upbeat tunes. It strikes me as something Wayne Coyne might have come up with after an overdose of George Harrison's All Things Must Pass.

The trippiness, reverb and fog get deeper as the album progresses. "Smoking Slows The Healing" builds into a transcendent guitar frenzy that becomes absolutely hypnotizing, as does "Greenwood Backyards." The most fascinating song of all, though, is titled "The Cancer In Our Bloodlines." It is as if both The Church and The Chameleons decided to collaborate on a version of "A Day In The Life." The opening segment is a virtual Steve Kilbey carbon, while the latter portion would not have been out of place on side two of Script Of The Bridge.

John Frum hails from Texas originally, but we won't hold that against him. Especially as he had the good taste to enlist Chris Hanszek to master the disc. Hanszek founded C/Z Records back in 1985, and released the first collection of grunge, Deep Six shortly afterward. Transient Songs belong in such exalted company, and I hope that Cave Syndrome finds an audience. It is a gorgeously nuanced album.

Read more:

Seattle-based John Frum and Transient Songs on DENMARK zine


As many other artists is transient Songs not in fact a band, but a project from Seattle-based John Frum. It is he who write sangene and invite MUSICIANS with the necessary extent. On cave syndrome withdraw transient songs on several traditions. First and foremost, sound were well founded in the American indiescene, but with elements from both early psykedelisk rock and a bluesy AMERICANA. At the same time, the whole permeated with an underlying Melancholy and uhygge, which gives the sometimes right poppede Songs a certain degree edge. Especially in ”cancer in our Bloodlines” contrasts this uhygge very fine WITH A strygerarrangement AND A lyttevenligt refrain.

Cave syndrome gives rise to many reminders of treenigheden Pavement, Dinosaur jr. and Sebadoh. It is not necessarily a bad thing; rather, a finding that transient Songs plants themselves firmly in the American indierocktradition. ”Astoria” sounds like something that we have heard before, with a tenuous lo-fi sound and a control, which sounds like a skrattende radio from 50′s. Or take, for example the very finely sliced “IN THIS DARKNESS light Seeps through”, which is very well constructed, but both a little for selvmedlidende and pathetic to really to catch your attention. The most interesting element is still intervening of psykedelia-tradition, which are often to promise sangene from the banal to the least interesting. It gives transient Songs opportunity to be out of the billions of bands, which never got further than crooked rain, crooked rain.

But it is also why I, the undersigned are a little. It is not very new, as transient Songs has to offer. For supporters of the above bands, there is enough to get out of cave syndrome. But there will be moved by hegnspælene for what around allow themselves. In contrast, Johm Frum, that the American indierock continues forward undaunted with unequal vokaler, poppede arrangements and the livslede, which in one or other extent also has characterized all forbilledernes music.

Transient Songs: Cave Syndrome
Af Jesper G. Kaufholz | 23.04.10 | Ingen kommentarer

Transient Songs: Cave Syndrome (2010)
Please Play Loud/XO Publicity
Musikalske slægtninge: Pavement, Sebadoh, Dinosaur Jr.,
Tags: akustisk, alternativ, ambient, americana, folkrock, indiepop, John Frum, lo-fi, melankolsk, pop/rock, psykedelisk, singer/songwriter, Transient Songs

Som mange andre kunstnere er Transient Songs faktisk ikke et band, men et projekt fra Seattle-baserede John Frum. Det er ham, der skriver sangene og inviterer musikere med i det nødvendige omfang. På Cave Syndrome trækker Transient Songs på flere traditioner. Først og fremmest er lyden solidt funderet i den amerikanske indiescene, men med elementer fra både tidlig psykedelisk rock og en bluesy americana. Samtidig er det hele gennemsyret af en bagvedliggende melankoli og uhygge, som giver de til tider ret poppede sange en vis kant. Specielt på ”Cancer in Our Bloodlines” kontrasterer denne uhygge meget fint med et strygerarrangement og et lyttevenligt omkvæd.

Cave Syndrome giver mange mindelser om treenigheden Pavement, Dinosaur Jr. og Sebadoh. Det er jo ikke nødvendigvis en dårlig ting; snarere en konstatering af, at Transient Songs planter sig solidt i den amerikanske indierocktradition. ”Astoria” lyder som noget, man har hørt før, med en spinkel lo-fi-lyd og en vokal, der lyder som en skrattende radio fra 50′erne. Eller tag f.eks. den ganske fint snittede “In This Darkness Light Seeps Through”, som er ganske godt skruet sammen, men både lidt for selvmedlidende og patetisk til virkelig at fange ens opmærksomhed. Det mest interessante element er stadig indblandingen af psykedelia-traditionen, som ofte er med til at løfte sangene fra det banale til det mildt interessante. Det giver Transient Songs muligheden for at stå ud fra de milliarder af bands, der aldrig er kommet videre end Crooked Rain, Crooked Rain.

Men det er også grunden til, at undertegnede keder sig lidt. Det er ikke meget nyt, som Transient Songs har at byde på. For fans af de ovenstående bands er der nok meget at få ud af Cave Syndrome. Men der bliver ikke rykket ved hegnspælene for, hvad genren tillader sig. Tværtimod fastslår Johm Frum, at den amerikanske indierock fortsætter ufortrødent med skæve vokaler, poppede arrangementer og den livslede, som i et eller andet omfang også har kendetegnet alle forbilledernes musik.

Portland pop-rock four piece Microtia

Humphrey’s by the Bay is kicking off its summer run by tolling Broken Bells Tuesday night. That’s that indie-rock-meets-synth-pop project with that guy from that band, not the guy from Death Cab, the other guy from the other band, but doing as the guy from Death Cab did. I should look it up, but I know?... Hay! Horse Feathers plays Casbah with Dawn Landes and Joel Partyboy West. Kill Rock Stars quartet Horse Feathers comes to us from Portland, Oregon, by way of Nick Drake and Iron & Wine. Lots of string-y things on new one Thistle Spring, which is just lovely, I’m told.... It’s going to be a Bonerama at Belly Up. As in trombone-a-rama, pigs. This brassy New Orleans big band brings the funk.... Coupla good ones uptown, too, as Illinois’ roots-rocking Forecast and Kansas City royals Queens Club set up at Soda Bar...while Radio Room dials in Portland pop-rock four piece Microtia with our own Misc. Ailments and Oh Air Night. James Mercer from the Shins!!

Friday, July 16, 2010

Fort Worth Weekly on The Burning Hotels

So it’s kind of refreshing and amusing and nice that this trio

How many indie-pop bands are out there that you wouldn’t know the guys in the band had any hormones what-so-freakin’-ever except that they sport really crappy beards?

Right. A metric shit-ton.

So it’s kind of refreshing and amusing and nice that this trio, fronted by Michael Lewis, sings songs about unheard of indie-pop topics like, well…like fucking. Not just “we made love” or “I think you’re swell then you left” pablum, but fucking. I mean, you’re gonna stay tuned to a record that has an opening line of the first track like, “Were you just gonna wrap your legs around me/or was it just that I was pretty and free?” (the song is “My Sweetest Defeat”).

And it’s not just about dirty words and locker room bragging (although the tune “My Angel One Last Time” does feel a bit forced in its “do me” theme. A minor eh-factor). The blunt sexuality of a few of the songs has some back to it with strong-crafted hooks, sparse and spot-on production, and smiling melodies. And horns! Big, full horns. Who’d’ve-thunk it, huh? Fans of The Decemberists (some of whom appear on this) will probably dig this.

Heh heh. Dude said, “fuck me til I bleed.”

(self-released, no address provided)

The Burning Hotels 9.5/10!

The Burning Hotels


Who knew the best modern post-punk wouldn't come out of New York, L.A. or
London, but DFW?

Steadily dominating the Southwest, The Burning Hotels had a solid EP under
its belt, along with a guest appearance in the movie "Bandslam," but it
outdid itself with its full-length debut, "Novels."

Part youthful exuberance and part sophisticated restraint, "Novels" is
brimming with angular rock hooks and airy pop drifts that float down like a
balloon onto a bed of nails, coming to a rest right before it bursts.

Most astonishingly is how quick the band has built something so lean and
tight; "Novels" leaves no room for anything other than joyous rock riffs and
tucked-in pop anthems.

To give a bit of context, take the zagging hooks of Bloc Party ("To Whom It
May Concern"), morose new wave of Interpol ("The River") and vintage rock
melodies of The Strokes ("French Heart Attack") and you've got the basis for
The Burning Hotels.

Fittingly, where those three bands all faltered on their third discs is
where The Burning Hotels picks up, making for a thick slice of post-punk

It makes no short order of launching into it, rocketing off with the
blistering "Austin's Birthday" and zipping "Boy Or A Girl." With the
occasional ballad ("Silhouette") lodged between, "Novels" races at breakneck
speed through an endless stream of poppy earbugs that won't leave your head
for days.

Perhaps most remarkable is how intricate and detailed each song is without
being overwhelmed by its structure. The band rallies each song with an
arsenal of quick-as-a-bullet chord progressions and regimented rhythm
changes that are executed to the T.

The cuts in "French Heart Attack" and "Hey" are Pine-Sol clean; the echo in
"Time" gives me chills. "Novels" is a perfect example of how tedious efforts
and attention to detail can ultimately lead to an impeccable product.

There's no major misstep to critique, no fault to pick at. "Novels" is not
perfect, but it's pretty damn close.

-Joshua Boydston

Thursday, July 15, 2010

Is there such a genre as post-hardcore-space-rock

Author's Rating
Vocals 6.75
Musicianship 9
Lyrics 8.5
Production 8.5
Creativity 9.5
Lasting Value 9
Reviewer Tilt 9

Final Verdict: 86%

Microtia - Spacemaker
Reviewed by: GeeBee (06/07/10)
Microtia – Spacemaker
Release Date: April 20, 2010
Record Label: Self-Released

Is there such a genre as post-hardcore-space-rock? If not, I think I may have found it. On Microtia’s sophomore outing, the aptly named Spacemaker , the Oregon quartet seem to have honed in on just such a unique and under-represented genre, while exhibiting the potential to corner the market on it altogether.

Drawing from a variety of influences without losing any originality in the process, Spacemaker crafts a spastic and massive aural experience. Despite hearing bits of At the Drive-In’s grind, Muse’s riffage, and Isis’ drone in the musical composition, the whole equals more than the sum of its parts. That quality alone is a rarity anymore, and Microtia is to be credited for it, as too few bands understand the delicate balance between drawing on an influence and ripping it off outright. Subtle hints of those influences are scattered throughout the album, and in all the right spots. The underlying electric tones serve as a nice counterbalance to the relentless riffs, and create an atmospheric undercurrent that some bands (i.e. Dredg, Circa Survive) usually rely on the guitar to provide. Mention must also be made of the outstanding drumming by Tim Steiner. I’ve never before heard such relentless, heavy, technical percussion seem like such an intricate part of the composition.

I also couldn’t help but notice a compositional method that Microtia seem to have borrowed from their space-rock forbears, Failure. In the majority of Spacemaker’s songs, melodic hooks have been replaced by dissonance and unexpected key changes. Certain chord progressions cause the listener’s ear to expect a melodic right-turn, and it’s in songs like “Early Fish Gets the Worm” that Microtia takes a decidedly hard left. This effect may be grating on some listeners, but I found it an experimental plus to an already unique style.

Spacemaker is not an album I’d recommend listening to unless you’ve got a whole 45 minutes to take in the 9 song soundtrack-to-a-laser-show opus. The tracks all meld pretty seamlessly together, and there aren’t a whole lot of hooks to warrant an enjoyable listen any single one of them on shuffle. The whole album is written in a minor key, and even the “Interlude” is driving and technical. That being said, Microtia could have easily condensed several of the songs, like the overwrought and repetitious “I’ll Fight the Harpsichord”. Eric Leskovar’s voice can seem to be set on monotone in some areas.

The band’s aesthetic is also worth noting. These fine gents have quite the DIY ethic. They claim to have crafted their own instruments and equipment. If that’s so, my complements, as the production is stellar. But that’s not all – their disc comes in a cardboard envelope, finely crafted from the remains of a Coors Light box, and the tracklisting from the front panel of a pack of Marlboros. Whether it’s out of a sense of duty to the green movement, or to idle time in the studio – it’s another unique vestige of a unique musical experience.
It may be overly optimistic to hope that Spacemaker marks Microtia’s attempt to pick up the torch where Cave-In dropped it after Antenna, or too much praise to proclaim a new genre in their behalf. In any case, Microtia’s latest sets the expanses of space to music, and I’m looking forward their next foray into the final frontier.

Recommended If You LikeCave-In - Jupiter; Isis; Failure; Laser-Shows

this album has got me hanging by the balls.

With Love

I am not sure where the hooks are, but I know they are there because this album has got me hanging by the balls. It’s the kind of angular hardcore that twirls one too many times to be truly memorable, just when you think you got a melody down there comes a new turn, one more twist in a line of seemingly hundreds, but that it is immediate nevertheless.

No chugga chugga, no beefcaked dudes, no crew cuts, no meatballs with an 'I’m gonna kill you' attitude, nor lyrics about wanting to kill all those who stabbed you in the back, just loud songs with fragmented guitars and sectioned drumming and well-pronounced screams galore. In other words, fuck hardcore, this is hardcore.

I came to know Prize Country via their release through Exigent Records, but I never got a chance to actually sit down with one of their recordings. This is the shit for types who dig deep into Drive Like Jehu, for those who could have been part of the fan club of These Arms Are Snakes but did not join because there was too much fluff and softness in their releases. For those who were almost satisfied with Transistor Transistor, but with time have come to long for more, here it is.

In With Love, Prize Country cut the fat and launch themselves with strident force, crafting songs out of thin air, stopping short of getting hysterical and celebrating Festivus, the songs of In Love slice and dice, bounce with short chords that rarely amount to full on riffs, edge out via high vocals that are not sang as much as spoken out loud. There is not a clear winner here, the record is pretty even. Solid and enjoyable. I could have done without the seasonal clapping in “Cement”, but it fits the jumpy nature of the song. So that’s just me bitching.


Prize Country, another gem courtesy of Portland,

[RECORD REVIEW] Prize Country (PDX) - "...With Love" (2010)
Words by Matt Abramson

Prize Country - ...With Love
(Hex Records - 2010)

Several weeks ago we witnessed Prize Country, another gem courtesy of Portland, preform for entirely too few people at the Rendezvous on a bill with the mighty Android Hero. In spite of technical issues and pitiful attendance, they played with conviction and intensity. '...With Love' had been in my possession for several weeks, but following the show I was driven to give the record much closer consideration.

Prize Country put to good use familiar tactics of bands such as Snapcase, Fugazi and Thrice but blend them with a distinct Northwest grit and ferocity. I know I get down a lot on records that tread on familiar territory, and Prize Country ain't doing anything new here, but they do it so fucking well I am left throwing my arms up in defeat and saying, "Damnit, this just plain rocks!" I have to place more consideration toward bands that perfect existing styles rather than inventing new ones. The album is relentless yet tuneful. The mix does the precise instrumentation justice and keeps the energy level near critical mass.

The nine tracks on '...With Love' may be a bit brief, but the album functions as a self-contained piece of ass kicking post-rock. Everything here is clearly in its place and executed with mastery, so check your music snobbery at the door and dig on some genuine shit. Furthermore, I implore you to keep your eyes peeled to all them concert calendars that you may get the opportunity to check out their awesome live show in the very near future.

Monday, July 12, 2010

Prize Country - With Love on ALTSOUNDS

Prize Country - With Love [Album]
Hex Records

by simon.dangerous

Buy Prize Country - With Love [Album] From

Prize country are another young band out to make a name for themselves with their own brand of Post Hardcore riffs and bad attitude. Do they succeed? Lets see. "With Love", their debut album opens with the wonderfully titled ‘From the Gutter’ which is a typical album opener, minimal, inaudible vocals over bass and drums, which could have eaily been an instrumental and is a typical opener for this style of band.

"With Love" sounds just like I thought it would. There is a lot of Post Hardcore aggression and venom on display here. It slithers and moves like a lot of bands before them but it seems like Prize Country has enough savvy to change things up a bit and make everything that little bit heavier so it leans more to the metallic side than the whiny Emo side.

There are some genuine gems on here found in tracks like ‘I Could Be a Knife’, ‘It Was a Night Like Tonight’ and ‘Bigger Picture’ and whilst everything is well and good and this début does show some real signs of genuine promise, I would say that it wouldn’t hurt to fine tune their songwriting skills a little more to ensure longevity in the field, as bands like this are always popping up with varying degrees of success and talent.

The thing that will set Prize Country apart is the fact that they seem to have passion and intent and that they don’t try to pander to a scene even though they have a sound that could easily be pigeon holed or placed within one. Prize Country seem to want to be remembered as a great band rather than another band in a scene.

With their début album "With Love", Prize Country have thrown down and announced their arrival, armed with meaty riffs and a ton of energy. Prize Country will look to get away from any comparisons that are thrown at them and try and strike their own identity. I truly believe that with a little bit of fine tuning Prize Country could easily become something truly exceptional.

“Sexy, sincere and Sweetly Southern" Jessie Torrisi
page 40 /60!!! w

“Sexy, sincere and sweetly Southern”
Jessie Torrisi
Bruler, Bruler
Austin, TX
Recorded & produced by William
Berlind // Mixed by Bryan Cook
// Mastered by Hans DeKline

“You put the ‘X’ in Texas,” Jessie Torrisi mischievously drawls in her charming Southern twang.But that isn’t quite how she means it: “You broke my heart in two,” she goes on to sing. Still, it’s Torrisi’s playfulness with her sexy sound and her sincerity of meaning that makes her debut album, Bruler, Bruler, an entertaining and uplifting short ride. Previously a glam-rock drummer involved with a dozen bands in New York, Torrisi’s solo sound is funky, flirty and fun. “X in teXas” features a surprising but lovely trumpet accompaniment and “Runaway Train” begins with a catchy drum-andguitar riff that will quickly have you swaying in your seat. And then, Torrisi opens up “So Many Miles” by crooning – straight-up ‘80s pop-ballad style. She also has been known to bust out her electric guitar, harmonica and kazoo during live performances. But not to worry, Bruler, Bruler never gets too carried away with over-the-top flair; her songs somehow feel deliciously understated. Torrisi’s sweet and gentle Southern drawl reinforces the poetic sincerity of her lyrics. In her opening track, “Hungry Like Me,” about craving someone worthy to love, Torrisi sings: “The sunlight dances on your skin / and I don’t need another man who disappears when day ends / Come on and keep me up all night long / You’re gonna pin me down with desire.” Her songs mostly revolve around the themes of heartbreak, yearning and loneliness, and Torrisi’s delightful twang keeps you rooting on with her. Running at just 31 minutes, Bruler, Bruler is just a taste of what Torrisi can do. “Take me to the brighter side,” she softly sings in her final track, but I have the feeling that this impressive singersongwriter in all her newfound solo glory can take herself there. (Wild Curls Music.)

Ariana Samuelson

Sunday, July 11, 2010

CAROLINAN on the burning hotels

Burning Hotels frontman Chance Morgan

Tonight Dan and Jessica welcome Burning Hotels frontman Chance Morgan to the
show. Chance will talking up the new Burning Hotels album, Novels, and play
a couple of cuts off it as well.

Forged under the inspiration of post-punk and angular melodies, the Burning
Hotels cut through modern rock with driving sounds and propulsive rhythms.
The band made their recording debut with a self-released EP titled Eighty
Five Mirrors, licensed by Razor & Tie. This EP won the Fort Worth Weekly's
Album of the Year and 3 of the Top 10 Songs of the Decade. In April of 2010,
the Burning Hotels released their debut full-length LP, Novels. This
upcoming release was mixed by Mark Needham (The Killers, Bloc Party).

You can find out more about The Burning Hotels at

Today's free and legal mp3 downloads:

Today's free and legal mp3 downloads:

The Burning Hotels: "To Whom It May Concern" [mp3] from Novels
The Burning Hotels: "Austin's Birthday" [mp3] from Novels
other Burning Hotels posts at Largehearted Boy

Me, Myself, and iPod 4/28/10: The Silver Seas officially own our souls

Me, Myself, and iPod 4/28/10: The Silver Seas officially own our souls

Posted by David Medsker

The original title of this post was going to be "Free Crowded House!," as in
I have their new single "Saturday Sun," which they briefly made available on
their web site. I'd repost it here, but that just doesn't seem right. Plus,
I'm loath to do anything that HMFIC, who's a lawyer, would disapprove of.
Sorry, guys. For what it's worth, it's good.

The Silver Seas - The Best Things in Life
Their first album, High Society, is one of my favorite albums of the 2000s.
Their new one, Chateau Revenge, isn't far behind, and who knows, it may
eclipse its predecessor. It's not quite as high on the '70s AM radio sound
as the first one, but is yet another first-rate batch of classic pop songs
just the same.

April Smith and the Great Picture Show - Movie Loves a Screen
I just love this girl's voice. Impossibly sunny, and what great pitch. She
doesn't dance around notes - she fucking hits them, hard. And what a sweet
refrain. "I just want to mean something to you." I love a little moon-eyed
optimism. It's a nice antidote to our snark-laden world.

Grosvenor - Taxi from the Airport
Think Joe Jackson's "Stepping Out" covered by Double (of "Captain of Her
Heart" fame), and you're close. Sophisticated synth pop.

Trentemoller - Sycamore Feeling (Remix Edit)
Fans of Hooverphonic and Propaganda, take note. This moody slice of
electro-pop is right in your wheelhouse.

Burning Hotels - To Whom It May Concern
Next time the Airborne Toxic Event is looking for an opening act, they'd be
wise to pick these guys.

Kids of 88 - Ribbon of Light
Is it wrong of me for wishing MGMT's new one sounded more like this?

The Brute Chorus - Could This Be Love?
Attention, Anglophiles. Here's your next UK buzz band. I like this one
because it has a little American swagger in it.

Lawrence Arabia - Apple Pie
Yep, I'm still a sucker for the power pop stuff. Sue me.

Subservient Album of the Week THE BURNING HOTELS

Subservient Album of the Week

Thursday, July 8, 2010

Paper Tongues Personalized Skate Deck Contest

Paper Tongues Personalized Skate Deck Contest

Tuesday July 6, 2010

In light of their remaining two performances on the 2010 Dew Tour, Paper Tongues has announced a contest for a customized Paper Tongues skate deck. In order to win, entrants must create a skate video of themselves skating to their favorite Paper Tongues track. Watch the video for an explanation from the band, upload the video to YouTube, then send the direct link to

In addition to their stops on the Dew Tour, Paper Tongues is currently on the Bang The Gong Tour with Neon Trees and Civil Twlight. All three bands are offering a FREE DOWNLOAD of one song from each band! All you have to do is tweet from here and in return you'll receive a download pack of MP3s from the bands. Tweet now and be entered to win more prizes from the bands. Check out Paper Tongues Myspace Page to see when they will be near you, and make sure to pick up their self-titled album featuring "Trinity" and "Ride To California," on iTunes and in stores now!

Wednesday, July 7, 2010

Portland's newest musical export are the intense, MICROTIA



Self Financed 2010

Portland's newest musical export are the intense, emotional yet progressive post-punkers and Spacemaker is their sophomore effort. Right from the get-go you know these guys mean business. The throbbing bass and the pleading vocals of Can You Hear the Jets excite the senses and lay the groundwork for the turbulent guitars that froth in different directions. An almost goth feeling settles in with the strange synths and the ominous riffs that circulate in the vibrant spectrum. The spacey jam session that opens Interlude is an avalanche of drumming and sparkling guitars that tumble towards the melancholic, almost The Smiths-like musings of The Early Fish Gets the Worm which is highlighted by Eric's vocals that soar and crush you at the same time. At times I am reminded a little of the post-punkers Whirlpool, both in the use of thick basslines and cosmic shaped soundscapes. This is perfectly framed by the raucous energy and trembling frailty of I'll Fight Harpsichord. Acoustic guitar at the beginning of Add Insult to Injury purges your mind of the driving rock riffs that dominated Tone Mountain vs The Body of Riffage. Awkward Voivod-esque weirdness is injected into the otherwise ho-hum swaying on Add Insult to Injury and the deep almost trollish vocals that finish the song seem a little out of place. Some of the songs are a bit too long and slow developing for their own good. With that said, Spacemaker has some truly shining moments that conquer the day for the album and Eric's vocals are a light in the dark, as he has a truly emotional quality about him. Microtia is a really unique band that pushes against classification.

AUGUSTA, GA - When last we saw Microtia

Available Now

AUGUSTA, GA - When last we saw Microtia, they’d just unleashed the impossibly slick “Distance is Oval” EP which, with only six tracks to its credit, was good enough to snag the No. 2 spot on our Best Albums of 2007 list. The band’s combustible yet refined cross-section of mid-00’s doom-pop and Between the Buried and Me-esque guitar wankery seemed to herald the coming of an immediate force in the modern rock world and, personally, we held our breath waiting for what would follow.

Fast-forward to 2010, and things have been relatively quiet on the Mircrotia front—though honestly, it’d probably help if we lived in Portland, Ore., so you can imagine our surprise when new full-length “Spacemaker” arrived in the mailbox, practically out of the blue, in all its hand-assembled packaging glory (a slipcase made from sections of a PBR box and a track listing typed out on a pack of Marlboro lights, to be specific). A forehead-slapper of a novelty? Yeah, but burrow past the kitschy presentation and what you find is an album simultaneously more mature, expansive, and streamlined than its predecessor.

For the most part, the band has ditched the indulgent, fret-leaping riffs that occasionally sprang up on “Distance is Oval;” now they’re playing as a team. Tracks like “Can You Hear the Jets?” and “1000% Sure” simply drip minor-key grooves and cinematic foreboding, while the cosmic blunt force trauma of “That’s the Problem with Owning Half the State of California” morphs by the final minute into an outro that brings both the punk and the funk in equal dosages.

Do they still sound kinda like Muse? Sure, but you get famous by being familiar, and Microtia know that. You make your name, however, by doing it better. Boys, consider yourselves made.




(Dallas, Texas, USA)

Thinktankubator (12-song album)


(9 out of 10)

It’s 2010 and the grunge Beatles have arrived. This in the form of Allan Hayslip’s quartet and their inviting confluence of 60's song-sense and 90's sound-styling.

Not afraid of melodies-- or harmonies for that matter, as a large part of the lyrics is delivered by two or more voices, Bonedome maintains an astounding balance of driving energy, choice musical accents, and patient catchiness.

Unapologetic and confident, due perhaps in part to Hayslip’s decades of musicianship, from boys’ choir, to symphony orchestra, to Texas rock band. -- A.S.

Sunday, July 4, 2010

Meet Mark stuff

A band i was introduced to today randomly in indiana ... think i should pass them over to you all! Young kid from nashville 21... think he has something!