NYC

Baltimore’s A-Class Drops Previously Unreleased Track

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"If you know me, you know that I like nothing more than a high energy hip hop song that I can blare in my car with the windows rolled down. A-Class’ newest song "Polarcaps" (an unreleased track from his Deathsuit EP) is an excellent addition to the portfolio of this Baltimore based hip-hop artist. Turn it up; blow your speakers out." -Karl Dobias

Philadelphia

Creepoid Returns to Its Original Lineup Opening for Night Beats at KFN May 7

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It’s been a bit quiet in the Creepoid camp lately with only a handful of shows in the last few months. However, all that is about to change with the return of guitarist Pete Joe Urban from San Antonio, TX, where he’s been living for the last year while his girlfriend finished up her graduate studies. The band has also returned to its original four-piece lineup with the amicable departure of lap steel guitarist Jeff White. Creepoid has a new self-titled album that is due out this summer, but you can hear some of the new tunes tonight when the group opens for Seattle’s Night Beats. Also on the bill are Philly’s own noisy acid rockers Harsh Vibes. Kung Fu Necktie, 1250 N. Front St., 8pm, $10, 21+ – Alexis V.

NYC

Ll’s punk rockers State Lines play NYU’s Strawberry Fest on 05.10

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Imagine Saves the Day mixed with Tigers Jaw and Transit; Long Island’s State Lines sound like a smooth Indie/Punk blend of the three, but also with their own kick. Formed in 2010, their raw, rustic turns and sharp edges combined with the raspy vocals of singer/songwriter Jonathan Dimitri keep them on the frontlines of today’s LI scene. They even dress for the part, hoodies and all! They just recently released their sophomore full-length album titled “For The Boats” via Tiny Engines. You can listen to "Linger below" and three other new songs from the album here, and see them live at NYU’s Strawberry Festival this Friday May 10 with Mission of Burma. – Michael Haskoor (@Tweetskoor)

NYC

Drowners get top notch industry team + play Pianos on May 8th

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We blogged a few months ago about emerging NYC band Drowners, a quartet that can count on a fair amount of flair both in the songwriting and looks department – we love pictures that remind us of those black wearing bands from the late 70s – early 80s, you can’t go wrong with that!

From a quick glance at their Facebook "about us" page, it seems like a bunch of industry people have already taken notice – and action: Frenchkiss Records is mentioned as one of their labels, together with The Agency Group booking, while Tell All Your Friends’ top dog Kip Kouri is their publicist. That’s a team that can take this Morrisey influenced quartet places, so keep an ear on them. Check out their recent video for "Long Hair" here – mp3 streaming below. If The Smiths have a special place in your heart, you should check them out live when they headline Pianos on May 8th. 

We added this song to The Deli’s playlist of Best songs by emerging NYC artists – check it out!

Philadelphia

Tuesday Tune-Out w/Hurry & Literature at PhilaMOCA May 7

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It’s the first Tuesday of May, and that means it’s the beginning of a new cycle for Tuesday Tune-Out at PhilaMOCA. This month Philly-based music blog YVYNYL (a.k.a. Mark Schoneveld) will be curating the series. While Schoneveld has recently decided to take a break from blogging for life reasons, his passion for music will always go way beyond any website. Tonight YVYNYL will be bringing you a doubleheader that will start off with the infectious jangly indie pop of Austin transplants Literature and closing out the music portion of the evening is the emotive noise-pop project from Everyone Everywhere’s Matt Scottoline, Hurry. There will also be the screening of a “secret” film that Scottoline has chosen so you’ll just have to show up to find out what it is. PhilaMOCA, 531 N. 12th St., 8pm, $5, All Ages (Hurry Photo by Allison Newbold) – H.M. Kauffman

San Francisco

New SF Band Cool Ghouls Release New Music Video

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San Francisco based rock band, Cool Ghouls have just released a new music video. The video highlights the band’s uber optimistic, vegan pop track, Natural Life from Cool Ghouls’ debut self titled LP which has been released on cassette today, through Burger Records.

Cool Ghouls also perform tonight at Brick and Morter Music Hall, and will continue to play live throughout the Northwest this spring. 

Cool Ghouls – Natural Life from Robert Thomas on Vimeo.

TOUR DATES:

5-7 San Francisco, CA – Brick and Mortar (Woodshoppe Presents)
5-15 San Francisco, CA – The Depot w/ FUZZ (Ty Segall + Charles Moothart)
6-2 Portland, OR – The Know
6-3 Seattle, WA – Chop Suey
6-5 Santa Rosa, CA – House Show
6-6 Santa Cruz, CA – Jury Room
6-7 Fullerton, CA – Burger Records
6-8 Los Angeles, CA – The Smell
7-13 San Francisco, CA – Phono Del Sol Festival
8-3 San Francisco, CA – San Frandelic Psych Fest

NYC

Album review: Tiny Horse – Darkly Sparkly (EP)

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(Photo by Todd Zimmer) 

One horse. Very small. Packs a wallop.
 
Chris Meck and Abigail Henderson have given way more than their lion’s share to the Kansas City music scene. Whether through past efforts like The Gaslights or Atlantic Fadeout or being some of the driving forces behind the Midwest Music Foundation, Apocalypse Meow, and MidCoast Takeover, they should receive the deep admiration of anyone that sets foot on a stage in this town. Their latest musical endeavor, Tiny Horse, is no exception. Darkly Sparkly is a gorgeous collection of songs.
 
In the simplest of descriptions, the duo plays dark Americana. Ticklers of atmospheric instrumentation, provided by Meck, gambol upon the background, occasionally throwing the ball over the fence to take the melody reins or mingle with Henderson’s haunting vocals, but are quick to slink back to further delighting the sonic landscape.
 
But as everyone’s mother will tell you, life is not simple. Tiny Horse is the unfortunate poster band for this sentiment. You probably know the back story, but in case not, here is a link to an article from late 2012 by Timothy Finn over at The Kansas City Star that paints the picture.
 
Especially in that light, there are next to no words I can come up with to adequately describe the impact provided by the vocal performance. Henderson is able to speak from a place that few of us have ever been and she seemingly welcomes the opportunity to embrace these experiences and provide the listener with a small bathroom window into what it all has come to mean for her. Her voice is so beautifully imperfect—an ideal combination of coying, sweet and sassy as worked upon by the old rusty wood rasp from your grandfather’s tool shed.
 
Her lyrics say it best:
 
(Reviewer’s note: these are the best transcriptions these old damaged musician ears can figure out)
 
From “Ride”:
“There’s no one left to ask, pictures of the past just sit in boxes underneath the bed
Money’s just a noose, the old excuse that fooled you into what you did instead.
Ride with me tonight. Let’s remember what it means to chase a little something.”
 
From “Ghost”:
“Why do you need me? Why do you want me? Cause I’m not done here. Leave me alone.
Take your old songs. Take your old singers. Leave me to write. The only world I’ve known.”
 
From “Nashville Parthenon”: (Editor’s Note: "Nashville Parthenon" is a cover by Casiotone for the Painfully Alone)
“It’s been so dark since you left Nashville. I’ve read the same books again and again.
Makes me wish I wasn’t bashful when it comes to other men.
But if I could have my way, darling, you’d come home.”
 
 
“Softly We Fall” is a tender ballad reminiscent of the final song of a junior high school barn dance somewhere in dusty West Texas circa 1958. Meck doesn’t offer his voice up too often on these tracks, but they are used to great effectiveness here. His mimicking vocals follow along on the chorus, “Softly we fall into each other’s arms. It was your fault when we kissed,” further adding to the nostalgic remembrances of adolescent courting. His guitar work also particularly stands out on this track, beautifully crafted and culminating with a simple yet scathing solo to carry the song home.
 
All in all, the music presented by Tiny Horse is just simply triumphant, the work of carefully seasoned (and hardened) musicians, also including multi-instrumentalist Cody Wyoming, bassist Zach Phillips, and drummer Matt Richey. It is sorrow meant to be remembered, celebrated, and enjoyed. The EP’s title, Darkly Sparkly, seems most appropriate. The KC music scene would be a much darker and less sparkly place without the efforts of Meck and Henderson.
 
The next time you can catch Tiny Horse will be at The Brick on Wednesday, June 5. The group will be supporting out-of-towners Michael Dean Damron and Matt Woods.
 
-Zach Hodson
 

Zach Hodson is a monster. He once stole a grilled cheese sandwich from a 4-year-old girl at her birthday party. He will only juggle if you pay him. I hear he punched Slimer right in his fat, green face. He knows the secrets to free energy, but refuses to release them until "Saved by the Bell: Fortysomethings" begins production.

He is also in Dolls on Fire and Drew Black & Dirty Electric, as well as contributing to various other Kansas City-based music, comedy, and art projects.

 
 
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NYC

Album review: Drek – Drek Happens

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If you haven’t yet had the chance to listen or watch Kansas City’s own Drek, its release of Drek Happens may be the perfect time. With in-your-face instrumentals and mean vocals, this is a band that not only makes your head bob while listening, but makes your whole body move when you see them live. Drek’s latest album dropped March 30and is heavy, dirty, and will make you rethink the whole rap-rock genre.
 
The first four tracks on the album showcase the band’s heavy side of as it delivers killer guitar riffs and hard-hitting bass. “Deep Breath” lets you more into the lyrical side of Drek and reminds of the power music has on influencing mood. Drek doesn’t allow you stay in the mellow mood too long, both live and recorded. From the ballad-y feel of the previous track, “So I’ve Been Told” moves to heavy drum and guitar sounds. This track sets the mood for the rest of the album, but when you finally hit “Yup, Yup, Yup Uh Huh,” you won’t be able to keep yourself from grooving. This track goes back to early 2000s rap-rock music with a real funk-based groove to it, which is probably why it was the album’s debut single.
 
“Dirtier” delivers more of a hard southern rock feel, with a “Yee Haw” included and a funky guitar part during the verses that will get you into it. Drek wraps up the album with “The Price,” a testament to all of those who threaten you but never to the face, and I think we’ve all had those. Drek offers a nice surprise for the fans by offering a bonus track. This cover of Cypress Hill’s “Hits from the Bong” is pretty legit and gives just enough balance to the original against Drek’s hard-hitting instrumentals. Overall, you can really feel the energy of the band coming through the speakers. If you get the chance to see it live, you will see just why Drek has one of the biggest and most loyal fan bases in Kansas City.
 

This Saturday, May 11, Drek will appear at The Roxy in Overland Park with Mad Libby, Unwritten Rulz and Cronus for a fundraiser for a girl named Izzy, who is battling leukemia. Facebook event page.

–Cassiopia "KC Cassi" DeMars 

KC Cassi believes that with true local music support, you can do great things. I grew up somewhere that way and have been in Kansas City since 2005. Music can change the world and support can help spread the jams.

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L.A.

Live Review: PYYRAMIDS at The Satellite 5.2.13

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A packed house came out of nowhere last night as the Satellite played host to Los Angeles based duo PYYRAMIDS, musical project of (OK Go’s) Tim Nordwind and Drea Smith (formerly of He Say, She Say). PYYRAMIDS’ latest musical offering “Brightest Darkest Day” is, as the name may suggest, a sweet-sour mix of grungy/moody 90’s reminiscent rock buoyed by sultry-sweet highlights betraying what is, ultimately, a smart little pop album. I went in to the show wondering if they’d be able to match the oh-so-sharp production of their album – and I have to admit I was pleasantly surprised. Noticeably, there weren’t any visuals or fancy light displays – but they weren’t overly missed. A cool, confident stage presence was set against a snare-drum tight sound – betraying an undoubtedly serious practice regimen. Nordwind, bespectacled as ever, hopped and swayed with his guitar while Smith kept her feet planted – coolly standing vigil at her mic-stand she rarely let venture more than a few inches away. The regular motley crowd at the Satellite served as a visual metaphor for the set’s undulating tone – one minute swaying slowly, the next thinking about dancing but (correctly) deciding to just bounce in place. In all fairness, the occasional dance-happy hipster may have been excused: PYYRAMIDS put on a dang great show. Armed with great songs and serious musical chops, they kept me and a room full of fellow East-siders happily rapt in cocoons of moody pop-rock for the 40-ish minutes of their set. Driven by Nordwind’s guitar and held aloft by Smith’s raspy, honeyed voice, they are a definite must-see when they come to your local corner of the universe. – Leslie Andrew Ridings

NYC

Cardboard debuts video for ‘Card’

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We first blogged about Brooklyn psych rockers Cardboard a few weeks ago, here’s their latest video for the single "Card", which will surely arouse the interest of those who are in love with the LSD infused scene launched by London’s UFO Club in the late 60s.

Chicago

The Oarsman @ Schubas

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The Oarsmen have accomplished a lot since forming last September. They’ve released an outstanding EP, Easel, and recorded their debut album coming later this year via Tandem Shop. Now they are trying raised enough funds to purchase a van to help them take their sound national. The campaign ends on May 13th so go and chip in today.

You can catch The Oarsmen at Schubas on May 22nd.

NYC

NYC electro-pop newcomers Lovelife play Irving Plaza on 05.09

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“Dying to Start Again” (streaming below) is the latest single by Brooklyn newcomers Lovelife and it’s all about second chances. As those types of songs go, it’s lyrically a tad mopey. You want her back… you wish you could start again. We get it. The reason why this song actually works so well is because it’s musically quite evocative. From the pong-like synth loops to the slow-creeping beat to the heavenly falsetto vocals, you get the sense that, despite the singer’s sadness, the whole experience was worth every effort. That’s wisdom, yo.- See the band at Irving Plaza on 05.09 with Gold Fields and Capital Cities. – Brian Chidester